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WA 2. Cycle Fullcourseware, December 2008

WA 2. Cycle Fullcourseware, December 2008



Full version presentations of the 2nd Cycle Winner projects, December 2008- To be engaged with contemporary trends

Full version presentations of the 2nd Cycle Winner projects, December 2008- To be engaged with contemporary trends



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  • 1 Sea Passenger Terminal in Tangier The Tanger Med is a passengers harbour, dimensioned for trafic increasing up to 10 million passengers/year by 2020. It is inside a general harbour masterplan for the first harbour of the mediteranean area, containing equipments and amenities for all categories of passengers and trafic. The project is founded on the very rich and strong economic and cultural interactivity linking both sides of the Street of Gilbraltar and is the occasion to assert and experiment a new and uncomplexed form of relationship between them, translated in an ultramodern terminal. The project proposes to turn the symbolic value of its subject and site into a strong but friendly architecture, concerned by its environment as well as by the confort of its different categories of users. The project has to deal with powerfull natural elements : sea, wind, sun ; and is inserted in a site that is radical both for the bold natural beauty of its surroundings as for the violent presence of human genius ; a harbour gained on the sea and the mountains. Therefore the architectural project is gentle : expressing in its shape the complex flux of travellers, cars, trucks and trains, protecting by its curves the migration movements from the elements. Curves of the main terminal, offering a bright and efficient shelter for queeing, check in and control ; curves of the boarding lounge, detached from the former to shorten distances and enhaunce psychological confort ; curves of the passerelles, linking amenities and ships, allowing a total protected and horizontal passengers parcours in confortable conditions. The choice of construction materials is guided by environment constraints : sea atmosphere obliges to concrete construction. Then, the building process, based on precise geometrical definition, allows generalization of precasting on site. Waterproof is realized with high resistant concrete topping, combining local craftmanship’s know-how and technology transfer. The terminal and boarding lounge are conceived with a double shell, allowing dynamic insulation through fresh air circulation between the outer concrete shell and the inner plaster shell. The vast parking areas easily allow to install geothermic pipes. These two elements combined delete needs for airconditioning, assuring larger part of climate inside the building by passive ressources. Complementary energy is partly produced by the wind through equipments installed for the needs of the harbour area. The clear interior spaces limit articial lighting. The exterior lighting deals with the presence of bird migration : uplights are strictly avoided ; the different areas are enlightened in colours choosen in the spectrum of sun dawn ; light is always close to the ground, the different colours allow easy identification of each area.
  • 2 Solar Tube 2005 Record Houses Award for Excellence in Design (Architectural Record, USA) 2001 The Reiners Foundation Award for Private House (Deutschland) Inspiration for the project was provided by a humble tubular skylight, a device that channels sunlight indoors by means of a reflective pipe, rooftop collector and diffuser. The idea was to use the entire house as a solar collector which needs only little heating, cooling or electric illumination. This was the starting point, the root which defined issues of form, structure and choice of materials. Solar Tube is organised around a fully glazed atrium that accommodates the vertical circulation, connecting all five levels. The entry from the street – which happens to be at the same level as the roof terrace – is to be reached via a ramped bridge directly leading into the living room. There’s also a second way to enter the house – by walking over a staircase along the boundary to the other end of the house – ten metres below street level. A “solar tube” in general is a small light-and-heat captor which is usually installed on the roofs of houses. In this case, the entire house serves as a collector, opening to light-and-heat on all sides. ntegrated atrium. As for the glass “tube” that forms the uppermost level, it helps cut heating costs in winter. Apart from its energy-saving virtues, glass also offers intimacy with the surrounding nature. As the façade is nearly entirely glazed the boundaries between indoors and out are disappearing – an especially pleasant experience during summer, when a leafy tree canopy practically nestles the house among its branches. Therefore one gets the feeling of living in a tree-house. It’s a symbiosis between nature and architecture – a concept of openness and transparency. Construction *Reinforced concrete construction as base *Ground level without carrier *Above steel structure *prefabricated in-stock units *sloped and curved wall-elements *Translucent inside walls made of paper and glass Others *low energy building *integrated atrium with a huge sliding roof *Materials: stone, reinforced concrete, steel, wood, glass
  • 3 ARJUN MACHAN, A WEEKEND RETREAT Area : 170sq.mts Year of completion: 2004 Location: Western periphery of Ahmedabad city, India Climate: Summer Temp. - 45˙C, Winter Temp. - 16˙C, Rainfall 715mm Materials: Exposed load bearing brick walls, Steel Hollow Sections for structure with Rough Kotah stone slabs for floor deck, MS lattice work and ferrocement roof. Architect: Rajeev Kathpalia Design Team: BN Panchal, Sarosh Ankleshwaria Consultants: VS Shah, structure, STCPL, services Contractor: MS Khurana, Pvt. Ltd. Photos: Rajeev Kathpalia Drawings : Vastu Shilpa Consultants
  • 4 MUKWANO HOME - School and House for HIV orphans The client is a non-profit organization named MUKWANO, which is the meaning of `intimate friends` in Uganda language. Though the contributed budget is so limited {$30,000} that I aim at a MUKWANO HOME, the space where the orphans can create their community like a family, by using domestic low-techniques{brick wall and wooden roof structure}. The orphans also join the construction to learn the way to build it. To the great deal of land of 9 ha without any infrastructure in the project, I found myself planning the required rooms, 2 big bedrooms, 3 lecture rooms, 2 offices and a restroom by avoiding such a way as modern zoning which works well in an urban situation. I rather consider that the architecture should be divided into 8 primitive huts and mixed up to a village-like shape as much as possible while they are considered to be functionally related with each other. I respect the fact that the children gather and have classes under a big tree, so the tree should be situated in the center of the new architecture. Then the 8 huts surround the tree and link with each other. The in-between spaces has canopies which connect the all huts together and create triangular outdoor spaces, so the court is pleat-like open space with the triangular spaces in the plan. The canopies also can make shadow on the court and trigger the activity of the children. They can run, play and work there comfortably even under the strong sunlight in Uganda. The center court has a well and the roof has solar panels producing electricity, so that the children will be able to stand their own feet here with their farming. In the future, as the children grow, they extend this orphanage with a lot of huts and it will become MUKWANO VILLAGE. I expect that this architecture should be a focal point of the village.
  • 5 Living Wall, Amman `Living Wall` is a 150,000 sq m mixed-use complex at the heart of Amman, currently under construction and close to the new Al-Abdali city centre. The site, an extraordinary carved-out rock shelf, its geology and history have been the inspiration for the scheme’s unique concept. Set against a sheer 30m backdrop, the project presents physical challenges that are not unlike those faced at ancient Jordanian sites such as Petra, where the buildings were carved out of the rock itself. A rough-hewn podium has been inserted with strong, vertical cuts into a line of natural rock. Grouped together on this podium will be a set of six inter-connected, sculpted towers. They include a boutique hotel, a variety of residential units, and offices. The podium on which they sit contains shopping and leisure activities. The deep spaces between the towers house a variety of sheltered public spaces, including a sunken amphitheatre and a large, sheltered piazza. The towers have double-skin façades with screens whose horizontal lines again recall delicate rock strata. The screens’ function is to stimulate air circulation and to provide shading, and these become denser where the potential heat gain is greater. The spaces behind the screens provide balconies and terraces where people can enjoy outdoor space – thus helping to animate the complex as a `Living Wall`. With transparency both at the higher levels and at the base of the towers, views across the city are unimpeded; there is a strong sense of place and, with so much permeability and connectivity, both laterally and vertically, the scheme also creates a vivid sense of community.
  • 6 casa Silvia
  • 7 Augmented skin As world cities grow ever larger, green areas are scarce due to the colossal buildings erected on them. The Museum of Modern Art takes an approach that provides green space in a dense urban environment while minimizing the dependence of artificial light. The green surface is elevated off the street level, creating a void to house the main exhibition spaces. The Museums’ roof filters light into the layers of galleries below through it’s perforated canvas skin which functions much like a rainforest canopy, essentially a raised skin.
  • 8 EGADE BUSSINES ADMINISTRATION GRADUATE SCHOOL Located in a 4 acre parcel, off-site the ITESM Campus, the EGADE School pretends to be the leading Graduate Business School of the Americas. In order to attract the best students of Latin America as well as executives of leading International Corporations, the school`s objective will be to build an icon structure with an innovative program. In order for students and executives to interact, one of the primary goals shall be to create human and inviting spaces that will make both of them feel at home. The unique spiral shape responds to its predominant location within the site, as well as the school`s need to create a symbol. The access to the building is at the center of the spiral and through a 30` high atrium. Covered by a glass roof, the atrium will allow natural light into the different spaces. Legorreta + Legorreta has encouraged the owner to support the design of a green building.
