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What You Must Know For Your Article Marketing  To Ensure Success

Most of us have some hobby or narrow interest shared by only a small segment of the population. Whether it is Chinese kite flying or crewel embroidery, this hobby offers you a good entry point into marketing an article. There is a publication catering to almost every hobby. Find the right one and you will also find a truly interested audience for your work.

 

You should use effective color schemes while advertising on the internet, because color may be all you have to catch their attention. If your colors flow well and mesh together to create a pleasing sight, people will be more inclined to check out your product. If your colors don’t mix and they clash, then people will avoid your advertisement.

 

If you are not a very good writer then it would be best not to try to write your stories yourself. You should hire someone to do them for you so that you get all of the information you want put across and you do not make yourself or your company look bad.

 

Give your readers a way to share your content. If a person enjoys your content and wants to share it, you should definitely allow this. The more individual content shares you have, the more your site appears to the search engines. Sharing can also increase readership, by allowing people who might not search for you, to see your content anyway.

 

Make sure your articles are high quality. If you have a lot of typos, spelling errors, or grammatical mistakes, you make yourself look like an amateur. People won’t take you seriously and they’ll avoid all of your articles. The same is true, if you have incorrect facts or lie to your readers.

 

Knowing that the level of shared interest is the key, you are now ready to share your expertise with others. You have identified two or three publications that most closely match your hobby. You have immersed yourself in these publications. Now you are ready to write a successful article.

 

You can also visit our other websites and post your article.

Emac S Boston, Smart Comms, Our Business On The Beach, Racing-Rewards, Smile A Day, Start Avon, Emerging Entrepreneur, The Kingdom Painting, Success In Kind, Hope Mongers, Get Ready For Cash, DPMN Design, Memories To Memoirs, Umd Energy, Sai Equipment, Annapolis Home Improvement Company, Ehavana Shira, Key To The Keyboard, Mc Millens Frame Shop, North Werks, Oyo Glasses, Prevention Werks, The Loungers, Astronomy Ara, Gary Coe Home Sales, Faux Mage, Fishbone Kitchens D, Comfort Cor Mechanical, Thriving Vancouver, Cil-Hawaii, Jib Portal, Ny Messengers, Bruno MM Carvalho, Expatlens, Lake Land Towing, Plum Creek Home, Shms Online, Staged Homes VA, West Bury Golf, Marietta Land Scape Service

Meandering Mazes: 7 Labyrinthine Walkways To Explore

Architects: Want to have your project featured? Showcase your work through Architizer and sign up for our inspirational newsletter. 

Mazes have held significance in several cultures across history. Defined as a one-way path from one point to another, often in a space filled with numerous alternate paths that lead to dead ends, mazes can be traced back to Egypt in the 5th century B.C. Throughout different regions and their mythologies, they have been looked at as paths for reflection, adventure and/or fortification.

In current times, mazes are often used as public attractions or landscape elements. They have also been used in movies like Inception, The Shining and Labyrinth to create suspense and tension. There is something about a maze that inspires curiosity and a sense of adventure that can captivate visitors over and over again as one discovers new routes with every journey. The following collection explores how designers are adapting the traditional idea of a maze into different kinds of art installations and public interventions. In turn, these designs are changing how people interact with their environment and experience different spaces.


Images by Pezo von Ellrichshausen

Vara Pavilion XV Venice Architecture Biennale 2016 by Pezo von Ellrichshausen, Venice, Italy

Unlike a traditional pavilion, the Chilean firm behind its design describes the Vara Pavilion as a series of exteriors within other exteriors. The intersection of spaces is achieved by interlocking ten cylindrical forms and placing openings at various spots in this network. As the user walks through the space, they are confronted by a series of narrow and large spaces that converge or open up based on the route they take. The radii of these curved forms are based on a vara, an obsolete unit of measurement that the pavilion is also named after.


Luminaria by Architects of Air

Luminaria is a traveling exhibit that has existed for the past two decades and has been showcased in 37 countries across the world. These inflatable structures draw inspiration from Islamic architecture, Archimedean solids and Gothic cathedrals, coming together as a series of plastic volumes in rainbow hues. The modular nature of this exhibit allows the studio to create a unique experience every single time; in each iteration, the 20 pods are zipped together on site in a different arrangement. In addition to adventurous walking paths, Luminaria also comprises about 30 pockets for people to sit back and relax.


Root Bench by Yong Ju Lee Architecture, Seoul, South Korea

Much like the roots of a plant, this structure spreads out in a park in Seoul in a circular form with a diameter of about 98 feet. The organic form originates from a central point and continues branching out and multiplying. The arms dip and rise from the ground to create seating with different heights and configurations. The structure is made of wooden panels that are supported by a metal frame with a concrete base. Form and color combine to create an almost natural element that appears to emerge from the landscape.


