Architecture

Xuhui Demonstrative Project / SUP Atelier


Courtyard surrounded by living room and book house. Image © Su Chen, Chun Fang

Courtyard surrounded by living room and book house. Image © Su Chen, Chun Fang
  • Architects: SUP Atelier
  • Location: Shunyi District, Beijing, China
  • Architect In Charge: Yehao Song
  • Design Team: Xiaojuan Chen, Dan Xie, Jingfen Sun, Zhenghao Lin, Yingnan Chu, Dongchen Han, Haowei Yu, Liangang Tong
  • Area: 157.0 m2
  • Project Year: 2017
  • Photographs: Su Chen, Chun Fang
  • Collaborators: Qingguang Yu, Xiaoyan Sun, Rongxiang Shi, Gaolou Li, Yue Zhang
  • Lighting Design: X Studio, School of Architecture, Tsinghua University
  • Landscape Design: DDON
  • Building Intelligent Control System: Huaguangyuan, Phantom
  • Clients: CIFI Group

Birdview. Image Courtesy of SUP Atelier

Birdview. Image Courtesy of SUP Atelier

Text description provided by the architects. Located in Xuhui No.26 Block in Shunyi District of Beijing, the project was commissioned by Xuhui Group’s Beijing office to create a small-scale sharing space in a leisure park. Powered by the sharing economy in vogue, the space can be booked by residents through an intelligence system. Moreover, through collaboration with BREEAM system in UK and LEED system in the US, the project serves as a zero-energy consumption demonstrative project in cold areas of North China, aiming to reduce energy consumption, improve thermal comfort, and promote sustainability through theme activities of mitigating the increasingly severe environmental problems.


Public living room. Image © Su Chen, Chun Fang

Public living room. Image © Su Chen, Chun Fang

floor plan

floor plan

Fitness house facing the garden. Image © Su Chen, Chun Fang

Fitness house facing the garden. Image © Su Chen, Chun Fang

 The project borders a community playground on the south. Unlike the centralized layout often seen in sustainable projects, the main building consists of 3 similar units that are scattered among trees as small-scaled landscape buildings: a fitness center, a lounge and a book cafe (doubling as a showroom of popular science), which can be operated separately. The 3 units center on a sunken courtyard paved with permeable gravel. Users can enter this small building cluster via a wooden walkway through the rain garden. The overhead wooden walkway and the pipe trenches underneath connects the 3 units with a half-earthed energy & smart control center, forming a “3 driven by 1” mode.


module diagram

module diagram

sustainable design technical diagram 01-structural

sustainable design technical diagram 01-structural

Main structures of prefabricated timberwork and louvers of prefabricated carbonized wood correspond to the zero-carbon concept from perspectives of materials and construction. Architectural elements of the 3 units were classified into various groups of standardized modules with green technology. Through modification and combination, these modules can adapt to various spaces and facilitate comparative studies and promotion of sustainable technologies.


Public living area. Image © Su Chen, Chun Fang

Public living area. Image © Su Chen, Chun Fang

As an experimental platform for prefabricated buildings with zero energy consumption, the project has established an integrated mechanism of “design-construction-test-feedback” process. With the help of information technology, the analysis of sustainable indicators can bring forth implementation methods, which can fit in newly built and renovated buildings in cold areas, or serve as prototypes in both public and housing projects.


Fitness house interior. Image © Su Chen, Chun Fang

Fitness house interior. Image © Su Chen, Chun Fang

Fitness house interior. Image © Su Chen, Chun Fang

Fitness house interior. Image © Su Chen, Chun Fang

This project is located in a cold area, where heating and cooling energy consumption are both huge. High-performance envelopes with thermal indicators greatly outperforming the minimum code. Passive design strategies, such as projected roofs with air-ducting devices and composite façades with photovoltaic double glazing and prefabricated double-layered wooden envelope, which can boost natural ventilation.


Ventilation and lighting area with colorful glass. Image © Su Chen, Chun Fang

Ventilation and lighting area with colorful glass. Image © Su Chen, Chun Fang

The applications of renewable energy include film glass, photovoltaic power generation, and a hybrid heating system powered by both solar thermal power and air-source heat pump. Sustainable drainage strategies have been integrated into the landscape, too: Green roofs and a permeable courtyard can purify and retain rainwater.