  • 9 House_Uc House Uc is a residence designed for a couple in their 30s and their daughter. It is located in the quiet residential area of Tokyo standing on a small and narrow site of irregular shape - a result of the recent trend of dividing property into smaller segments each time it is sold and bought due to inheritance issues and market availability. The site measures approximately 57 m2 in size: approximately 12 meters deep, 6 meters across where it faces the north road, and 2.7 meters across at the deepest end. The design for House Uc therefore needed to focus on the ideal form of an urban detached house within the constraints of the site itself as well as laws and regulations. The client felt that a residence was a form of self-exposure to the outer world. In order to live up to his expectations, House Uc was designed to imply the essence of the house within the urban context by bringing out the characteristics of the finishing material that was chosen together with the client. The concrete exterior walls were coated with lean-mix acrylic paint, resulting in a black mottled effect according to the difference in the degree of water absorption and smoothness of the surface. The zinc-coated steel sashes on the east side were dipped in phosphate to strengthen the zinc layer, and the difference in the amount of zinc coating on the sashes projected a black patchy effect. The mottled exterior walls and patterned sashes are the result of chance (nature) and display a certain beauty, in a sense similar to human beings – people are attractive, pockmarks and all.
  • 10 Meditation House This is a project with very strong emotional implications. We had to understand the mood of the user, who at such this moment would not care very much for an aesthetical analisis of any place, but at the same time we wanted to create a space that can create a spritual mood, for this we refered to ancient buidings that were designed for this purpose, as the Egiptian “Mastabas” or some Mayan buildings in Palenque. A project of this nature must encourage introspection and peaceful visual harmony through a discrete use of materials and lighting. The construction is located in a residential area and being planned as an isolated construction from the sorroundings, an indoor illuminated yard was built. The building façade is completely covered by Grissal flamed granite. The building welcomes de visitor with a 6´4” wide and 30´ high triangular shaped wooden door which leads to an access tunnel in the same shape, creating a solemn atmosphere as you enter. This darkening experience at the entrance ends when the hallway opens to a large, double height granite hall illuminated by the northern light coming from the indoor courtyard with a tall Dracaena at the center and a symbolical abstract sculpture by artist Saul Kaminer as the only artwork piece for decoration. No furniture was used inside this place,only a floating bench surrounding the room, that is made out of the same wood used in all the building. It also serves to hide all of the air conditioning, speakers and recesed lighting which adds a dramatical touch. This way the rooms shows no added ornament but the light and shades playing on the granite volumes.The ceiling is made of dark cumaru wood and floats without touching any wall and a skylight puts a highlight on this detail.
  • 11 Inada Hospital in Wakayama Inada hospital Obstetrics and gynecology ridge Since Inada-hospital was established fifty years ago, it has contributed to the community-based health care. This project is the extension plan of a building with a purpose of adapting to the upcoming aging society with declining birthrate. Inada hospital is in the southeastern outskirts of Wakayama City, is next to the station of the local line. The building site is long and narrow from the north to the south, has the distorted L-shaped configuration. The north side of the site adjoins the railroad track, the east adjoins the existent building, and an arc-shaped road that is narrow with a lot of traffic surrounds the west side. It is forecast to catch sunlight from the west strongly because the extension building necessarily has a long form in north and south. The extension building was arranged to adjoin the existent building, and set to be on the L-shaped site. The external and internal scenery of this building change serially moment by moment in accordance with person`s every step, in accordance with the change in the season and the movement of the sun. The expressive sense would be born in the psyche of persons who live inside of and outside of the hospital through such experience. I designed the hospital, hoping that this hospital would be where people experience a plenty of joy of birth happily.
  • 12 Cellular Network City This project is aiming to redefine ‘urbanism’ as a series of cellular space subdivisions and transitions. Like all the ancient and historical cities that emerged from their own spatial ordered qualities, and geometrical distributive hierarchies, am:Pm proposes a networked urbanism configured from cellular volumes, initially starting as a thick multiplicitous urban ground strata for the World’s Fair Expo 2010. The landscape is interconnected with interior and exterior public spaces as well as cultural facilities and domestic spaces. Networking lines act as infrastructural connections between the distributed spatial pockets. Cellular organizations morphs from conventional aggregate spaces to extreme transformed ones, gradually transforming into an open space. Extreme moments of transformations act as experimental pavilions that transform into radical landscapes and public spaces, and therefore enduring the legacy of the expo, whereas private spaces maintain their conventional appearance and homogenous transformation. On both urban, building scale and material level, the cellular network organization acts as ground strata and spatial pockets organization, as well as porous occupiable sections, all seeking a coherent yet different oriented urban order, that spans across the two river banks into the two sides of the city, and thus over time influencing its formation. It is an order that has the capacity to organize differential interactivity, sectional movements, as well as diversity of scales, densities, heights, and programmatic mixities. The Expo 2010 landscape will start to be generated across both sides of the river banks, and the networked system of spatial cellular organizations and connections is proposed to extend and intensify across the site in the period intervals that follows, producing highly dense sliver organizations providing a horizontal view to the few emerged vertical organizations.
  • 13 MPREIS NIEDERNDORF The client asked for a "cool marketplace" - protected from sun and heat. Beside the village, in the midst of meadows, countryside, with a view to the mountains, forests and the wood stacks. Tree trunks, rid of the bark create gaps for a new meeting point on the outskirts. Planning - realisation: 2005 Location: Niederndorf Client: MPreis Job: Super Market Collaborators: Jörg Schneider Size of the order: 1.200.00 euro
  • 14 National Museum A history museum is the ultimate showcase of a nations’ life through centuries. Museums can build morale and shape opinions. They also often create a lasting input on the future. Following basic thoughts have gone into coming up with the design: It is of utmost importance for the building to be user friendly. This has been achieved by a regimented and well designed access to various activities and will be explained later in this report. The building should be cheerful and not drab. The form should be such that it is ageless. It engages and excites. At the same time it is conscious of the contours and its context and stands as an un-intrusive structure in the woods of Shakarparian. The flow inside the galleries is regulated yet informal and non-compartmental. It provides flexibility in display spaces that merge into each other. The inspiration for the flowing plan comes from the Rivers that flow through this land. Interior space in the display area although inherently interesting due to varying angles and vistas will be kept neat and uncluttered with straight lines and simple finishes. From inside the emphasis is on the display and not the architecture. The vast cross-section of history that it proposes to display makes it impractical for the building to reflect one era, even symbolically. So the reference for the form is borrowed not from one of the man-made periods in history but from the land itself. The jagged Potohar Plataue is what inspires the angular, tapering walls. Evoking visions of the first sights of the rising land mass as you come up the motorway near Kalar Kahar area and are encountered by sudden rock formations jutting out of the plains of Punjab. The use of various colored earthly toned bricks as exterior finish reflecting the soil strata that is a witness to thousands of years of history steeped in this part of the world.
  • 15 Cellular clay multifamily habitation Adobe constructions were widely-spread almost in all pre-Columbus civilizations, existed at the territories of Mexico, Central and Southern America. The project has been adapted to suit the specificity of the majority of nature-climatic conditions of Central Asia, including seismic dangerous. The conception coordinates with environmental-cosmic rhythms {“60-years solar cycle”, typical for cosmogony and the system of chronology of many Asian nations and less long solar-moon cycles}. Expressiveness of architecture-design decision, sharp-tempered spatial-composition, plastic and dyeing features consider cultural-historical tendencies of the: - evolution of the nomads’ mobile dwellings; - “constructions of quasi-socialized representatives of the fauna – beavers, termites, etc.” - achievements of urbanistics of the pre-industrial age {reconstructed in the monumental architecture-historical complexes of Kazakhstan}; - futuristic urbanistic designs. Modularity, possibility to be modified by the inhabitants, mobility and autonomy of the engineering complex give the high level of transformability. By this high architectural-artistic value of the dwelling is also achieved. Large glazed surfaces, typical for modern international style are absent here. Adjacent territory is almost not damaged, because reduction of the vegetation and ample paving of the ground is not used. Visual characteristic of air and light-pierced structure constantly changes due to multilevel landscape gardening, transformation of morphologic and decorative peculiarities of the residential cells and shades moving along their surface. Gradually humanistic-oriented nature-material-informational habitat of the dwelling residents is formed, they begin to feel patriotism towards the “little homeland” {the term “home” enlarges to the scope of “dwellers community”}.