The Maze of Bamboo Screens by Yunchao Xu/Atelier Apeiron, Jiangsu, China

The temporary installation was an attempt to reuse the bamboo, wood, steel and stones wasted during the construction of the China Garden Art EXPO 2021. A maze-like walkway is created using curved segments positioned in different orientations. The central circular form fans out to create an open space where visitors may sit and enjoy. The slim gaps in the walls of the maze allow users to visually connect with others who are also walking in different parts of the maze while also maintaining a sense of seclusion. The addition of bamboo plants within adds to the sense of serenity offered by the neutral cocoons.


Images by Miguel de Guzmán

Yǔzhòu by Brut Deluxe, Hainan, China

Part of the Luneng Sanya Bay Light and Art Festival, the immersive light-based installation looks like a futuristic maze. It is composed using dichroic film-coated acrylic glass in triangular forms to create a spectrum of colors as one walks through the labyrinth. These walls also feature circular grooves with color-shifting LEDs. Unlike the inner transparent walls, the peripheral surfaces are covered in a mirror film to turn it into an infinite room.


Elephant Museum by Bangkok Project Studio, Surin, Thailand

The Elephant Museum is a part of the local government’s Elephant World project to create a sustainable environment for the Kui community and their elephants. The structure is laid out in a grid-like manner where the walls curve upwards in height towards the center. Several paths lead to four exhibition areas and several courtyards of different sizes. Some of these courtyards even contain small pools or floors filled with reddish earth. The clay bricks used to construct the structure are also handmade using local techniques, creating more jobs for the community.


LABIBU by Labscape Architecture

LABIBU is a conceptual landscape design that acts as a visual maze. Trying to mimic the vibrations in the environment, the bamboo and grass arrangement creates an artificial topography. The red form is created using paranematic design methods. The bamboo pieces are lower in height at the beginning of the maze and keep increasing as one navigates it further, creating a dark cocoon.

Architects: Want to have your project featured? Showcase your work through Architizer and sign up for our inspirational newsletter. 

The post Meandering Mazes: 7 Labyrinthine Walkways To Explore appeared first on Journal.

Did you miss our previous article…
https://thrivingvancouver.com/?p=1110

Jones Beach Energy and Nature Center // nARCHITECTS


Project Status: BuiltYear: 2020Size: 10,000 sqft – 25,000 sqftBudget: 10M – 50M

Text description provided by the architects.

The Jones Beach Energy and Nature Center will inspire a new generation of environmental stewards, sharing a deeper understanding of how nature and energy are connected, their complicated history, and their mutually beneficial potential. As a net-zero building that meets the Climate Leadership and Community Protection Act’s objectives almost thirty years before its targets, the building itself, as well as its real-time energy performance, will be prominently displayed as part of the permanent exhibition.

© nARCHITECTS

© nARCHITECTS

The building’s linear footprint emerges from the reuse of foundations belonging to a Robert Moses-era bathhouse, extended on two sides with additional piles. At 320 feet in length, the new one-story building has been designed as a “chalet for all”, continuing the public legacy of the site.

Organized around a series of interior volumes housing offices, support spaces, and classrooms, a continuous sequence of exhibition spaces flows outwards to a shaded exterior perimeter deck, and onwards to the site at large.

© nARCHITECTS

© nARCHITECTS

The building’s distinctive wave-like form, signaling the sloping ceilings of the gallery spaces within, conveys waves in both energy and nature.

9.5 acres of Moses-era concrete surface parking have been demolished, to be reused as a subbase under the building, new roads, and a new immersive landscape. Envisioned as a dune restoration project using native species, the landscape will also perform as an armature for an outdoor interpretive exhibition..

© nARCHITECTS

© nARCHITECTS

Jones Beach Energy and Nature Center Gallery

The post Jones Beach Energy and Nature Center // nARCHITECTS appeared first on Journal.

Did you miss our previous article…
https://thrivingvancouver.com/?p=1093

Bernardes Arquitetura Continues Evolving Brazil’s Rich Modern Architectural Tradition

Get your work published internationally this year through the 10th Annual A+Awards! The Final Entry Deadline is January 28, 2022. Click here to start your entry today.

Brazilian firm Bernardes Arquitetura is a practice with roots firmly planted in generational architectural heritage, knowledge, and success. It would not be all that unsurprising to discover that the company’s founder, Thiago Bernardes, had cement, steel and timber running through his veins. Thiago is the grandson of the late Sergio Bernardes, avant-garde master of Brazilian Modern Architecture, famed for his innovation and captivating — if not slightly controversial — personal life. Thiago is also a close relative of the somewhat less polemic and equally as successful Claudio Bernardes, his father. A man remembered for his illustrious groundbreaking residential architecture, which defined Brazil during the ’80s and ’90s

The rich history of Brazilian architecture has evolved thanks to the drive, innovation and talent of three generations of Bernardes. However, it is with Thiago and his firm, Bernardes Arquitetura, established in 2012, that the twenty-first-century iteration is manifesting. With three studios under their command — Rio de Janeiro, São Paulo and Lisbon — Bernardes Arquitetura is a prolific practice with over a thousand projects in their portfolio. Their diverse team benefits from a number of collaborative partners, including Nuno Costa Nunes, Márcia Santoro, Camila Tariki, Dante Furlan, Francisco Abreu, Rafael de Oliveira and Thiago Moretti, who each brings with them an armor of disciplines and who have, alongside Thiago, labored intensely to successfully establish Bernardes Arquitetura as one of the most well recognized and most sought after South American architectural practices in the world.