Double layer structure. Image © Su Chen, Chun Fang

Double layer structure. Image © Su Chen, Chun Fang

Detail. Image © Su Chen, Chun Fang

Detail. Image © Su Chen, Chun Fang

The buildings are equipped with intelligence control systems. Through real-time monitoring of the environmental indicators (temperature, humidity, illumination, CO2, PM 2.5, infrared rays), the energy system can be controlled automatically to save energy and reduce emission. The public can view the real-time indicators, too.


Courtyard surrounded by fitness house and book house. Image © Su Chen, Chun Fang

Courtyard surrounded by fitness house and book house. Image © Su Chen, Chun Fang

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Architecture

“The light of Buddha” exhibition / studio O


Entrance installation. Image © Mathias Magg

Entrance installation. Image © Mathias Magg

Central pavilion. Image © Mathias Magg

Central pavilion. Image © Mathias Magg

“The Light of Buddha” is the first exhibition of a private collection ever allowed in the Palace Museum, commonly known as the Forbidden City. studio O was commissioned by Beijing-based Zhiguan Gallery (止观美术馆) to develop the exhibition design and retrofit installation system for the display of 112 antique Buddhist sculptures spanning from the 4th  century a.d. to 16th  a.d.  from the Himalayan regions (Pakistan, North India, Nepal, Tibet)

Occupying the entirety of the Palace of Abstinence, the exhibition is located in the northeastern quadrant of the Forbidden City. Within the Palace, the collection of Buddhist sculptures is displayed between two main pavilions:

 Zhai Gong (Hall of Abstinence, 斋宫) to south and Cheng Su Dian (Hall of Sincerity, 诚肃殿) to north. The exterior spaces are also included in the design and create a path for visitors to move clockwise through the space from the outer-courtyard inward.


Master plan

Master plan

The exhibition begins with a metaphorical dialogue between the visitor, the first installation and the backdrop of the Forbidden City – it is a journey that guides the viewer to the place from where the exhibited sculptures originate. Abstractly representing the eight most significant peaks of the Himalayan mountain range, audiences encounter eight 2.5 meter-tall white steel pillars upon entering the exhibition courtyard. By proportionally reducing the heights of these peaks to human scale, the peaks seem within reach. As nature often exists beyond our scale, subverting the great difference between man and nature allows us an opportunity to reflect on human existence.


North pavilion. Image © Mathias Magg

North pavilion. Image © Mathias Magg

Cross section_north pavilion

Cross section_north pavilion

North pavilion view of central sculpture. Image © Mathias Magg

North pavilion view of central sculpture. Image © Mathias Magg

The journey continues through the second courtyard and then into the Zhai Gong(斋宫) pavilion, where it meets the first part of the exhibition. Here, like in the Cheng Su Dian(诚肃殿) pavilion, the sculptures are set along the space’s interior perimeter and presented within customized system of vitrines. By creating a neutral and almost invisible background, the visitor can intimately experience the artworks through a series of small openings that reveal each figurine. The exhibition design can be experienced and viewed as a whole, yet simultaneously also presents the opportunity for unique, personalized journeys for each visitor and with each sculpture. It is as if the exhibition layout is designed to protect the sculptures – creating a sequence where fragments of history are viewed and appreciated through “frames.” Frames that are perceived as tridimensional paintings in which the antique sculptures transmit timeless narratives of history and culture.


Fitting system axonometric phase

Fitting system axonometric phase

Fitting system axonometric phase

Fitting system axonometric phase

Throughout the design process, studio O remained committed to creating a discreet environment suitable for exhibiting the utmost refined craftsmanship of the ancient Himalayan masters. In order to create an intimate environment that considers yet re-evaluates the existing interior conditions, lighting plays a decisive role. The existing lighting conditions due to the wide-glass window displays were not suitable for viewing the private collection. Therefore, studio O controls the amount of ambient light and focuses it on the precise openings within a series of vertical, black, self-standing panels. These panels also serve as a temporary design system that accommodates the original building structure without demolishing existing walls, and further allows freedom for defining the size and position of each display opening. They incorporate a flexible lighting system that is built into metal frame and designed specifically for each sculpture.


