Architecture [ › ]
Grove Terrace, London
Grove Terrace London
Full strip out and renovation of a Georgian Grade 2 Listed terrace house not far from Hampstead Heath. The brief of this project was to maintain and enhance as much of the original house.
Project Architect: Francesco Pierazzi
Project Contributors: Anna Durão, Korey Kromm
Monmouth Road, London
Monmouth Road London
Our proposal for the renovation of this property, a grade II listed Georgian house and Victorian Artist’s Studio in the Bayswater Conservation Area, seeks to enhance the historic character of the main dwelling through the refurbishment and introduction of details and materials that are in keeping with its listed status. The project seeks to find a balance of the historic fabric of the building with a contemporary style and standard of living and working as another layer in the heritage of this valuable property. The former Victorian Artist Studio, at the back of the garden, has been converted into guest accommodations with the addition of an open space room in the Basement.
Project Architect: Francesco Pierazzi
Project contributor: Korey Kromm
Junction Mews, London
Junction Mews London
Junction Mews is a 3-storey brick building, located in the Northeast corner at the end of a row of terraced mews. The original use of the building was a stable, with horseboxes on the ground floor and storage on the floors above. Most recently Junction Mews has been used as an office with accommodation on the floors above. The design of this project has been for an artist and his studio.
Project architect: Cecilia duBois
Project Assistant: Korey Kromm
Garrett Street, London
Garrett Street London
Alteration and modernisation of a three-storey 19th Century warehouse-type building near the medieval Whitecross Street, London accommodating both living and work spaces. Central to the design ambitions of this project was to maintain as much of the history and character of its past, having been a smithy, stable, fodder store, engine house as well as sawmill and workshops associated with the Whitbread Brewery and stables. We sought to incorporate the essence of the building’s past with our client’s exquisite taste and interest in creating a materially rich environment for his work and his family. The project involved the eclectic use of materials, that included reclaimed timber panelling, teak lab tops and doors as well as coloured glass, polished concrete, Moroccan tiles, Corian and blackend steel. Throughout, new additions seek to add layers to the building’s rich history, with origins in Victorian London’s urban periphery.
The period for building construction was ambitious and completed in 14 weeks.
Project Architect: Louise Myers-Lamptey
Project contributors: Elena Misa, Francesco Pierazzi
Portland Place, London
Mercers Road, London
Mercers Road London
Victorian terrace house.
Full strip-out and renovation and kitchen extension of a Victorian terrace house in North London.
Project contributors: Korey Kromm, Francesco Pierazzi
Blenheim Crescent, London
Blenheim Crescent London
Victorian Terrace House
Full strip-out and rebuild of Victorian terrace house in Notting Hill, London.
Project Assistant: Korey Kromm
Lady Margaret Road, London
Lady Margaret Road London
The main feature of this redesign of the kitchen of a Victorian terrace house are a series of large doors that open the entire room seamlessly and directly onto the garden. The new, wider and more useable kitchen includes a concrete countertop, and contemporary units. The wide board oak floors with underfloor heating run throughout the entire ground floor. The design seeks to open and enliven the interior of the house, creating an open and dynamic relationship to the living room.
Project contributors: Maya Carni, Ran Ankory
Fowler Road, London
Pond Street, London
Pond Street London
Georgian Terrace House
3-storey + basement of a Georgian terrace house in Hampstead.
Myddelton Square, London
Myddelton Square London
This unique Grade 2 Listed Georgian terrace house with exceptional 100m2 Edwardian “Artist Studio” extension has been carefully stripped out in preparation for new services and finishes. The design approach seeks to sensitively enhance the original attributes of the house, working with the client’s ambitions for an eclectic ensemble combining reclaimed materials and furniture from a mix of sources and periods. The original character of the Georgian house, with all its idiosyncrasies and irregularities, has been largely preserved due to very few renovations having been done in its history. New services include underfloor heating, as well as kitchen and bathrooms.
Project contributors: Julika Gittner, Francesco Pierazzi, Sarah Entwistle, Renaud Ganiere
Talbot Road, London
Talbot Road London
In addition to the general refurbishment of the total house, the owners of this Victorian Terrace house have asked that that the lower ground floor be completely replaced with a new kitchen with concrete floor and underfloor heating. This new space opens up into the garden with enlarged opening and flush floor. Additionally, new and larger windows, in keeping with the age of the building, will increase the total amount of light into the house. The high-spec detail work of this project will include new stairs, kitchen joinery using reclaimed teak as well as new plastering and painting – all of which seeks to work together with the clients impeccable collection of eclectic furniture, lighting and artwork.