Delta House by Bernardes Arquitetura, Guarujá, Brazil Images by Leonardo FinottiJury Winner, 2015 A+Awards, Private House (XL > 5000 sq ft) 

There are a rich variety of projects featured in the Bernardes Arquitetura back catalog. The firm has developed residential and commercial projects that have included hotels, restaurants, cultural institutions and educational establishments. Meanwhile, their impressive scope begins with urban landscapes, encompassing condominiums, neighborhoods and masterplans, while they have also touched some of the most remote areas of South America.

As a company with such an expansive portfolio, it comes as no surprise that the Brazilian firm has come out on top no less than six times in Architizer’s A+Awards since its first entry in 2014. As a studio with an epic history and a promising future trajectory, we wanted to speak with the team at Bernardes Arquitetura. As Architizer celebrates its 10th Annual A+Awards season, we discuss how the Brazilian firm got to where they are today and how, as a newly established practice, taking part in the A+Awards helped fuel the fire for their meteoric success.


MAR – Museu de Arte do Rio by Bernardes Arquitetura, Rio de Janeiro, Brazil Photographs by Leonardo Finotti Popular Choice, 2014 A+Awards, Museums

“Our first participation in the A+ Awards took place in 2014, two years after the founding of our office and one year after the conclusion of the project submitted to the award, the Museu de Arte do Rio (MAR) – Rio Art Museum, in Rio de Janeiro, in the category ‘Cultural: Museums.’ In this project, in particular, for the first time, we had the opportunity to materialize a work for public use on a large scale, which represented a challenge and responsibility for us.

Therefore, for Bernardes Arquitetura, having the project published in Architizer — a digital communication media that we admire for its fundamental role in the democratization of specialized content in architecture to the world public — and consequently submitted for the award, seemed like a great opportunity to us. To our special surprise, the project was a winner.”

The Museu de Arte do Rio (MAR) was proposed as a catalyst for change for the surrounding neighborhood. An initiative led by the City Hall of Rio de Janerio, the museum design was based on adapting three existing buildings the Palacete Dom João (1910), the Civil Police Hospital (1940) and the old Rio Bus Station. The buildings needed to be unified, and the team at Bernardes Arquitetura created a suspended walkway and a lighter feature roof that protects a suspended square. It is a project that blends both school and museum with a solid and successful academic program, and a place that strives to educate and empower its community — a theme that often makes an appearance in the work of the practice.


Joá Chapel by Bernardes Arquitetura, Joá, Rio de Janeiro, Brazil Photographs by Tuca Reinés Jury Winner, 2015 A+Awards, Religious Buildings & Memorials

The team spoke of the challenges they encountered to get to that first win. “In our first A+ Awards winning project, the Rio Art Museum (MAR), we had the challenge to unite three existing historic buildings with distinct architectural characteristics in order to adapt and house a cultural complex with two uses: museum and school, respectively, in addition to leisure spaces. For each construction, we analyze different levels of preservation.

The key point in the project resolution was to establish a flow system so that the Museum and the School worked in an integrated way. Thus, in order to intervene minimally, while connecting the two buildings, as a mark of the project, we propose an abstract and aerial form. A light, fluid structure, simulating the undulation of the water surface from the sea to the horizon, at the same time modern in terms of structural calculation. This element can then be seen from different parts of the city.”

The team took the coveted Jury Winner prize for Religious Buildings & Memorials one year later. (That same year, they also won Jury Prize in the Private House (XL > 5000 sq ft) category, pictured at the beginning of this article.) The prize was awarded to a stunning piece of work that sits nestled into the rainforest canopy of a private family garden in Joá, Rio de Janeiro. The small chapel is a sacred space for family ceremonies; the paired back steel and timber structure harnesses simplicity to encourage a symbolic and poetic aura. As with their first accolade, the team used their win as a catalyst to garner further appointments that would allow them to push boundaries and challenge ideals with their creativity and innovation.


Península House by Bernardes Arquitetura, Guarujá, SP, BrazilPopular Choice, 2018 A+Awards, Private House (XL > 5000 sq ft)

The Joá Chapel and The Rio Art Museum and just two of many exquisite projects from Bernardes Arquitetura their impressive growth over the past decade appears set to continue for many years to come. Indeed, the firm has taken home a number of A+Awards since and, when it comes to their output, shows no signs of slowing down. When speaking on what the future holds, the team was under no illusion that what they do plays a significant and influential part in the architectural development of Brazil, South America and the world.

“Receiving the A+Awards was a great honor for us, above all, because such recognition reaffirms our commitment to proposing and materializing projects that seek to unite efficient solutions with aesthetic notions, respecting the context and territory in which they are implemented.

Looking to the future, we aim to continue developing unique, special projects that value function, efficiency, quality and beauty, and that we increasingly have the opportunity to make our projects wherever our customers are, not limited by formal boundaries.”