South pavilion. Image © Mathias Magg

South pavilion. Image © Mathias Magg

As each spatial experience depends on our arrival in it, passing from the first exhibition hall section into the second allows viewers to further reconsider their conceptions of space. The installation in the central pavilion thus serves as a link, and a point of restful contemplation between the two pavilions. Mirroring the pilgrimage Buddhist monks make to the Himalayan region, the fabric installation, comprised of 135 layers of textile, welcomes visitors into the calm, peaceful and timeless space of a lit tunnel as an allegory of an inner reflection. After visiting the last exhibition hall, the journey is concluded via the passage through the adjacent courtyard and then back to the entrance. A progressive movement through the ancient architecture before returning to the outer world.

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Architecture

Foster + Partners’ Tulip Towers Could Pose Risks to Air Traffic Control


Courtesy of DBOX for Foster + Partners

Courtesy of DBOX for Foster + Partners

Blossoming alongside the iconic Gherkin building, Foster + PartnersTulip Tower has been planning to join London’s skyline since they released their proposal earlier in November. However, construction of the1,000-foot tower has been halted until officials can determine its impact on aircraft radar systems at London City airport, six miles away. Featuring mobile gondolas in the form of three-meter wide glass spheres intended for visitor rides on an elliptical journey around the tower, the proposed viewing platform is potentially highly problematic.


Courtesy of DBOX for Foster + Partners

Courtesy of DBOX for Foster + Partners

Though London is not new to mobile structures, such as the London Eye that sits in the midst of the city, Foster + Partners proposal is over twice its size. The movement from the gondolas can confuse the air traffic control systems, according to the technical experts at London City airport, who stated, “The gondolas will be moving and therefore may have a slightly different effect than a static element of the building.”

In a global city like London, it would seem that a major addition to the skyline would face greater zoning standards or building regulations in the initial design stage itself, that would prohibit such a situation from occurring. Rather than being unprecedented, designing moving structures at such a height is deemed to be an obvious source of issue for any project whether or not there is an airport nearby.


Courtesy of DBOX for Foster + Partners

Courtesy of DBOX for Foster + Partners

Not only posing risks in the airspace, but the building’s design itself has also attracted opposition from residents and members on the planning committee. Anastasia Shteyn, during a City of London public consultation, commented: “I don’t understand why we need this phallic-shaped attraction, with little aesthetic merit. As a resident of Petticoat Tower, I object to this construction project. It will create noise and turn the neighborhood into a construction site for years to come, affecting property prices and residents’ daily comfort.”

The project, with its provocative design, is sure to instigate some objections and promises for an interesting turn of outcomes. 

News via The Guardian

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Architecture

CK House / Christiana Karagiorgi Architects


© Maria Efthumiou, CreativePhotoRoom

© Maria Efthumiou, CreativePhotoRoom
  • Collaborators: Alpha Ioannou Construction, Thermocool Mechanical Constructors, Pkz Electrical Constructors, L. Karkas Aluminium Constructors, S. Kousioulos Carpentry Constructors
  • Consultants: Nikolaou Engineering Civil & Structural Design, M. Mourouzides Consulting Engineers, Double N Consulting Engineers, N. Onisiforou Quantity Surveyors
  • Budjet: €800.000

© Maria Efthumiou, CreativePhotoRoom

© Maria Efthumiou, CreativePhotoRoom

Text description provided by the architects. The project’s site is located on a riverside plot with a big inclination and a dominant landscape surrounding. The main idea of the design was to bring the landscape views inside the house – thus creating different perspectives of nature through every living space.


© Maria Efthumiou, CreativePhotoRoom

© Maria Efthumiou, CreativePhotoRoom

Ground floor plan

Ground floor plan

© Maria Efthumiou, CreativePhotoRoom

© Maria Efthumiou, CreativePhotoRoom

The program was developed in 3 levels whereas different level exterior spaces were designed to serve everyday life during different weather conditions. Two main yards are created in the north and south in two separated levels (upper and lower).
The entrance is situated on the back of the volume. A long suspended pathway parallel to a featured rock wall suggests a cinematic movement along the site, for the visitor to intrude to the surrounding views.