  • 16 Coca-cola building The coca-cola building is an experimental project that explores the meeting of a digitally conceived environment and a technologically constructive approach. We were interested in thinking how to build a digitally conceived and shaped space; and in the process, conceptualizing and making possible the construction. The project is directly linked to a series of architectural experimentations focused on the use of non-traditional building materials. The objects, possibly appropriate to the specific character of the proposal, are not necessarily utilized in a commonplace method of construction technique. The items have often been taken out of environments not related to architecture. In the case of the coca-cola building an operation of displacement, pushed to the paradox, removes and the changes the original function of common glass bottles. It is with this adjusted focal point that we see them transformed into building material. The bottles are used as a paradox in order to re-think the architectural process through a conceptual and practical operation. It was our decision to use a non traditional and apparently naïve technology. In this way it would be possible for us to investigate the problem starting from an unusual point of view and to reconnect, through a low tech strategy, an abstracted process of design to reality. On the other hand it was our intention to shake up the traditional methods of approaching technology. We believed that high technology and very simple technology could interact in the process of understanding and producing architecture. We also believed that a specific kind of architecture, influenced by the use of computer technologies and actual cultural sensitivity, would lead to a different approach to the project. Technically speaking, the glass bottles represented a good solution to the problem of building a non-regular continuum surface through a micro-modulation method. The use of the bottles was furthermore appropriate in order to allow light to enter the building, and for the reflective and transparent characteristics of the particular shaped glass. The building is a dome coated by classic glass coca-cola bottles leaning on a light steel structure and placed on two different insulated layers; it is a 250 feet long by 100 feet large volume and requires the use of approximately 2200 bottles to cover the entire surface. A particular system of anchorage is studied in order to simplify the montage of the pieces and to allow different angles and inclinations of the surface. The interior of the building, conceived as an open space, is thought as a promotional-history telling environment, organized as a visually changing scene, perhaps with the use of videos and other media. The main entrance of the building is built with semi-transparent plastic panels and glass enclosures; the rear of the building is sealed by a glass surface. The shape of the building is slightly deformed by scaling and rotating a sequence of similar sections. In this way it is not a regular volume, but a monolithic and spatially concentrated space; an idea of conceptual and volumetric synthesis is proposed in order to clarify the concepts we are interested in. The coca-cola building is not thought in a precise location; it is leaning on a metal platform and it is intended as an installation. This building is in some ways a cultural and architectural “provocation” meant to propose suggestions and to support a free and not conventional way of thinking. After some contacts with the coca-cola administration the project was not built.
  • 17 Arezzo Courthouse Near the Medici’s Fortress, inside an historical park, the new building houses the main courtrooms and the Hall of Justice President headquarter and is linked to a neoclassical building, once a large hospital, to be restored and used for offices and archives. The design of the New Wing, symbolises its environment: the rich vegetation of the park and the city’s medieval structure, which was protected by a belt of conch walls on one side and, on the other, open to the squares, gardens and the territory. Also the New Wing is enclosed on the North side by a coved wall of black granite slabs whose surface is flamed, as to acquire a very elegant matted dark-grey tone. To the South, an undulating transparent sunscreen façade of stainless steel is shaped according to a geometrically warped geometry which is characteristics of the skin of many living creatures, including leaves. Those complex curvilinear forms can be built using only rectilinear elements. Thus, a silver bioclimatic foliage protects the interior spaces by a luminous shadow and blends with the park without clashing with the neoclassical nearby architectural elements. In the interior spaces, the astonishing reflection of the mirror-like polished black granite floor is contrasting with the greenish glazed envelop and the horizontal perforated acoustic aluminium grey panels separated by narrow maple fascias. The three level high entrance hall receives light from the roof and is dominated by the vertical elevator case clad alike the floor by shining black granite panels.
  • 18 SANLITUN SOUTH A new retail complex, with master plan by Hong Kong based The Oval Partnership, is organized like a medieval village with a dense A new retail complex, with master plan by Hong Kong based The Oval Partnership, is organized like a medieval village with a dense fabric of narrow alleys, low-rise buildings, elevated walkways and bridges connecting all levels. LOT-EK is assigned the north-east section of the “village” to be dedicated to retail, restaurants and event spaces. LOT-EK concept is centered on the definition of the internal alleys as multi-level, open-air circulation channels. In each alley, a rhythmic system of scaffolding-like metal frames is wedged between the buildings, adapting to the varying width of the alley’s cross-section. The scaffolding-like frames are connected along the side of the buildings by a random system of horizontal metal rods that function as railing and brise-soleil, defining a loggia on the upper levels and generating a tunnel like perspective within the alleys. The rhythm of the structure is based on the width of ISO shipping containers {8 feet} which are inserted randomly into the facades of the building and jut out into the alleys. At the ground level, the containers function as canopies that hover over the retail stores entrances and house display or other small functions on the interior. At the upper floors the containers are pierced and skewered by the horizontal circulation functioning as entrances to the retail stores and as display windows along the loggias. The scaffolding-like structure extends the alleys out towards the main street of the Sanlitun area to lure in the passers-by. At every level the containers function as large three-dimensional graphic objects layered with signage and logos. Orange mesh, also pierced by shipping containers, wraps the external perimeter of the entire north-east section adding privacy and sun refraction along the outer façades.
  • 19 Hermès Factory - Leather goods workshop in the Ardennes It’s the project of a factory for the production of Hermès leather bags. The workshop life with its craft industry at work is enhanced by the organization and the sight over the Meuse. It is a platform on stilts going down the fall of the plot, in front of the Meuse. The entrance integrates itself in a nave crossing over toward the river, which disperses the spaces for the administration and the restaurant. It also appeals to organise events. The plan is organised, according to a measure of 17.40 meters, in correspondence with scale of each workshop and their structural range. Theirs combinations demarcate a building at the horizontal level, 104 meters long and 52 meters width. To allow prompt workings, the generic constructive device was produced in galvanised high steel. The assemblage of these constructive components reveals a workmanship. The architect’s hand with the first sketch for the edifice profile, the workman’s hand for the work construction, and the hand of craft industry for the bags production succeed themselves in its architecture life. This project is a conception of a process. Moments of the workings were photographed, revealing every time, a transience piece in the middle.
  • 20 Magic Bus Staff Dormitory (Magic bus is a NGO founded in Mumbai in 1999 aspiring to create a long-term, sustained intervention of life skills development for at-risk children through recreation, play and creative expression activities. They organise weekly sports and games sessions, educational day-trips to their weekend residential camp ‘the Magic Bus Centre’. Architecture BRIO has been asked to design the second construction phase of the Centre comprising a staff dormitory, separate facilitation centres for children and corporates, and a children’s village.) The dormitory for the staff of the NGO Magic Bus will be located in the valley below the Karjat Dam. Sited on the tip of a small plateau it overlooks paddy fields and sleepy villages. Embedded in the topography, the dormitory reveals different elevations depending on the viewpoint. By utilizing the steep slope an intimate low façade faces the entrance court on the forest side. A more prominent vertical façade faces the paddy fields. The interior of the dormitory will reveal itself as one moves through the building. A staircase cutting through the building mass breaks up the passage on the ground floor. This cut in the building frames the exterior beyond, creating interplay between inside and outside. This staircase leads you down to a large double height recreational space. Suspending the two-storey structure over the ridge creates this space below. The top floor is surrounded on all sides by a veranda. At the end of a colonnaded passage a large shaded deck overlooks a most spectacular view over the trees, towards the contours of the Matheran mountain range in the distance. A ‘cage’ of bamboo columns wraps around the building. Public circulation and veranda's occupy the interstitial spaces between the external bamboo columns and the internal mass. The large covered veranda's and the relatively narrow width of the building envelope allow for comfortably ventilated and shaded semi-indoor spaces. The bamboo enclosure creates a dialogue between the interior and the dramatically changing landscape. The natural landscape changes from a dense brightly green colored jungle-like forest during the monsoon months to a pale brown shrubby wasteland during the dry and hot summer months. The building has to respond to these extreme conditions by allowing enough shade and breeze during the summer and providing a waterproof indoor environment during the stormy monsoons. The screen of columns creates an ever-changing pattern of light and shadow throughout the seasons and times of the day, making the building a ‘sensor’ of light. A reduced material palette using bamboo for columns and walls, and natural stone and polished concrete for floors, neutralised by the whitewashed interiors gives the calm rational architectural language a sensual physical presence. The row of bamboo posts at 1.5-meter intervals forms a permeable skin around the building as well as supports the entire building. Bamboos, being the fastest growing grass in the world, are a high yielding renewable material resource. The high strength and low weight factor of bamboo makes it remarkably earthquake and cyclone resistant. With invaluable inputs from engineer Vilas Gore of GeoScience Services, innovative technologies and methods are used in order to reduce the amount of non-renewable materials throughout the building. The selection of materials and building methods is optimized to decrease the load on the building, which in turn allow the supporting columns to be sleek and elegantly dimensioned.