Get your work published internationally this year through the 10th Annual A+Awards! The Final Entry Deadline is January 28, 2022. Click here to start your entry today.

The post Bernardes Arquitetura Continues Evolving Brazil’s Rich Modern Architectural Tradition appeared first on Journal.

DRIFTWOOD HUT PROJECT // Ryuichi Ashizawa +Hirokazu Toki + The University of Shiga Prefecture Ashizawa laboratory


Project Status: BuiltYear: 2019Size: 0 sqft – 1000 sqftBudget: 100K – 500K

Text description provided by the architects.

In recent years, due to the effects of climate change such as heavy rains and sediment disasters, a large amount of driftwood has drifted onto beaches, rivers and lakes. The town of Okishima, a fisherman’s town and the inhabited island of only one Freshwater Lake in Lake Biwa, has a similar problem, and the local government pays for the collection and disposal of driftwood.

© Ryuichi Ashizawa +Hirokazu Toki + The University of Shiga Prefecture Ashizawa laboratory

In the remote island of Okishima, materials are transported by boat during construction, which requires more time and money than on the mainland. In addition, the waste generated on the island is basically not disposed of on the island, but must be transported off the island, which is equally time consuming and expensive.

© Ryuichi Ashizawa +Hirokazu Toki + The University of Shiga Prefecture Ashizawa laboratory

So, using driftwood drifted off the island and unneeded items such as fishing gear from the islanders, he built a resting place on the island. Each time he collected driftwood that had drifted off the shore of the lake, he proceeded with the construction, and with the cooperation of the islanders, he built the building through a student-led workshop.

All of the driftwood is different in shape, with a mixture of hardwoods and softwoods and varying properties.

© Ryuichi Ashizawa +Hirokazu Toki + The University of Shiga Prefecture Ashizawa laboratory

The shape, species, and structural strength of the collected driftwood were examined, and the method of constructing the building was explored by placing the varying driftwood materials in the right places. The model, 3D modeling, structural analysis, etc. were examined at the same time to see what kind of shape would be best.

© Ryuichi Ashizawa +Hirokazu Toki + The University of Shiga Prefecture Ashizawa laboratory

As a result, we left the circular nature in the center and led the dome space by the reciprocal structure that spreads radially from there. No hardware is used at all to join the driftwood together, but rather the fishermen’s technique is applied and it is tied together with a hemp rope in a box.

© Ryuichi Ashizawa +Hirokazu Toki + The University of Shiga Prefecture Ashizawa laboratory

Fishing nets and shade nets were used for the roofing, and hemp rope was used for the flooring. In the future, they will continue to consider thatching some of the roofs with bamboo and reeds that grow on the island. It is a sustainable architecture that can be easily replaced if a part of the architecture decays.

Using materials from the island that people don’t need, he created a new place for people to belong.

© Ryuichi Ashizawa +Hirokazu Toki + The University of Shiga Prefecture Ashizawa laboratory

This project questions the nature of architecture, which aims to encourage the small circulation of resources on the island through human intervention..

© Ryuichi Ashizawa +Hirokazu Toki + The University of Shiga Prefecture Ashizawa laboratory

DRIFTWOOD HUT PROJECT Gallery

The post DRIFTWOOD HUT PROJECT // Ryuichi Ashizawa +Hirokazu Toki + The University of Shiga Prefecture Ashizawa laboratory appeared first on Journal.

Did you miss our previous article…
https://thrivingvancouver.com/?p=1052

Ribbon Dance Park : Landscape Placemaking for Public // TROP terrains + open space


Project Status: BuiltYear: 2019Size: 100,000 sqft – 300,000 sqftBudget: Unknown

Text description provided by the architects.

Architects and developers are used to categorising their projects into one type; the type that only serves the clients’ goals and their programs, either being “public” or “private”. The client and the design team of the Grand Milestone Art Centre , however, defied this redundant habit and reimagined a private development beyond its boundary.

© TROP terrains + open space

© TROP terrains + open space

The result would successfully promote pedestrian accessibility for both the visitors and local communities. The project boasts a sophisticated landscape that showers every visitor with wonders throughout their journey into each space. Designed with utmost intricacy, every garden and courtyard displays themselves as a well-composed painting while acting as a living backdrop for any artwork exhibited.

© TROP terrains + open space

© TROP terrains + open space

However, these beautiful spaces would not be fully appreciated if people could not easily reach the site. Looking at the adjacent green corridor, the landscape team saw a great opportunity in creating the public “Ribbon Dance Park”, where a meandering ribbon-like boardwalk reconnects the existing but desolate footbridge with this new development and the city’s pavement network, enlivening the district once again..

© TROP terrains + open space

© TROP terrains + open space

Ribbon Dance Park : Landscape Placemaking for Public Gallery

The post Ribbon Dance Park : Landscape Placemaking for Public // TROP terrains + open space appeared first on Journal.

Building Connection: Cumulus Studio On Crafting Award-Winning Architecture Across Australia

Get your work published internationally this year through the 10th Annual A+Awards! The Final Entry Deadline is January 28, 2022. Click here to start your entry today.