Project contributors: Sarah Entwistle, Renaud Ganiere
Waldo Works, London
Waldo Works London
Live work unit with large studio space, three bedrooms. The client of this former early 20th Century factory building has asked that the new configuration of an open plan “live-work” space maintain as much of the original character as possible. Brought to the typical longitudinal factory structure of a series of steel trusses are the combination of reclaimed doors, reclaimed paneling, new factory style crittle steel windows, as well as the contemporary attributes of a concrete floor with underfloor heating, contemporary kitchen and bathrooms.
Project contributors: Alex Martin, Thomas William Smith, Renaud Ganiere
Cross Street, London
Cross Street London
This renovation and modernisation of a grade 2 listed 1760′s Georgian terrace house, former factory and mews. Critical to the project was to maintain the original atmosphere through the careful use of new and reclaimed materials. Great attention has been given to the details.
Project contributors: Charu Gandhi, Isabel Pietri-Medina
Berlin Memorial for Unity and Freedom, Berlin
Berlin Memorial for Unity and Freedom Berlin
To commemorate the peaceful revolution of 09 November 1989 this design competition is investigating the possibility to understand a monument as a participatory land professionals, the citizens are invited to pass through, thus causing a feeling of peace and unity.
Giant’s Causeway, Design Competition, Northern Ireland
Giant’s Causeway, Design Competition Northern Ireland
The Giant’s Causeway, a World Heritage site National Nature Reserve in Northern Ireland, is a natural formation created 60 Million years ago out of volcanic eruptions that formed layers of basalt rock in the form of columns. The competition called for the design of a new visitors centre with exhibition and theatre spaces in addition to a restaurant and facilities. Comprising a hollowed out land mass, the project seeks to emerge seamlessly out of the landscape.
Project contributors: Jethro Hon and David Weng.
Topography of Terror, Design Competition, Berlin
Topography of Terror, Design Competition Berlin
Located at the former site of the SS Headquarters in Berlin, the competition brief called for protection and exhibition of the remaining below ground ruins – foundations and basements of the original buildings. A library, lecture hall and further exhibition spaces as well as public facilities were incorporated within a separate 3-storey structure. The design strategy was a series of core-ten steel protective roof structures with colored skylights over each existing ruin. In addition to the main administrative and public facilities building, a raised artificial lake with archive was proposed as a space of contemplation and reflection. Subtle ground manipulations were achieved to reduce the overall height of the three-storey main building as well as address the double-leveled nature of the landscape and its ruins.
Project contributors: Jethro Hon, Charu Gandhi, Nazaneen Schaffaie
Aldershof-Rudower-Chaussee, Design Competition, Berlin-Adlershof
Aldershof-Rudower-Chaussee, Design Competition Berlin-Adlershof
The competition brief was to provide an urban design proposal and partial design development for laboratories and offices of companies engaged in the research and development of micro-electronics and optics. The site is a former site of the research centre for aerospace engineering during the second World War. The urban design strategy was based upon a series of 5 buildings with a flexible floor plan set upon a “green” modulated ground level, housing the parking at a half sub-level and the workshops. The project received an honourable mention.
Project contributors: Matthias Reese, Morten Ludviksen, Mari Sefland-Ludviksen, Anne-Marie O’connor
Palo Verdes Art Centre, Design Competition, Palo Verdes, USA
Palo Verdes Art Centre, Design Competition Palo Verdes, USA
The Palos Verdes Art Centre located in Rancho Palos Verdes, California consists of a complex of several buildings consisting of classrooms, studios, administrative offices, exhibition galleries, a small gift shop, a film / lecture space, and kitchen. Founded in 1931, the centre has now outgrown its original buildings. The project brief called for the renovation and expansion of the centre, as well as demolition and rebuilding. Included in the scheme was to address the existing building fabric, provide new vehicular and pedestrian entrances in addition to the space of 125 cars.