  • 21 Rethinking Courtyard in the Urban Context In rural courtyard we have seen the space to be a part of everyone’s life- may it be men, women or children. If there is a transitional space, lets say a veranda, an under cover or any other semi-open space, then it is psychologically more appealing since its half way between indoors and outdoors. The contemporary urban residences of Dhaka City is said to be the outcome of a series of “transformation” and “adaptation” that are still continuous. Various urban forces generated at different times and in phases, have over the years played an important role in shaping up the urban residences. The beginning of urbanization started with the migration of rural people. Even today many people in cities have rural roots and there is thus the continuity of many rural behavioral and cultural patterns in the urban context. The similarity in layout and use of space between the rural homestead and urban apartments is an example of that. The element which is inseparable from both the context is “the courtyard” which has undergone transformation from the beginning of urbanization, till now. Up till a few decades back the ‘courtyard’ was reduced to a ‘court’ due to limitation of land and an increasing demand to provide accommodation for the ever increasing population. As a result, the space was losing its essence, its purpose- socially, climatically and physically. Thus an attempt was made to revive its features by introducing another phase of transformation that this may have undergone- its free-flowing characteristics i.e. the outdoor becoming the indoor, its linkages with the surrounding landscape, spaces, a living space where the family members can interact with each other at leisure with neighbors as well as among themselves. At present, since all the residential buildings are multi-storied so the vertical relationship along with the horizontal relationship, the semiotic and not to mention the climatic aspects were taken in to consideration
  • 22 Media experience urban park The main goal of the project is the development of a methodology to analyze the impact of technology on the perception of the contemporary urban space. More specifically it focuses on the study of the use of the cellular phone in the public space. At first level it tries to visualize the dynamical change of perception through the analysis of people’s movement patterns and behavior. The area of interest is the area of Liverpool Street station in London which is characterized by the diversity and flow of people through the day. In this area a route has been selected in order to investigate the movement of people using cell phones through the city. The selection of the route is based on the diversity and combination of the public spaces. This analysis, through the development of a mapping technique, is extracting the visualization of a dynamic field of temporal privatizations. The next step of the methodology is the extraction of spatial qualities out of the results of the mapping process. This is happening gradually through the development of a translation procedure. This translation is extracting a deformation of the public space itself. It is my intension now to investigate this deformation and the spatial relations it can create. Therefore the deformation is translated into a three dimensional steel truss. The truss has specific geometric attributes which create various spatial relations. It is the moment where the program of the media experience urban park is emerging to fill up these relations. The ethereal character of the spatial relations is underlined with the use of wood as a softer material which is partially embracing the steel truss in order to define exactly the spaces and their relations. The final result is a semi-public space which is engaging a passing by space with the media applications.
  • 23 DMC ANKARA On Ankara-Eskişehir road, Doğan Medya Center is planned to be a distinctive media figure, housing TV channels, Hurriyet and Milliyet newspapers of the group, creating the basis of interaction between the brands and providing a common source. The main form of the building is decided to be a cube in respect to the square site; yet starting on the surface the straight cube form deformed and re-structured by again cubic annexes and subtractions that resulted in extra volumes. The emblematic use of façade creates a visually legible dynamic ambiance with reference to today’s fast moving and assertive image of the media. The building is strongly perceived from afar and in diverse prospects at various angles due to perforated shield resembling Braille alphabet at range of sizes. The separate units stick out on the façade dedicated to each TV channel and newspapers so that special units are obvious from outside as well, and from within the building there are panoramic views of the city. The assemblage of smaller cubes within the structure of the large box can be read as a metaphor for the diversity of the company’s operations. In accordance with topographic directions, slightly angled solutions of the modules on the front elevations and south-north axis enhance the vivacity. It is a genuine building in terms of transparency; strong in-out correlation enables a well-defined description before getting in the building. Composed harmoniously with the environment; it is open to the cityscape. The concrete structure reaches up to 7 stories by feasible use of galleries so that extra operative space created by mezzanines, whereas the standard is 4-4 ½ floors. The story height is 4 meters, every two floors a cube is formed; the modular structure provides a flexible basis for planning. Intermediate floors are supported on secondary steel columns and beams. Main food court is located in the atrium after the main lobby and a terrace-lounge is reserved as the VIP meeting point at the upper floor. The building is dynamic and interactive with the road in front of it, as an eye-catching “sign”. Separate sections like studios and offices of press people preserve their exclusivity and each segment is accentuated in the integral form of the re-assembled blocks of cube.
  • 24 Infobox Competition proposal for a new information center and landmark, Liverpool: The brief requested a building that housed a new information center, offices and marketing suite for a development to regenerate an area of liverpool that is a landmark in itself and a catalyst for the regeneration. The scheme comprises a ground floor and first floor plan which emerges from the ubiquitous site hoardings. The main entrance, which forms an abrupt break in the continuity of the hoardings, affords passers by a fantastic periscopic view of the entire Tribeca development site. Clad in revolving mirrored louvres, the periscope itself serves on the one hand as a beacon for the development, and on the other hand enables prospective home owners/business to preview the city-wide views.
  • 25 City of Jaca Hockey Arena This Ice Pavillion will be the most representative building of the European Youth Olimpic Festival of Jaca 2007, the first event in the Pyrennes. Two ice rinks allow the pavillion celebrates hockey, figure skating, short track and curling competitions. This construction must show the importance of the ice in Jaca and regenerate an undeveloped area of the city recovering the natural landscape and its use for winter sports. The Dome, as a modern simbol of the nearby Oroel mountain an Pyreneer peaks, rests directly on the ground as a frozen water drop avoiding typical façades. The membrane is noticed as a soft cristallization, and must be traspassed in order to access the dome. This element respond to the structure, façade,installations and conceptual requirements.
  • 26`Ro` House House that builts on narrow site. Living space like tenement house. However, it spaces it openheartedly. Residence with window where only the sky is seen view is obstructed from street, view is opened in distance.
  • 27 Danish Pavillion at Shanghai Expo 2010 STATUS : Ongoing The Danish pavilion should not only exhibit the Danish virtues. Through interaction, the visitors are able to actually experience some of Copenhagen’s best attractions – the city bike, the harbor bath, the nature playground and an ecological picnic The bike is a venacular means of transportation and a national symbol – common to Denmark and China. In recent years it had a very different fate in the two countries. While Copenhagen is striving to become the world’s leading bike city, heavy motor traffic is rising in Shanghai, where the car has become a symbol of wealth. With the pavilion we relaunch the bike in Shanghai as a symbol of modern lifestyle and sustainable urban development. The pavilion’s 1500 city bikes are offered for general use to the visitors during EXPO 2010. After the world exhibition it can be moved and placed in i.e. Peoples Parc as a transferium for the bikes of Shanghai. Both Shanghai and Copenhagen are harbor cities. However, the polluting activities in the harbor have been replaced by harbor parcs and cultural institutions in Denmark, and as a result the water has become clean enough to swim in. In the heart of the pavilion lies a harbor bath, which is filled up with seawater from Copenhagen harbour shipped to Shanghai in a tank vessel. The Chinese can swim in the bath and not only hear about the clean water but actually feel and taste it. The Little Mermaid is sitting in the waterline of the harbor bath exactly as she is in Copenhagen harbor. It is the original Mermaid visiting China as a concrete example of the idea that the Danish pavilion contains the real experience of the Danish city life. While the Little Mermaid is in Shanghai, her place in Langelinie will be occupied by three trendsetting Chinese artists and their interpretation of the sculpture. The absence of the Mermaid will increase her value as an attraction for the Danes and in this period it will be possible to follow her life in Shanghai via a live transmission. The pavilion is constructed as a monolithic self-supporting construction in white-painted steel, manufactured at a Chinese shipyard. Prefabrication will affect to an uncomplicated transportation, effective samlingsproces, rational dismantling and transfer. The synthetic light-blue coating used in Denmark for bicycle paths will cover the roof. Inside, the floor will appear in epoxy, the light-blue bycycle path respectively. The sequence of events at the exhibition takes place between two parallel facades – the internal and external. The internal is closed and contains different functions of the pavilion. The width varies and is defined by the programme of the inner space. The external facade, pavilion’s façade outwards, is made of perforated steel that represents/reflects a Danish city silhouette. In the evening time, the indoor activity of the pavilion will be illuminated for passers-by.