Having recently celebrated their tenth anniversary, Cumulus Studio is a young practice. Established in 2011, this Tasmania-born business has only grows stronger by the year. What started as four individuals with one residential project and big dreams is now a diverse and distinct collaborative workforce distributed across Australia in four studios — Hobart, Launceston, Melbourne, and Adelaide.

Cumulus Studio works in a range of disciplines, although they have distinguished themselves in tourism, social housing and design-led projects in particular. As a practice, they are well known for the collaborative approach that they take to each of their projects, working in teams of mixed specializations and actively encouraging input from external specialists. Thorough workshopping of ideas and initial discussions is the backbone for a program of work that launches with masses of information that can be explored and developed to create concepts that are synergistic to their projects’ culture, heritage, and location. Their specialist process plays a huge part in their distinctiveness and ongoing success.

As Cumulus Studio has regularly been featured in Architizer content and one of the most successful firms in the A+Awards, we spoke with one of the studios four directors, Peter Walker, to discuss the progression of the practice and how winning multiple prestigious awards have helped in the studio’s development and in finding their identity.


Devil’s Corner by Cumulus Studio, Apslawn, Australia; photographs by Tanja Milbourne

Speaking on their first A+Award win, Peter said, “We first entered the A+Awards program with our Devil’s Corner Cellar Door project which we had recently completed and were really proud of. At the time we were a relatively new practice and, being from a small island state at the bottom of the world, we saw the A+Awards as a way of showcasing our projects to a larger audience.”

Devil’s Corner and its cellar door are a unique tourist experience on the East Coast of Tasmania. Sitting on the boundary of one of Tasmania’s most extensive vineyards, the dynamic modular building is a destination spot for many travellers. Timber-clad shipping containers are positioned and fitted out for a host of functions, from wine tasting, food markets and even weddings. As noted by Peter, the unique project is featured regularly in publications for its well-considered design, function and individuality in a market that can sometimes lack expression. The project deservedly won our Jury Award for a Commercial, Mixed Use space in 2017.

Most recently, the team won the Jury Winner A+Award for Cultural and Expo Centres for their project, The Cradle Mountain Visitor Centre. A stunning piece of geometric work that aimed to honor the significance and sensitivity of the world-renowned Cradle Mountain national park. The project is challenged by its unique and special location. Deep understanding and careful strategy were essential ingredients in their approach, which sought to ensure that the visitor location would be sympathetic to its backdrop while still functioning as a thriving tourist attraction and the attendant heavy footfall.


Cradle Mountain Visitor Centre by Cumulus Studio, Tasmania, Australia, 2021 A+Awards Jury Winner in the Transportation Infrastructure and Cultural & Expo Centers categories; photographs by Anjie Blair 

The building was designed to feel grounded as if carved from a solid rock by a glacier. The form of the umbrella rain-screen was used to reference the folding angular geology of the mountainous site, while the warm, cave-like timber interior has an Alpine-Esque attraction that is familiar in the glacial landscape. The choice of timber for the interior is about the poetics and qualities of the place. It allows visitors to feel connected to the beautiful all around them, evoking an emotive response while moving through the spaces.

When asked about his favorite detail from their latest win, Peter was keen to discuss the roots of the project as well as recognize the collaboration involved in bringing a project like this to life.

“We have now won three A+Awards. Our most recent project, The Cradle Mountain Visitor Centre, evolved over six years, from an initial feasibility study through Master Planning and the completion of the first stage – the Visitor Services Centre. We worked with artist Alex Miles to create a hanging installation in the main space that interprets the Nothofagus Gunii — Australia’s only cold climate winter deciduous tree and a remnant of the island’s connection to Gondwana. The installation casts shadows and reflects a subtle dappled light, creating texture and depth in the space.”


Goulburn Street Housing by Cumulus Studio, Hobart, Australia; photographs by Adam Gibson

Cumulus Studio has a portfolio of unique and distinct projects which will, without doubt, ensure that they continue to grow, develop and surprise for many years to come. However, I believe it is their confidence in what they do and their trust in their well-established process that continue elevating them above their peers, allowing them to bring us exciting and engaging projects like the past winners they have showcased.

Like me, Peter trusts that the future for Cumulus Studio is one that will be bright and momentous. “A large percentage of the work that Cumulus undertakes is within the tourism industry where architecture has the potential to create a meaningful connection or dialogue with the place, landscape, culture, and/or people. We seek to design unique architecture that emerges from and interprets a deep understanding of place and the way that people experience it.”

He add that, “there are some really exciting projects in the studio at the moment and it is exciting that they are spread across a wide range of budgets, locations and typologies.” It is safe to say that we cannot wait to see the inspiring new places that Cumulus Studio has in the works.

Get your work published internationally this year through the 10th Annual A+Awards! The Final Entry Deadline is January 28, 2022. Click here to start your entry today.

The post Building Connection: Cumulus Studio On Crafting Award-Winning Architecture Across Australia appeared first on Journal.