Project contributors: Alex Papadakis, Nathalie Rozencwajg
WISTA, Entrance Pavilion, Berlin
WISTA, Entrance Pavilion Berlin
A small representative entrance pavilion for an Industrial estate accomoding a cafe, exhibition space and secutiry was envisioned as a glass building comprising a series of interlocking volumes.
Charles Tashima developed the design development in the office of Barkow Leibinger Architekten, Berlin.
Conversion of a pasta factory into mixed-use housing. The project brought a new organisational structure to accommodate apartment units, offices and workshops. This as carefully done within the existing structural fabric of the original building, which experienced a series of building stages from the 1920’s and 1950’s.
Charles Tashima participated in the early conception and design development together with Roberto Azzola in the office of Meili Peter Architekten, Zurich.
Landscape [ › ]
These images are a selection of Charles Tashima personal explorations into the interface of the natural landscape, cultivation and infrastructure. The images seek to capture the timelessness and monumentality of the landscape.
Divided into Series A and Series B, these images are a selection of Charles Tashima personal explorations into the interface of the natural landscape, cultivation and infrastructure. The images seek to capture the timelessness and monumentality of the landscape.
In addition to academic and private practice, Charles Tashima Architecture is currently developing a series of fictional spaces that emerge out of the coincidence of landscape and architecture.
Research [ › ]
On Weathering, MIT Press
On Weathering MIT Press
This book illustrates the complex nature of the architectural project by taking into account its temporality, linking technical problems of maintenance and decay with a focused consideration of their philosophical and ethical implications. In a clear and direct account supplemented by many photographs commissioned for this book, Mostafavi and Leatherbarrow examine buildings and other projects from Alberti to Le Corbusier to show that the continual refinishing of the building by natural forces adds to, rather than detracts from, architectural meaning. Their central discovery, that weathering makes the “final” state of the construction necessarily indefinite, challenges the conventional notion of a building’s completeness. By recognizing the inherent uncertainty and inevitability of weathering and by viewing the concept of weathering as a continuation of the building process rather than as a force antagonistic to it, the authors offer alternative readings of historical constructions and potential beginnings for new architectural projects. (excerpt taken from MIT Press)
Ruins of Modernity: Erich Mendelsohn’s Hat Factory in Luckenwalde, AA Publications
Ruins of Modernity: Erich Mendelsohn’s Hat Factory in Luckenwalde AA Publications
This book maps the genesis and decline of a building thought by many to represent a radical break in Mendelsohn’s thinking — his first step towards a rational form of expression. The reevaluation of the building also provides an opportunity for a debate on the larger issue of the conservation of modern structures. What are we to make of buildings that no longer perform their intended function? Is there a way to carry out a project of conservation that is not a literal attempt to turn back the clock, to preserve a ‘dead’ monument? Through texts and speculative projects, Ruins of Modernity explores possible approaches to this increasingly acute problem. (excerpt taken from AA Publications)
Berlin Free University, Berlin, AA Publications London
Berlin Free University, Berlin AA Publications London
This publication on the Berlin Free University contains specially commissioned photographs, archive material, construction details and plans. The visual survey is completed by essays that describe the building’s conception and system of construction, and analyse the reasons for its enduring importance.
Transgressing the distinct boundaries of architecture and urbanism, Berlin Free University is a unique imagination of what a building might be – a building designed to function as a piece of the city, adapting to the needs of its users while generating opportunities for social interaction. The university offers a window into the politicised and optimistic discourse of the 1960s and 1970s, but it also illuminates contemporary debates around large projects of infrastructure and public space. It is, in the words of Peter Smithson, ‘one of the two critical building-events of the second half of this century’. (excerpt taken from AA Publications)
EPFL, Lausanne. 2006
2006 EPFL Lausanne
Within a systems-based approach, the studio has explored strategies of designing out of the “history of things” via the adaptation of found materials, structures, processes, sites and uses. Products were adjusted and augmented within a strategy of iterative, emergent design permutations and evolutions. Material was placed within alternative contexts and technologies often using contemporary understandings of low-tech materialisations.
Critical to the studio was to develop an understanding a variety of material technologies set against the particularities of the landscape. In process, we simultaneously explored the scale of the landscape and forms of human territorialisation with the scale of materials. Particular attention was given to vernacular architecture. Here, the studio looked to traditional forms of material organisation such as various forms and uses of timber – including frame structures, cladding, and technologies of a variety of types and applications from a range of scales. In doing this work it was critical that students learn to work laterally, taking analogues and applying them to their material. We explored these materials within contemporary technologies, geometries, uses and methods of space making. This work was then applied to the programme brief of a bridge in the mountainous region of Simplon, CH.