© Maria Efthumiou, CreativePhotoRoom

© Maria Efthumiou, CreativePhotoRoom

The building looks like a fortress from the back site – a solid white volume with rectangular frames put randomly on its surface. Each frame works as a nature canvas for the interior spaces.  The feeling of the inhabitant is freedom, openness and security – requirements that had been set from the beginning.


© Maria Efthumiou, CreativePhotoRoom

© Maria Efthumiou, CreativePhotoRoom

The main house level is set to be lower in relation to the city level. Therefore the south yard with the swimming pool is protected from the public views. The house’s big scale is not obvious from the road, a fact that was one of the main ideas of the design.


© Maria Efthumiou, CreativePhotoRoom

© Maria Efthumiou, CreativePhotoRoom

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Architecture

Why Nature Should be a Co-Author in Architectural Projects


Tidal Pools of Leça da Palmeira / Alvaro Siza. Image: © Fernando Guerra | FG+SG

Tidal Pools of Leça da Palmeira / Alvaro Siza. Image: © Fernando Guerra | FG+SG

Dealing with the context of a project’s site is an essential part of architecture, be it by denying or incorporating preexisting elements and the environment’s conditions in the design. However, understanding what lies around as an active agent of the decisions and space organization goes beyond simply considering the good views, natural ventilation, solar orientation, etc; it is about seeing these conditions as co-authors.

These cases are most notable when practices think of the architecture’s surrounding environment as an active agent. 

Office Casagrande Laboratory, headed by Finish architect Marco Casagrande, proposes an architecture that acts as a mediator in the relationship between people and nature. In his descriptions, we frequently see the idea of nature as a co-author in the design process. This is given as the starting point for propositions that reconnect contemporary society and natural elements. These strategies often take advantage of these natural resources to create new places.


From an approach that highlights the nature-body relation, the collective chooses a few elements, such as water vapor, vegetation, wood, among others, to feed the relational sense that the project intends to establish among its residents, the building and the site. Ruin Academy / Marco Casagrande, © AdDa, Tsai Ming-Hui. Ruin Academy / Marco Casagrande. Image: © AdDa, Tsai Ming-Hui

From an approach that highlights the nature-body relation, the collective chooses a few elements, such as water vapor, vegetation, wood, among others, to feed the relational sense that the project intends to establish among its residents, the building and the site. Ruin Academy / Marco Casagrande, © AdDa, Tsai Ming-Hui. Ruin Academy / Marco Casagrande. Image: © AdDa, Tsai Ming-Hui

Altogether, this posture gives the practice’s production a close connection between the design and site analysis, particularly when it comes to reading the local potentialities and elements that can heighten new tensions in the nature-body relation, inside the specific scope of each proposal.


Section - "Ruin Academy" by Marco Casagrande

Section – "Ruin Academy" by Marco Casagrande

To explore the relations between the body and nature doesn’t necessarily mean to mime the Renaissance traditions that established natural harmony, geometry and proportion parameters as references. Often, it is about incorporating nature as a permanent active force in the design process, one that brings characteristics that can be richly explored, such as textures, colors, temperatures, and contrasts. This is evident in some projects that took advantage of their very specific locations to establish these relations, as is the case with the Leça Swimming Pools by Portuguese architect Álvaro Siza Vieira.


The built part of the project blends into the preexistent elements when it comes to color, texture and materialness. Tidal Pools of Leça da Palmeira / Alvaro Siza. Image: © Fernando Guerra | FG+SG

The built part of the project blends into the preexistent elements when it comes to color, texture and materialness. Tidal Pools of Leça da Palmeira / Alvaro Siza. Image: © Fernando Guerra | FG+SG

Considering the rock formations of the coast and the tidal dynamics, the construction sometimes relates to the evident human intervention, and other times to a broad reading of the landscape, as the chosen material blends into the environment.


Forest Temple / Marco Casagrande. Image: © Lina Pilibaviciute

Forest Temple / Marco Casagrande. Image: © Lina Pilibaviciute

The main issue in these cases is to adopt a very specific relationship in comparison to other initiatives that deal with nature, such as biomimetic architecture or sustainable projects. It is about placing architecture and its authors under a broader perspective of contact and teamwork with the interferences and opportunities given by the environment.