Designs of the Decade: The World’s Best Retail Spaces From 2012 to Today

Celebrate a decade of inspirational design with us! The 10th Annual A+Awards is officially underway, and the Finaly Entry Deadline is January 28, 2021. Click here to start your entry today.

Over the past ten years, the A+Awards has been collecting impressive retail designs for commercial spaces around the world. Designing good retail not only entails creating a unique, memorable store that stands out from the rest, but also creating a space that contributes to impactful branding for your client. Award-winning commercial spaces create appealing experiences for visiting customers; they showcase products while acting as spatial representations of the brands’ identity. From façade to interior, the selection of forms and colors and the logic behind the display and circulation all play important roles in shaping the relationship between customer and brand.

This collection brings together a retrospective of the top retail spaces from last decade. Be inspired by these clever — oftentimes innovative — design solutions tailored for their clients and sites.

2012-13: Sugamo Shinkin Bank / Shimura Branch

emmanuelle moureaux architecture + design | Azusawa, Itabashi-ku, Japan

Popular Choice, 2012-13 A+Awards, Retail

Sugamo Shinkin Bank_interior
In response to the third commission from Sugamo Shinkin Bank, the design team continued with their iconic rainbow color swatch to create a building that best echoes the bank’s motto: “We take pleasure in serving happy customers.” The façade features twelve layers of color that stretch out from the white walls following an energetic rhythm. At night, the layers are illuminated from inside, and the building appears like a vibrant neon beacon whose colors vary from season to season.

Upon entering the building, three elliptical light-wells invite skylight into the rooms. The whimsical, technicolor palette extend from the façade onto the internal walls and ceiling, taking the form of dandelion puffs and rainbow chairs.

2014: Sokol Blosser Winery Tasting Room

Allied Works Architecture | Dayton, OR, United States

Jury Winner, 2014 A+Awards, Commercial – Retail

Sokol Blosser Winery Tasting Room_exterior

Sokol Blosser Winery Tasting Room_interior
This timber structure houses the tasting room of Sokol Blosser Winery on the Dundee Hills; it also functions as an event space with views of the family’s vineyards and the whole estate. The timber’s warmth and intimate scale contribute to a welcoming, home-like atmosphere. The building is centered around the main tasting room, with a bar, hearth, library, kitchen and other functions. Meanwhile, the seating areas are strategically arranged to ensure nice views of the landscape, both indoor and outdoor.

2015: Wild Turkey Bourbon Visitor Center

de Leon & Primmer Architecture Workshop | Lawrenceburg, KY, United States

Jury Winner and Popular Choice, 2015 A+Awards, Commercial – Retail

Wild Turkey Bourbon Visitor Center_exterior

Wild Turkey Bourbon Visitor Center_interior
The dark silhouette of the latest addition to the Wild Turkey Bourbon Distillery complex stands out on the unsheltered landscape of Kentucky River. The Visitor Center houses exhibitions, a gift shop, event venues, a tasting room and offices, with a generous view of the river. Expertly combining simplicity and complexity, the building takes on the simple shape of the local tobacco barns while employing a rich façade consisting of clear glazing, opaque panels and light-filtering lattice. By thematizing the juxtaposition between the traditional and the new, the design gies expression to the distillery’s rebranding program which favors both devoted old friends and new fans of bourbon.

2016: UNILUX

SOMA | Beirut, Lebanon

Popular Choice, 2016 A+Awards, Commercial – Retail

Unilux_exterior


The Unilux showroom is located on a long and thin site of 65 x 13 feet (20 x 4 meters). The ground floor is designed as an interactive lighting showroom to exhibit the effect of Unilux’s lighting products. Furnished with geometric patterns of stacked white cubes, the showroom captures the light with its dynamic 3D form. Visitors can walk through the space and experience the lighting from different perspectives.

The space thus presents lights of different characteristics to the visitors while itself is also a showpiece that is visible from the street, inviting people in. Below ground is a catalog room that showcases a collection of products in a rather static way. The windows occupied by lights are colored white to present the lights in the best quality possible, while the floor and walls are made of a reflective black, which makes the space appear visually taller.

2017: Östermalm’s Temporary Market Hall

Tengbom | Stockholm, Sweden

Jury Winner, 2017 A+Awards, Commercial – Retail

Östermalm's Temporary Market Hall_exterior

Östermalm's Temporary Market Hall_interior
This temporary structure was built as a temporary home for stalls from the adjacent old market while it was being refurbished. Due to its temporary nature, the architects opted for lightweight, cost-efficient and reusable materials such as timber and polycarbonate. A modular mounting system allowed the building to be quickly set up, dismantled and transported to and from the busy Östermalm’s square, where it was located for a spell. To minimize the disturbance to the original pedestrian traffic on the popular public space, all four facades have an entrance for people to pass through the market area during its open hours while introducing new customers to the market.