  • 28 CHILDREN’S MUSEUM FOR PEACE AND HUMAN RIGHTS {CMPHR} The project provides a facility for the children of Karachi where they learn about the philosophy of peace and human rights, as well as participate in simple recreational activities. This is a multi- dimension educational space, a cultural landmark and an institution for promoting peace and human rights. Being a strikingly linear site {1.95 Acres} with shallow depth {435’x 195’} the Master Plan was developed by juxtaposing the two main features of the Program, i.e., the museum and the auditorium along a diagonal datum which creates a variety of dynamic outdoor spaces and leads to an inviting threshold, in addition to the required enclosed functions. Such an arrangement also breaks the monotony of the linear site and holds together the building blocks in a balanced composition. The use of levels, evident in the entire planning, achieves a variety of design objectives: separation, linkages, transition, creation of views and vistas, binding of indoor and outdoor spaces- that collectively yield a rich spatial experience. Sensitive and consistent use of ramps helps to create this experience. Since levels on site were not provided, the road level is assumed as +/-0’-00”, and the building levels set accordingly. The edges of the site are defined and demarcated through landscape elements, berm and trees. Use of trees on the periphery creates a barrier against noise, pollution and provides shade for people. Water has been primarily used to order public movement, as well as an aesthetic element. The Program had outlined Four Zones: Zone A: Museum {Galleries} Zone B: Workshops Zone C: Auditorium & Workshops Zone D: Admin/Storage On the entry level the podium has been raised above eye level {from +2’ to +8’}, in order to separate and then unveil the complex as one ascends it.
  • 29 algorithmic Tower- Shanghai All cities use subdivision logic to define spatial, geometric and distributive hierarchies. Based on this shared structure, a cellular coded methodology is proposed to configure the future Tower typology in the post-Expo times for Shanghai Expo 2010 site , the density of which is undoubtedly going to be higher and higher after the Expo. The proposal employs code-based scripting methodology with increasing capacity to manage higher orders of complexity required by the cellular network logic. These cells are generated by subdivision codes, and they grow vertically in a series of new tower typologies. Various systems are coded with specific algorithm for growth and expansion, configured to articulate gradual transitions and subdivisions with a segmented mathematical approach to the formation of curvilinear spaces and structures. Surface modules are arrayed based on various parameters to form aggregate building structures and space dividers, achieving a high degree of complexity from simple local conditions. Direction, such as major direction of the sunlight or view is a crucial contextual information, become one of the major parameters here. Each level plan is unique, but all of them are under the control of this discipline. The emergency stairs and elevator core are close together, growing and twisting inside the tower. The design exemplified how algorithms can be appled parametrically in the formation of design systems in relation to specific contingent criteria.The series of computational procedures applies a unique subdivision logic and curvilinear surface algorithem as a sequence of scripts generating iterative cellular spaces and material interfaces. Recursive computational design procedures allow for feedback,adjustment and optimization of specific organizations conditions of a project brief.
  • 30 Peace Bridge The Custom and Immigration Building is an extension of the human settlement and river crossing activities that have existed on the Fort Erie border crossing site for 10,000 years. The Building is placed like an island in the middle of a river of cars - its curvilinear form partially generated by the flow of traffic around it. From the crest of the Peace Bridge it appears as a streamlined and glistening sculptural form. Upon closer arrival, the modern roof is seen to conceal an inner construction of interwoven wood glulam substructure, supporting an exposed wood roof deck that is evocative of shelter construction and canoes of the native Indians who originally settled this area. The curving wood roof creates an embracing space that is materially warm and animated, making the vehicle inspection area atmosphere less intimidating and more welcoming. Structurally, the interwoven glulam acts like a membrane or space frame, allowing extensive cantilevers and support from limited points available between the parking spots. This treatment extends into the building forming the ceiling of the public atrium, and the 2nd floor office and lunch room areas. The wood components are fundamental to the design. They go beyond an elegant structural solution and sculptural form to make a connection to a material that is a part of the Canadian identity.
  • 31 Villatoile The Villatoile resort, located in the ancient farm of Pont à Lesse, near to the Lesse river and surrounded by the woods of Dinant, accommodate more than 10000 visitors by year. The two sanitary blocks are situated in the ancient stable inside the court of the complex. These two spaces needed an urgent renovation. The program was simple, with specifics requirements: to be able to resist at the flooding of the river (in 2003, the level of water was upper than one meter), to be high resistant to vandalism and to be easy cleaned with under pressure water. In this restricted area, it has been necessary to include a space for disabled person. At the opposite of the existent situation, the project create ,in each of the two rooms {woman and man}, a central block of water closed, shower and a technical corridor. Along the lateral walls it has been designed a furniture inspired of the feeding tray, combining the washbasin with a bench. A central point of the project has been the reflections on the quality light. The new proposal opens the lateral spaces, to allow the sunlight in from the windows. An indirect light give value to the ancient vaults, now discovered again after the renovation, just above the central block. A series of neon installed under the opalescent plastic ceiling create a milky light and a pattern of reflections on its curved surface. This ceiling also allow to hide all the technical equipments protecting them from vandalism. The modernity of the new equipments contrast and dialogue with the ancient stonewall and vaults, necked and cleaned up.
  • 32 Geno Matrix The traditional skyscraper is no longer a valid response to the dynamic demands of the 21-century due to its limited and static form and incapable of adapting to changing contextual parameters. The central feature of our project is the development of a deformable structure that exhibits characteristics of a living organism, with the potential for evolution in a manner similar to the larger cityscape. We named it as Geno-Matrix, a genotype driven structure for skyscraper, which, according to the changing spatial requirements, can produce potentially infinite scenarios. It can deform itself in the molecular level, compatible with the unstable fitness of current inhabitation cultures. Rather than using the conventional architectural design process to generate the form, Geno-Matrix comes from genotype, phenotype, mate, crossover, morph, mutation and selection process. Geno-Matrix can be adapted to any context and multiplied throughout the urban space. In the design process, we applied genetic computing and evolution techniques with the emphasis on their potential of creating forms that are useful in the production of architectural novelty and originality.
  • 33 MY HOUSE MY HOUSE IS MINIMAL SPACE FOR SEEING NATURE , WITHOUT ANY TRAVERSE BETWEEN MY EYES AND MY AROUND . . . This house set above hills to verge a beautiful mountain who calls AVRIN in azarbaijan , In this house i see Avrin every day . . . It is a minimal idea and minimal design and minimal space . LESE IS MORE . . . area: IRAN – West Azarbaijan – Khoy
  • 34 touching water Kotka was born as harbour town for the wood and paper industry. The actual urban configuration has grown around this productive activity, with two main centres; Kotkansaari and Karhula. Nowadays the town’s main character is still strictly connected with the sea and harbour activity. The big emptyness in the competition’s area gives the opportunity of designing a proper ‘city’s piece’, on which we can express and realize a contemporary idea of living. Some issues are always present and definitely relevant in the recent contemporary debates on urban design: the role that urban planning has in urban strategies, the connection’s meaning between scales and constant relevant themes and how it responds to the necessity of fast changes conciliating local expectations and international motives. The project proposes a way of designing the city not as a succeding or overlapping of single objects or architectural episodes, but instauring complex spatial and architectural relations according to a “systemic” proportion of the city. In this “systemic” idea, the vary architectural and landscaping elements integrate themselves in a proper idea of net, as alternative of a hierarchical and centripetal city or only made of architectural emergencies. The built forms and spaces proposed by the project present themselves as ‘suitable’ completions of the landscape, urban or not, colloquial but mimetic inserts in the contest. The project promotes the accessibility to any space and function,underlining the connections and free routes between the different parts and the rest of the city, and above all a new urban interface between land and sea. The entire project is concentrated on this dialectic concept’s reality of the limit betweeen land and water: the cost line is contemporarely the start and the end point of the city’s territory. It is the place where the limit of the vastness of the Nature and the sense of the anthropology’s made up order imposes itself. This city’s part marks a mediation between the nature’s infinity and the that basic human will of building ‘inside’ spaces. first prize.
  • 35 Ayurvedic Therapy and Training Institute Kerala,a tropical paradise in India is known for its rich traditions of Ayurveda,one of India`s traditional systems of medicine.Ayurveda provides an integrated approach to preventing and treating illness through lifestyle interventions and natural therapies. The program was a center for practicing Ayurvedic therapy on patients from all over India and abroad.Students interested in learning this system of medicine train under the practitioners as apprentices,much like a `gurukulam`.The project required spaces for therapy,teaching and accommodation for practitioners,students and patients. The site chosen was a spectacular back water stretch in north Kerala.It was the tip of a peninsular land formation girdled on three sides by water. The Institute was conceptualized as a linear form hugging the coast-line resting on stilts.The boundary between land and water becomes the place where therapy and training of students takes place.The accommodation sits inland among rice-fields with the `bund walls/retaining walls` forming the approaches.Being made of laterite stone it gives a sense of rest and of being solidly rooted to the ground as opposed the floating institute. The existing vernacular traditions in Kerala architecture were taken as the base upon which the project evolved.