Spaces that consider the place’s dynamics in its design also deal with nature as an active agent. Muuratsalo Experimental House / Alvar Aalto. Image: © Nico Saieh

Spaces that consider the place’s dynamics in its design also deal with nature as an active agent. Muuratsalo Experimental House / Alvar Aalto. Image: © Nico Saieh

This comprehension of a place helps to create the notion that architecture cannot be seen strictly as an isolated element but as an interaction between everyday needs and its natural environment.

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Architecture

The Tides / Kurylowicz & Associates


Courtesy of Kuryłowicz & Associates

Courtesy of Kuryłowicz & Associates
  • Structural Engineers: NAZBUD
  • Building Services: SINAP

Courtesy of Kuryłowicz & Associates

Courtesy of Kuryłowicz & Associates

Text description provided by the architects. The Tides and the Warsaw Rowing Society (WRS) buildings form a new face for Warsaw’s developing riverfront. Located on the west bank near the Prince Józef Poniatowski bridge in Warsaw’s city center, the seven-story buildings make up an elegant composition set in between two flowing lines of movement; the Vistula river, and ul. Wioślarska (the Vistula highway). Both add narrative as well as a multiplicity of forces around separate programmatic elements belonging to two different client bodies.


Context Plan

Context Plan

The Tides building provides over 13,000 square meters of high-quality, flexible office space, 10 luxury apartments, a restaurant, and a bar while the WRS building contains boat storage, conference rooms, offices, a gym and washroom facilities which belong to Poland’s oldest sports association: The Warsaw Rowing Society established in 1878. Both buildings overlook the naturally lush and wild east bank of the Vistula River and the national stadium.


Courtesy of Kuryłowicz & Associates

Courtesy of Kuryłowicz & Associates

Courtesy of Kuryłowicz & Associates

Courtesy of Kuryłowicz & Associates

The buildings from the Vistula highway have a maritime quality which scatters a series of fleeting images in a location which was in need of an urban presence. The Tides building appears docked at the riverbank, its faceted timber mass, clad in wood veneer HPL panels, creates a dynamic buffer between the buzzing transport route and the serene qualities of the river on the other side. At certain moments the building becomes suspended, revealing glimpses of the gracious shoreline and Warsaw’s thriving river walk.


Courtesy of Kuryłowicz & Associates

Courtesy of Kuryłowicz & Associates

From over the river, viewing from the bridge or the east bank, the architecture becomes entirely abstract. The buildings disparate programs, which required varied façade transparencies, become unified by a pleated glass curtain as if the mass has been broken to free the spaces within, revealing to the riverfront a shimmering cascade. At night the buildings project watercolor impressions onto the surface of the Vistula river. 


Courtesy of Kuryłowicz & Associates

Courtesy of Kuryłowicz & Associates

The Warsaw Rowing Society building is a smaller, calmer and civically scaled mass and is clad in dark vertical timber panels. A lower four-story glazed annex, which visually connects the WRS building with The Tides, includes the rowing club’s training pool which allows the club to train at any time of the year and it is set so that the athletes face the river while rowing. This double height space is fully glazed lets natural light into space and invites the public to catch a glimpse of the action through the window. Within the glazed rowing pool volume and suspended over the water like a theatrical fly tower, is a stepped platform allowing coaches to get multiple views of the rower’s stance and technical positioning.


Section A

Section A

The Tides and the WRS buildings bring the city to the edge of the river. Located on Warsaw’s key cultural and historic cycle and pedestrian route, close to metro, bus, and tramway stop; opens up the capacities of the location as a new life and work neighborhood from which episodes of urban life unfold along the Vistula boulevard creating a lively and congenial social environment on Warsaw’s riverbank.


Courtesy of Kuryłowicz & Associates

Courtesy of Kuryłowicz & Associates

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Architecture

Spotlight: Oscar Niemeyer


Cathedral of Brasília. Image © Gonzalo Viramonte

Cathedral of Brasília. Image © Gonzalo Viramonte

Oscar Ribeiro de Almeida Niemeyer Soares Filho, or simply Oscar Niemeyer, (December 15, 1907 – December 5, 2012) was one of the greatest architects in Brazil‘s history, and one of the greats of the global modernist movement. After his death in 2012, Niemeyer left the world more than five hundred works scattered throughout the Americas, Africa, and Europe.