2018: Cheese Tart Shop “BAKE”

07BEACH | Ho Chi Minh City, Vietnam

Jury Winner and Popular Choice, 2018 A+Awards, Commercial – Retail

bake_exterior

bake_interior
This project is carefully designed to display cheese tarts. The shopfront features a floor-to-ceiling window that curves inwards towards the inside of the shop, providing a sheltered queueing area while maintaining the exhibition function of the window. The glazing separates the circulation of staff and customers, while keeping the two visually connected. Customers can closely observe the tarts being packed as they queue; the design makes the store’s activities a source of entertainment in and of itself. The wall behind the staff is finished with light color of mortar, which guides customers’ sight towards the tarts. To better present the tarts to passersby on the street level, the ceiling above the stairs are also clad with mirrors that reflect the tarts in the window.

2019: THE DRAPE

GARDE Co., Ltd. | Osaka, Japan

Jury Winner, 2019 A+Awards, Commercial – Retail

drape_exterior

drape_interior

drape_interior2
The Drape is a store of the Japanese wedding company Takami Bridal that provides high-end wedding clothing and event organizing services. Curtains of ring-mesh fabric drape down behind the full-height glazing, creating a patterned, eye-catching façade of metallic reflections. The interior is done with simplistic forms and colors that highlight the design of the dresses. Moreover, the kimono area of the shop is framed with warm timber finishing that differs from the showrooms of western bridal dresses. Kimonos are presented flat on shelves, to provide a straightforward comparison between colors and patterns.

2020: National Museum of Qatar Gift Shops

KOICHI TAKADA ARCHITECTS | Qatar

Jury Winner, 2020 A+Awards, Commercial – Retail

National Museum of Qatar Gift Shops_interior

National Museum of Qatar Gift Shops_interior2
To celebrate the Dahl Al Misfir (Cave of Light), a beautiful underground landscape in central Qatar, the National Museum of Qatar’s gift shop recreates the natural picturesque with 40,000 pieces of timber. With the aid of 3D modelling and CNC cutting, the timber pieces are precisely crafted and form smooth curves without any visible fixings. With a surprisingly generous space overhead, the depth and massiveness of the original landscape are well replicated as a memorial of the natural heritage. The shops provide a unique shopping experience that cannot be found elsewhere.

2021: Velaa Sindhorn Village

Architects 49 Limited | Bangkok, Thailand

Popular Choice, 2021 A+Awards, Commercial – Retail

velaa_aerial

velaa_interior
The Sindhorn Village is a commercial complex that provides an escape from the urban chaos and concrete jungles. Shops meander along Langsuan Road in a semi-outdoor space, embracing the urban green areas next to the complex. The experience of wandering among the shops feels like walking under the trees. The tall roof makes all shops visible from the street, keeps the area sheltered while allowing good ventilation for the tropical climate. The roof canopy is supported by columns resembling the thickness of the tree trunk. Furthermore, sunlight filters through the four louver openings on the canopy, mimicking the scenery of lights coming through the leaves.

2022: ???

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Architectural Details: Interlocking Timber in Kengo Kuma’s Odunpazari Museum

Celebrate a decade of inspirational design with us! The 10th Annual A+Awards is officially underway, and the Main Entry Deadline is December 17, 2021. Click here to start your entry today.

Few architects balance the science and art of construction like Kengo Kuma. As an architect, professor and prolific writer, Kuma has redefined and expanded the possibilities of materiality in architecture. This approach holds true in the Odunpazari Modern Art Museum (OMM) designed by Kengo Kuma and Associates and located in Eskişehir, Turkey. Combining interlocked timber beams with cubic volumes, the design pays homage to the district’s historic namesake, which means “wood market” in Turkish.

Odunpazari Modern Art Museum
Kengo Kuma and Associates describe the practice’s driving philosophy as “amalgamating nature and architecture in a manner that creates a strong bond between the ‘building’ and its ‘location.’”

In the design of the OMM building, the team reinterprets the historic fabric of the Odunpazarı district from a contemporary perspective. Drawing from the local architecture of Odunpazarı, Ottoman dome architecture, and traditional Japanese architecture, OMM’s design is highlighted by four major components: geometry, light, stacking, and timber. In terms of materials, Kuma took a similar approach, opting for natural materials such as timber, stone, and paper for similar reasons.

Odunpazari Modern Art Museum

Odunpazari Modern Art Museum
The site is at the threshold of newly developed urban area and small-scale town scape of traditional Ottoman wooden houses. These wooden houses, with cantilevered volumes at the upper level, were built along the narrow, meandering streets, making the walk-through experience both unique and unexpected.

The stacked and interlocked boxes are designed in various sizes to create diverse scales of exhibition space inside. Boxes at the ground level offers opportunities for large scale art works and installation. The boxes get smaller at upper levels to exhibit smaller, intimate scale art works.

Odunpazari Modern Art Museum
As the team explains, the Odunpazari Modern Art Museum exhibits the owner’s collection of Turkish modern art. The museum was planned in the city of Eskisehir where the owner was born and raised. This university town is known for its young population that is a large majority, and the city has a lively and active atmosphere.

The architectural stacking and the timber construction system defines the spatial experience of the museum, which combines laminated timber pine, glass and limestone. The exterior envelop of the museum features timber as a way to signify the history and memory of Odunpazari that used to function as a market in trading wood.