  • 36 Centre for Remote Health - Alice Springs . Stage 1 The Centre for Remote Health enhances the urban landscape by embracing the spiritural needs of the Central Arrernte Aboriginals and the direct connection they have to the natural features considered sacred . At this facility provides tertiary education, training and research conjointly between various university organisations with a focus on combating the health status of people in remote Aboriginal Communities and towns . This project has many passive energy features and has recieved awards for it`s sustainable direction.
  • 37 KUMU- Art Museum of Estonia The project is based on the winning proposal of an international architectural competition held in 1994. Further design work began immediately after the competition, and revised preliminary designs were submitted to the museum in January 1995. During next few years there was a long pause until funding was secured in 1999 and the actual design work could begin. After various delays, a building permit was issued in summer 2002. Almost 216,000 cubic metres of limestone was excavated and removed from the site, allowing construction work to begin in autumn 2003. The construction work was completed at the end of 2005 and the museum was opened to the public on 18 February 2006. The impressive site with a 20-metre-high lime stone slope is located at the south end of the Kadriorg Park, some 3 km from Tallinn city centre. In order to leave the park as intact as possible and not to threaten the dominant position of the adjacent Kadriorg Palace, the large museum building was placed in the slope, partly underground. The round shape came about as if by itself, as a result of the ramp solution that connects the different levels of the museum. A curved wall encloses the courtyard and an outdoor sculpture exhibition. The ramp divides the museum building into two different parts. Outside the curve are, for instance, the administrative personnel`s rooms and the conservation facilities, and inside are the lobby and exhibition halls. The parking area and bus stops are on the uppermost level of the site. Visitors walk down the stairs of a pedestrian tunel and through the outdoor sculpture exhibition area to the main entrance. On the entrance level are ticket booths, museum shop and entrance to temporary exhibitions. The other entrance to the museum is on the ground level from the Kardiorg park side. The ramp takes visitors up to the foyer of the auditorium and further to the main entrance lobby. The high lobby area that divides the museum into two parts is dominated by the connecting bridges. The design aims at simplicity and clarity. The exhibition halls are simple and unassuming, placing the artwork at centre stage. The ascetism of the interior continues in the exterior, which relies on the power of plain geometric forms. The main facade materials are limestone, green-patinated copper and glass.
  • 38 Jeongok Prehistory Museum The Jeongok Prehistory Museum is located in the Hantan River Park. With the discovery of the Aecheulian Hand Axe, the neighbored excavation site is considered as one of the most important Palaeolithic sites in world archaeology. Besides the presentation of artefacts the museum should give an insight to the excavation work and be an entrance to the landscape of the river Hantan. The site is located on a slope and connects the park at the river with the excavation site. The idea is to extrapolate the existing landscape with a building that intensifies the landscape instead of reshaping it. By the manipulation of the gentle slope a path through the museum is created. It connects all public areas such as ticket office, exhibition, museum shop, lecture hall, café and restaurant. The actual exhibition space is at the level of the entrance and continues into the hill to descend the visitors into the historic layers of the excavation hill. The exhibition space embedded in the ground, provides the spatial experience of the excavation pits. The most visible and iconographic element of the museum is the roof. Its volumetric structure of sections spans over all museum areas. The roof is shaped by the lateral forces which determine the different heights of the sections. The sections itself are interconnected with a system of steel beams and cables, so the roof structure appears massive and very light at the same time.
  • 39 The New Orang-utan Enclosure at Perth Zoological Gardens This project forms part of the practice`s ongoing work for the Perth Zoo. Designed to establish connections between Orang-utan behaviour, living patterns and qualities of their natural environment, this new enclosure consists of a series of `trees` that simulate the physical complexities of a rainforest. This is achieved through a careful assemblage of recycled concrete pylons and robust steel `branches` and climbing frames. Each tree holds double decker nests with timber and steel shading structures providing points of rest. This along with a collection of activities; puzzle boxes, dip tubes, water canons, drinkers, the bent steel armatures and ropes are able to be tuned to create changing, simulating event space.
  • 40 Trade center of Iran national industries Trade center of Iran national industries By considering first conditions and race wishes, two words such commercial and residential indicate for adjacent of two kind of perceptions, according to special principles and characteristics which each contain at designing, or two special organizing and encourage the designer to take the three-dimensional policy at designing process. Two first aspects designing of two mentioned phases, according to project desires and third aspect, is the spatial and designing versatility in whole collection. - First of all at designing commercial area, the case of exteriority and at residential complex, the aspect of its exteriority has been considered green space around commercial collection and inner area at residential site, which has surrounded by apartment blocks, indicate for the case. - At other stage, because of total lines of extensions site at highway edge and the way of occupying and good dividing of site after doing multi sketches, the result is a liner organizing which necessary spaces are defined at one spatial balance; so this way of function is considered at residential collection and 42 degree rotation has done in order to maximum use of south light. - Adjacent of site with FATH highway which is symbol of fast move and speed, has effective on extension of north edge bulk and frame lines of fraction face, into the bulk, make possible the perception and looking into the complex. Locating the complex near the airport, have been an important factor at shaping bulks. - First there was possibility of bird sight into collection, because of collection importance, index bulks with perspective to future has been considered. - The way of rising and coming down of airplanes at adjacent to the site, while conforming around activities. Of course, its to be noted that parallelism of mentioned spaces at this structure have been considered.
  • 41 VILLA IN OJAI Located on an open hillside landscape just outside Los Angeles, this house conforms in spirit to the needs of the new family: its flexible plan permits configurations of privacy and gathering without sacrificing visual unity. Its essential lines contribute to rich combinations of panorama and closure. Views through spaces and out onto the landscape invite in the natural world. The vigorously open space does not preclude a sense of intimacy. The clients spend most of their time balancing between two European cities. This Californian meeting point is not just home, then, but a destination for two merged families and their three children. Their desire, for a home that feels like a gathering of pavilions, provided an opportunity to link Katsura-inspired spaces along defined corridors. The natural incline of the site contributes to the visual interplay of roof-line and disappearing walls, giving the structure movement within the defined plan.
  • 42 “30 SOCIAL HOUSING UNITS” The project is a commission from OPAC {Paris public planning and construction department}, the largest public housing agency in France, for low budget and ecological dwellings, achieving precise social criteria and representing a pioneering approach taken to sustainable development in terms of layout. The housing complex we designed for the site consists of 4 separates buildings, disposed around a central green area. Buildings provide a number of alternative choices of apartment’s types and, in this respect, can be seen to be an assemblage of individual dwellings rather than buildings containing a certain number of apartments. A specific design, declinable for every plot, made-to-measure, responding to required environmental purposes and composing volumetric variations continuing adjacent surroundings. All of the housing projects are the result of a delicate work of “filtration”: protection from urban noise, openness toward the blocks, orientation according to the position of the sun, orientation of the site. The degree of privacy, a clear spatial organisation and the quality of the interior spaces were also ensured, as well as intellectual, emotional and physical access.
  • 43 winery The winery was developed together with Maria Paz Maluenda and Marco Bernardini. Among different solutions, always trying to please the client, to improve working conditions and to exalt the winery presence the project had been unfortunately abandoned. Encountered under a deontological doubt, the architects had question: how far should go the submission of an architect?
  • 44 Hydroelectric power station Winnebach Client: SEL plc Location: Dörfl {BZ} Italy Program: Hydroelectric power station Realisation: 2008
  • 45 Hong Kong cascade gardens Project is to create Hong Kong cascade gardens that will delimit public places and identify Hong Kong as did Babylon hanged gardens in another time. A cascade garden is made off a building with a huge vegetal cover {various typologies of gardens}. From the garden, users take benefits of a piece of landscape with a full sea view. Sample of garden reveals infinity of visions, smell... Each garden is different with special vegetation {a wheat field, a rainforest, a mangrove, a vineyard, a beach...}. Those different kinds of environment offer to walkers different landscapes where they can go sometimes to relax, meet, have fun or... Cascade gardens delimit three public places and one piece of forest, both opened to the sea. From the natural ground {cascade gardens base} walkers or drivers coming from town discover sea view through rifts. Rifts create unique sea frame and special entrance of light. Buildings are opened to the town. They animates waterfront in an environment mixing nature, sea view, town connexions… Programmes are various : culture, restaurants, café, entertainment, sport … Hong Kong cascade gardens come from a contemporary vision, it is a network project. It is made of several landscapes {gardens with different species and typologies} which can be seen as a whole in the distance. It designs Hong Kong ‘sea line’ which discusses with Hong Kong Skyline and identifies Hong Kong Bay. Cascade gardens animate waterfront with its various colours and natural spaces. They give sea view for everybody in plenty of different atmospheres. They permit a multiplication of configurations, creating superposition of several planes of perception in every dimension. It alternates solid and void, light and shadows. Conceived as a network, project is easy to construct and to develop; it can adapt itself to new needs and fit to town necessities. When people enter and practice those spaces, architecture surprises them, mixing various environments. Architecture and landscape architecture create a variety of different spaces, different sensations, point of view and impress {depending if you are inside, under or over gardens, in public place, promenade, forest…}.