Courtesy of ON

Courtesy of ON

Niemeyer attended the National School of Fine Arts in Rio de Janeiro in 1929, graduating in 1934. He began working with the influential Brazilian architect and urban planner Lúcio Costa in 1932, a professional partnership that would last decades and result in some of the most important works in the history of modern architecture.


Ministry of Education and Health Building, Rio de Janeiro. Image © Marina de Holanda

Ministry of Education and Health Building, Rio de Janeiro. Image © Marina de Holanda

In 1936, Niemeyer joined a team of Le Corbusier, Lúcio Costa, Affonso Eduardo Reidy, Carlos Leon, Jorge Moreira and Ernani Vasconcellos to design the headquarters of the Ministry of Education and Health, located in the center of Rio de Janeiro. Aged just 29 years, Niemeyer was assigned as a draftsman for Le Corbusier, however after Le Corbusier left Brazil the young prodigy made changes to the design that greatly impressed Lúcio Costa—so much so that by 1939 he appointed Niemeyer as the project’s lead architect. The building, a horizontal bar that intersects a vertical blade, was completed in 1945 and became the cornerstone of modern Brazilian architecture, attracting international attention.


National Congress of Brazil. Image © Andrew Prokos

National Congress of Brazil. Image © Andrew Prokos

In 1956, then-president Juscelino Kubitshek invited Niemeyer to participate in the largest urban and architectural work of the country’s history: the construction of the new capital in the middle of the savannah, Brasília.


Church of Saint Francis of Assisi, Pampulha. Image © <a href='https://www.flickr.com/photos/56218409@N03/5198791347/'>Flickr user Matthias Ripp</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a>

Church of Saint Francis of Assisi, Pampulha. Image © <a href='https://ift.tt/2j2OW58 user Matthias Ripp</a> licensed under <a href='https://ift.tt/2a7gdBj BY 2.0</a>

Lúcio Costa, the masterplanner of the new capital, said in an interview with Ana Rosa de Oliveira in 1992: “when Juscelino became president, he had an architect in his pocket, Oscar Niemeyer. He was a pre-selected architect. This means that the competition was only for the city’s urban planning, the masterplan.” The collaboration of Costa and Niemeyer gave the world something entirely new: the first major city designed entirely on the basis of modernist principles of functionality and aesthetics.


Niterói Contemporary Art Museum. Image © Gili Merin

Niterói Contemporary Art Museum. Image © Gili Merin

Oscar Niemeyer was never a scholar, never interested in theories, jargon, or clichés. His freeform, flowing lines were always accurate. Though he had strongly held political views, unlike some other Modernists they were not especially apparent in his work. His goal was simple and innocent: give beauty to the world. And he did.


Cathedral of Brasília. Image © Gonzalo Viramonte

Cathedral of Brasília. Image © Gonzalo Viramonte

See the thumbnails below for all of Oscar Niemeyer’s works featured here on ArchDaily, and the links below those for our articles on the great architect.

AD Interviews: Oscar Niemeyer//cdn.embedly.com/widgets/platform.js

Infographic: Oscar Niemeyer’s timeline

Oscar Niemeyer, Brazil’s Modernist Icon, Dies

Tribute to Oscar Niemeyer by Norman Foster

Oscar Niemeyer, My Dear Old Friend

Quotes from Oscar Niemeyer (1907-2012)

A Year Without Oscar

Norman Foster on Meeting Niemeyer

Gallery: Oscar Niemeyer’s Cathedral of Brasília Photographed by Gonzalo Viramonte

Oscar Niemeyer Through the Lens of Haruo Mikami

Video: Niemeyer Center / Oscar Niemeyer

Oscar Niemeyer’s “Favorite Project in Europe” Captured in Spectacular Photo Set by Karina Castro

See Oscar Niemeyer’s Unfinished Architecture for Lebanon’s International Fair Grounds

Explore Oscar Niemeyer’s Unbuilt House in Israel with This 3D Model

Louis Vuitton’s Cruise ’17 Collection Unveiled at Niemeyer’s Niterói Contemporary Art Museum

One of Oscar Niemeyer’s Final Designs Will Be Completed Posthumously in Germany

Petterson Dantas’ Illustrations Are a Colorful Ode to Oscar Niemeyer

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