Odunpazari Modern Art Museum

Odunpazari Modern Art Museum
The designers worked with a range of consultants to bring the museum to life. These included SIGMA for structural, as well as Ateknik Structural Design as the facade engineer and Polimeks Holdings as the general contractor.

The design strategy was to make the volume in aggregation; stacking small boxes to create the urban scale architecture. “Stacked boxes at the street level are read in the scale of surrounding houses and it grows taller towards the center of the museum to stands in the urban scape that announces itself as new cultural landmark of the area.”

Odunpazari Modern Art Museum

Odunpazari Modern Art Museum
The solid timber material provides both facade and structural material. The larger exterior of the site features a tiered, cascading staircase that runs diagonally across OMM, providing access to all levels. Inside, the central atrium is composed with timber blocks and connects each level to let the natural light through skylight above.

The structural system uses engineered mass timber beams in a stacked effect to create a simple layered system. The 11 inch section beams use two different joinery techniques. Some of the beams are laid flat on top of each other, leaving a full 11 inch gap between beams. Other beams are notched 3 inches into their neighboring perpendicular beams, leaving only a 6 inch gap.

Odunpazari Modern Art Museum

Odunpazari Modern Art Museum
TSteel rods are inserted into the connections for stability and have been capped with wooden plugs. The interior spaces are mostly defined by white walls and oak timber floorboards. A layer of cement fiber sheet, along with a vapor barrier and both mineral and rigid insulation sit between the timber cladding and the internal structure.

“The idea for OMM was to use architecture to create a link between people and art,” said Kengo Kuma and project leader Yuki Ikeguchi in a statement. “We were deeply inspired by the history, culture, people, and streetscape of Odunpazarı, and we wanted the building to resonate on many levels. we hope that the museum will breathe new life into Eskişehir and become a central and inviting meeting point for the city.”

Odunpazari Modern Art Museum

Odunpazari Modern Art Museum
Totaling more than 48,000 square feet, OMM is home to the collection of Turkish architect Erol Tabanca. The building works in tandem with other structures on site to create a museum square that has served as a meeting point for locals and visitors alike since its opening in September 2019. Now the museums stands as an iconic landmark and cultural gateway to the Anatolia region of Turkey.

All images courtesy NAARO. All drawings courtesy Kengo Kuma and Associates.

Celebrate a decade of inspirational design with us! The 10th Annual A+Awards is officially underway, and the Main Entry Deadline is December 17, 2021. Click here to start your entry today.

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Sharif Office Building // Hooba design


Project Status: BuiltYear: 2020Size: 5000 sqft – 10,000 sqft

Text description provided by the architects.

Commissioned by the University professors, Sharif office building was designed as a communal work space adjacent to the Sharif University of Technology. The design was developed over an existing structure which was already built up to the ground floor. The given criteria was to design a building in harmony with the main brick buildings in the university campus.

© Hooba design

© Hooba design

Therefore, the main challenge was to come up with a formula which takes the essence of 1960’s architecture of the university and combines it with the contemporary atmosphere of a technology based institution. The project site is next to a local park and in a close distance to Tarasht Public Park.

© Hooba design

© Hooba design

The green spaces on the façade are extensions of the greenery around the site, creating a homogenous entity in the urban scale. Moreover, connecting the two access roads on two sides of the building created an urban plaza within the building which fades the boundary between the building and the city.

© Hooba design

© Hooba design

The paradox between the world of software design and the real physical world, introduced contradictory topics such as introversion vs, extroversion, solidity vs. transparency, rigidity vs. flexibility in façade, consistency vs. variations in urban scenery, as well as public vs. private zone. It was decided to create a homogenous entity in terms of form and material to reach a state of uncertainty among paradoxes.

© Hooba design

© Hooba design

The hollow brick used in this project was formed by offsetting the outer edge of the traditional 10 * 20 cm brick used in the 1940’s buildings of Sharif University. The resulting module was a 19.5 * 32 cm brick with a 10* 20 cm hole covered in torques glazing.

© Hooba design

© Hooba design

Combination of the ancient brick blocks and software design technology resulted in the formation of a smart brick panel forming the entire façade of the building. These panels automatically adjust themselves based on sunlight exposure during the day. This system resembles digital technology both on the interior and the exterior sides of the building.

© Hooba design

© Hooba design

Non solidity (Transparency), sensoriality (connection to the outer world), and being multimedia (data transfer) are the characteristics of the electronic age. This project tries to create an intermediary vision to these contradictory topics in order to introduce a pioneer complex in the electronical industry. The connection between brick as a traditional building material and the high tech electronic world, requires an intermediator and this project tries to address this issue.

© Hooba design

© Hooba design

The closed and semi open interior spaces of the building were also designed to fade the boundary between inside and outside, to create different perceptions during day and night. The interior activities could become visible at night, converting the building from introverted to extroverted during each day. The working spaces in the building consist of open and semi open office, with green boundaries used to define and separate them..

© Hooba design

© Hooba design

Sharif Office Building Gallery

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