  • 46 CBF_Centre pour le Bien-être des Femmes et la prévention des mutilations génitales féminines `Gisèle Kambou` Women`s Health Centre in Burkina Faso was created between 2005 and 2007 by AIDOS, an Italian NGO fighting for Women`s Rights in Developing Countries. The AIDOS project, financed by the Democratici di Sinistra Political Party and with a contribution from the European Commission, is just one of the group`s international programs focused on contrasting the diffusion of Female Genital Mutilation {FGM}. The social/health-services program developed by AIDOS, together with its local partners was focused on providing the educational services, information and awareness about women`s sexual and reproductive rights in Sector 27 of Ouagadougou, a peripheral urban area settled by the rural population. The social program called for the realization of a building complex capable of hosting a variety of activities in very harsh circumstances. The architectural project represents the response to this condition. Completed in 15 months by a local builder, under the direct supervision of FAREstudio, the CBF is functionally and cost-effective answer to the needs expressed by AIDOS, while simultaneously and primarily representing a centre of aggregation and identity for the entire local community. The technological and typological responses offered by the project, on par with its social programs, represents an innovative approach to traditional local building practices, presented as the natural formal expression of the changes and new approaches promoted by AIDOS. The project privileges an integrated approach to interactions between built space and climatic-environmental conditions {building orientation and layout, control of resource consumption, the use of natural vegetation, the selection of building technologies}, based on considerations of sustainability and appropriateness. The project is based on the separation of the primary activities performed by the CBF into two distinct, though closely related buildings: a Training Centre dedicated to activities of awareness-building and the administration and management of the CBF, and a Consultancy Centre, used for medical visits, legal assistance and psychological counseling. The two main buildings are set atop a single structural element: a raised platform that creates a true artificial plane that supports various buildings used for different purposes. Temperature control, perhaps the most significant climatic issue, has strongly influenced the overall design
  • 47 Toftegards Plads Syd_Square The urban environment constitutes a space in continuous state of flux, which is always transforming as it adapts in accordance to the texture and the internal conditions. Therefore we consider Toftegards Plads Syd , as a space, or better, as spaces that are in constant state of virtual transformation. The intention is to embrace a complex system of simultaneous relations and events that are articulated by virtual mixtures; various activities and networks that interact. In order for the Toftegards Plads Syd to represent a virtual framework of relations between flows and events, the design intention is to create a static structure system of nodes and conjunctions, which at the same time act as an increasingly dynamic system and a process, a living organization that evolves. Taking into consideration that the city of Copenhagen has different variations in sunlight and temperature, we try to observe how systems in nature adopt different internal relations due to the difference of temperature. Therefore we consider that the square could be seen and designed in a similar work pattern taking into consideration the different spatial conditions that emerge from the difference of temperature. Taking the temperature diagram as a parameter, we propose a multi- layered structure consisting of different intersected mutations and evolutions, which produce a sequence of events
  • 48 CEMETERY OF COMACCHIO, ITALY The master plan that we are proposing for the existing cemetery aims to convey an idea of “completeness”, although only one quadrant will be built presently. While the original design (XIX century) was extremely clear, recent additions made the site somehow chaotic. Our site plan aims to restore the original design clarity by reinforcing the historical south-north axis at the entrance that bisects the church. Seven independent blocks containing burial niches are placed next to each other at a slight angle, creating an overall sense of enclosure while permitting slices of light to enter. This placement yields shadows that give rythm and measure to the massive enclosure. Each of the 7 blocks of burial niches is made out of concrete, coloured slightly different matching the colour of the bricks. Our goal was not to replicate the colors and proportions of the existing brick wall, but to create chromatic and proportional harmony with the entire environment. We've used tall, elegant cypresses -– specifically cupressus pyramidalis -- so beloved and familiar to our people, to provide both a natural element and to give dimension to the monumentality of the traditional, walled Italian cemetery. From a distance, these sculptural trees define the landscape, form the skyline, and beckon to the living, "here is the city of the dead, here are your ancestors." A small wood of these cypresses is the heart of our plan. At the center of the wood and positioned at the terminus of a long axis is a large cross, “a cross of air” created by the negative space carved from two adjacent walls. We encourage the individuality of the design of each mausoleum -- even if this seems to break the homogeneity of the architecture we propose -- and we provide for the privacy of the visitor. Each individual family mausoleum uses diverse materials, colors, shapes and architectural styles. Traditionally, burial niches are positioned perpendicular to a lengthy corridor, providing one very long and public place. Instead, we've broken that line and have created privacy by positioning the chambers around smaller courtyards with partial walls where one can mourn privately. Here, the widow dressed in black can bring her folding chair, sit quietly with her beloved in a serene, small court to talk about the present and the past, to visit and cry in peace.
  • 49 TECHNOPORT Our competition entry for “Technoport” - the future Warsaw technology park is a marked attempt to create a technologically advanced sustainable architectural solution that actively limits the environmental and ecological impact of the development on it’s surroundings. Both the form of the proposed buildings and the nominated materials used to build it were designed to allow the building to melt into it’s surroundings to create building truly in context. The architectural form of the technology incubator are reminiscent of the undulating landscape of the site, and the masses of earth covered in low vegetation melt into the greenery of the enclosing countryside. The proposed undulating building form reflects the quality of the old Wisła riverbank as well as echoing the sunken Warsaw Fortress with it’s reservoirs, massed earthworks and embankments. The facades follow the statutory building line are moulded into cliffs of glass that both reflect the surrounding landscape and let it permeate into the building. The sloping green planted roofs add to the diffusion and increase the illusion of natural settlement in the environment. To shelter the inhabitants from the noise and pollution of the adjoining expressway as well as to increase the building’s energy efficiency an optimal mechanical heating, cooling and ventilation system was designed aided by a controlled system of natural ventilation through openable windows and vents. The high thermal mass of the earth covered monolithic concrete roof structure is used for storing heat in winter and cold in summer. A site wide water retention and management system is employed to actively minimise the amount of surface rainwater that is emptied into the city drainage system. Apart from the rainwater storage inherent in the specialised green roof system the remainder is led off to site based retention tanks. These tanks are used in conjunction with the geothermal wells and heat pumps as an ecological alternative to the district heating system. Natural lighting is provided to the whole building by the fully glazed elevations and a series of rooflights. The remaining building services installations have been designed to be visually discrete without providing any other radical functional solutions. The reinforced monolithic concrete roof slab is supported on a 6m x 6m grid of concrete columns to allow a maximum interior flexibility. The breakdown of built area is made up of 184 m2 public space, 412 m2 of conference areas, 652 m2 of laboratory space and 1 212 m2 of office workspace. The remaining area is designated as stores, a canteen and the Technoport administration suite. In total the net usable area amounts to 5 932 m2. This scheme represents a modern design approach that encompasses ecology, the environment and high regard for space.
  • 50 The mashrabiye house The Mashrabiya Building is located in the Arab Palestinian village Beit Safafa between Jerusalem and Bethlehem. It was designed as a contemporary re-interpretation of traditional elements of Arab vernacular architecture, providing at the same time new and imaginative solutions for the transforming social and cultural landscape of the village on the brink of urbanization. It hosts an office and gallery in its ground floor, and residential flats in upper floors.
  • 51 Offices of the South Asian Human Rights Documentation Centre The SAHRDC office is built on a 50 sqm plot situated on busy pedestrian street corner, keeping in mind sustainability, spatial efficiency and cost effective construction. The western, longer façade is exposed to intense solar radiation as well as acoustic and visual intrusion from the street. A buffer zone of the lavatory stack and staircase, located along this edge, maximises floor area and moderates acoustic and thermal pressures. This flanking wall is conceived as an animated, dynamic skin that reflects the bustle of the street while its porosity playfully engages with the street corner. Inspired by traditional ornately carved brise soleils, the masonry techniques evolved from a deep on-site collaboration between the architects and the masons.