The course has been designed with a series of incrementally developing stages, whereby the work of each stage contributes to the next. Each of the stages, I-IV, links the scale of materials to the scale of the landscape.
Teaching Staff: Charles Tashima with assistants Matei Agarici, Gabi Mazza, Peter Staub
Students: Majed Bahri, Natacha Bauer, Maria Berges del Arco, Julien Boursier, Arnaud Bovet, Mirco Brugnoli, Chloé Butscher, Gaelle Chou, Elsa Cornu, Ignacio Ferrer, Renaud Ganière, Pablo Girona, Leonhard Kanapin, Kirsten Klingbeil, Shin Koseki, Marie Køster, Gloria Lili, Fatemeh Moaiyeri, Miroslava Pelovska, Svend Reymond, Cédric Schiess, Rainer Vock, Marlis Zimmermann, Nitya Zysset
AA Diploma Unit 1, London. 2003-06
2003-06 AA Diploma Unit 1 London
“Everything made now is either a replica or variant of something made a little time ago and so on back without break to the first morning of human time.” George Kubler, Remarks on the History of Things Within the systems-based approach of the unit, the students explored the possibilities of designing out of the history of things via the adaptation of their materials, structures, processes and uses. These products are adjusted and augmented within new contexts, each with their own particular, complex and sometimes conflicting and unpredictable forces.
This year was the third of a series to use the term ‘adaptation’. In doing so, the unit continued its simultaneous emphasis on the very large scale and the smaller scale of an object, room or series of rooms. In keeping with the unit agenda, this work remained within an understanding of the landscape and its associated formal, programmatic and cultural values. Diploma Unit 1 focussed upon the appropriation and adaptation of a diversity of found often anonymous systems – whether pigmentation, timber frame structures, paper packaging systems or stone walls and inject them into contemporary modes of design production, fabrication and use.
As in all years of the unit, the expectation has been for each student to devise and develop their own independent areas of work with a comprehensive thesis at the start of the year, allowing the possibility of intensive research as well as design.
Teaching Staff: Charles Tashima and Tyen Masten
AA Intermediate Unit 8, London. 2000-02
2000-02 AA Intermediate Unit 8 London
A Topographical Fiction is a fabricated environment built up in a game-like process. It is a three-dimensional drawing constructed via the incremental accumulation, collaboration and conflict of independent strategies governed by a process-driven and time-based game. Operating similarly to André Breton’s “exquisite corpse” the topography is built up by a series of teams working independently with their own set of rules and criteria on the same territory; panels are rotated from team to team approximately every 2-3 days.
02 Contact Charles Tashima CONTACT Charles Tashima Architecture Studio: 0207 281 2351 Email: firstname.lastname@example.org
Charles Tashima Architecture, Ltd is a London based design Studio engaged in the practice and teaching of architecture. At the heart of our work is an ambition to create spaces that are rich in experience and material, paying particular attention to designing out of what already exists. Our approach is responsive and adaptive. We delight in the constraints and latent potentials of space, materials and objects together with the needs and requirements of our clients. The Studio explores a wide range of materials, from concrete, brickwork, wood, steel and glass, organically emerging out of the combination of the latent qualities of existing conditions set against new uses, needs and qualities. As we engage with pre-existing spaces we delight in the use of reclaimed and found things. These are important to us, not for romantic or nostalgic reasons nor any arguments of any environmental advantage but for the ability of physical matter, embedded with their layered histories, to define the character of space.
The built projects of the Studio have to date comprised primarily residential terrace houses in London. Each project places value on the eclectic adaptation of existing conditions with particular attention given to the character of the building’s existing historic qualities, while contributing elements that are new and contemporary. The practice is committed to the development of its projects in accordance with the particularities of each brief as determined by conditions of site, client requirements, cost and construction, rather than rely any formula or style.
The Studio has also been exploring larger scale work through competitions as well as fictional design projects or Topographical Fictions, exploring the boundaries of landscape and architecture in terms of form, scale and performance. This work emerges out of found archetypal conditions, whether an open agricultural field, earth mound, mountainous road or vernacular town.