  • 52 SNAFU at Dhoby Ghaut, Singapore Welcome to the Singaporean underground subway, a representation of the power and ideals of the state. Bag checks, surveilance cameras and announcements warning against "suspicious articles and personnels" demonstate that the state is always vigilant against terrorism and misbehaviour. A maze of underpasses also exposes the capitalist state`s desire to channel commuters from transportation nodes directly to consumption areas, avoiding the hot, humid and wet weather aboveground. This is the playground of the State. A highly controlled money making and political environment. This project proposes a cunning scheme to turn control upside down. It puts forth a false front, suggesting that it is indeed a benign money making, economical scheme, aimed to bait the unwary developer or perhaps even the state itself. Then by means of fine architectural details, materials and composition, an architectural "framework of subversion" is fabricated, a cunning powerful layer beneath a sterile design. What the developer thinks is a wondrous high end retail strip is also covertly a street peddler`s paradise. What the state takes as an alternative scheme to promote local art uncannily becomes a skateboarder`s playground. The scheme looks at ways to turn the environment of control upside down. Hence S.N.A.F.U..
  • 53 Dharamsala, Guru Teg Bahadur Hospital The architecture is about the best for the worst off. After seeing numerous dharamsalas across northern India which were very dark and depressing, We at Romi Khosla Design Studios wanted to create a space with lots of light and large corridors and common spaces, where people could interact with each other. We wanted to give the best and the most modern to the poor in terms of quality of space and light. In India, there is lots of social interactions between neighbours in common spaces, as opposed to private rooms, which is the reason for the large common spaces and corridors. We have also designed all the furniture within the building as built in, to have guide the use of space and to avoid random furniture being places arbitrarily throughout the building. This also prevents vandalism. The benches in the centre court are designed such as to give shade through out the day { once the vegetation is adequately tall}. This is a contemporary building for the poor people, looking at the needs of contemporary urban India.
  • 54 Winery Collemassari s.p.a. The building is a wooden box. The warehouse, the plant rooms, the barn for farm equipment have been built inside the hill. The only element that emerges is a white wall that, issuing from the hill, organises and gives order to the exterior spaces needed to manoeuvre the vehicles. The desire to design spaces rather than a building appears even more evident in the body of the structure that appears beyond the “wooden box” and rises above it at the southwest corner. An elemental, airy cage made of pillars and beams in white cement that, like a grapevine arbour, leans almost temporarily over the underground structure. A white frame capturing the surrounding scenery as if in a net; a net that, over time, fills up with moments connected to the production and marketing of wine as well as to the promotion of the territory. A space that is the opposite of and yet complementary to the solid, reconstructed womb of the hill, whose precious product is transformed and jealously protected; a space throbbing with activity connected to knowing wine, tasting it, understanding the depths of it, scientifically and convivially. The bio-climatic solutions that regulate temperature and ventilation have certainly guided the project, giving character to the design in its entirety. A concrete framing to contrast with the pressure of the hill and the heavy burdens of the vehicles unloading grapes on the roof of the cellar. Ventilated walls of wood wherever the thermal inertia needs to be protected, directed and re-balanced. Natural wooden staves to filter the direct sunlight. Zinc titanium covering is used for water proofing. Low-emissivity opal glass windows to balance natural light. It is by turning to so-called bioengineering that, in the Cantina di Collemassari, the microclimate needed to produce and preserve wine, from humidity to energy requirements, takes place naturally. Not only is the climate controlled by selecting natural passive energy but also the handling first of the grapes, then of the grape must and of the wine, is carried out using only gravity and no machinery which, besides being expensive, would strain the product, diminishing its quality. Another factor that I believe is fundamental for the sustainability of a farm is that not even one drop of water be wasted during the production stages, wherever water is used in abundance. Water, including the underground drainage of the barrel store that is always kept somewhat filled to guarantee the right degree of humidity, is completely recovered, used more than once and, finally, sent on to a single phyto-purification plant from which the purified water runs into a basin next to a stream of water where the water is drawn out again to irrigate the vineyards while also creating an important wetland oasis of high naturalistic value.
  • 55 House No.13
  • 56 Duke of York Square Redevelopment of the former Duke of York’s headquarters in King’s Road, Chelsea. Creating the first new public square in the West End of London for more than a century, this striking mixed use project provides an entirely new retail quarter and opens up a site inaccessible to the public for 200 years. The development exemplifies the aims of ‘Designs for a Greater London’, which was published by the Greater London Authority in 2001, creating a calmer, safer environment in an area well served by public transport {no car parking is provided}. The design includes a number of squares, pedestrian friendly streets and dramatic new buildings within this historic former military campus.
  • 57 Sweet Caroline House This house is built for a native Navajo woman who spent several years off the reservation. It`s form is generated from an intersection of Navajo and Western cultures. It has a rain water catchment system, rammed earth trombe wall, uses Flexcrete, an autoclaved cmu product, native sticks, reeds and flagstone for finishes. It was completed by architecture graduate students participating in DesignBuildBLUFF through the University of Utah College of Architecture + Planning.
  • 58 HIGH SCHOOL IN CELAS VALLEY - COIMBRA The plot is a steep long valley in the very core of the city, all green and yet "unexplored" a line goes down the bottom of the valley where it spreads to the side, pushing the school away from the neighborhoods to its very own environment. The play with patios and the very close connection to the green of the valley and the views to its ends provide a beautiful tranquilizing scenario for a high school around the longer patio, all the classroom and seminar rooms, together with the taller patio, the auditorium, cafe, and on its top, the gymnasium
  • 59 Estonian Academy of Arts 1. prize in open international competition. Collaboration wih SEA. The Estonian Academy of Arts is a 30.000 sqm university building located in the heart of Tallinn. “The Jury voted Art Plaza as the winner of the competition because it is by far the best proposal when it comes to architectural concept, outer qualities and inner life. The project is stunningly simple and at the same time fascinatingly complex. The outer shape is a beautifully proportioned square tower. Tallinn’s downtown is dominated by visually “noisy” buildings screaming to each other. In this chaos Art Plaza suggests erecting a quiet, calm and perfect tower with only half the footprint of the site, liberating a 4000m2 plaza in the heart of Tallinn. This plaza will stand out as a unique place in downtown Tallinn, filled with students and art. Art plaza will become the new living room of Tallinn.” Jury Report
  • 60 Low cost, appropriate shelter/Housing in SIDR affected areas On November 15th 2007, Cyclone SIDR has left behind a trail of devastation affecting the lives of at least 4 million people. In the aftermath of this disaster BRAC NGO initiated a project, in the coastal areas to provide 1200 emergency shelters in six villages.
  • 61 Royal Botanic Garden - Visitor complex and winter garden The Visitor’s complex The main composition revolves around the topographical flow of the natural lines at the site; it transforms its mass with ascending elevation as if it was growing from the earth to become a more architectural mass , this transition is controlled by the main datum wall of the composition which in fact is a bridge in the middle of the building. When the composition becomes functional it starts triggering the human senses like sight with its charismatic facade by playing with the human perception of the growing lines , the building also provides a wide range of visual recreational facilities like art and light galleries and a theatre , the acoustics like the- passive- which are represented by the natural reflection of the sound from its surfaces and –active- which interact through the landscape like the murmur of the water features , smell which are represented by the essence of the plant presence in the environment and the scent chambers in the scent factory which is one of the recreational sides of the project. This project was done with a team: Shamil aldaghestani and Mohammad musleh
  • 62 the 'el1+1kapa' house, from kat-oikia to syn-oikia The architectural synthesis of the residence was inspired by two incidents-stories, starting lines of proposal that it flourished in the rocky, but urban fertile, ground of this particular corner of the district: SALVADOR DALI and GALA. From kat-oikia to syn-oikia residential project. A residential project to be build in a traditional and law-protected area, in whitch the architectural synthesis compine the standards of an individual home with the standards of an urban public space. Where the architecture mixed up with urbanism, create different places in one building. A building in harmony with the natural, historical, urban and climate enviroment. In first phase the construction, where the building is the sculptural object that is structured by deconstructing the city, in the second phase the deconstruction, where the city is reconstructing by the deconstruction of the building.For this aim the building has moved parts thus is transformed constantly with the use of technology. Apart from the resident, in the planning of building took part and the neighbours that wrote their opinions. Actively participated and the municipality of Thessaloniki and determined the relation of building with the square. The region is the historical core of city and the constructional work are overseen by architectural committee. The building cures the climatic shock of his residents. That is the difference between the climate of house and the climate of city. The city has more heat from the house the summertime and more cold from the house at the winter. The movement from the house to the city and vise versa causes climatic stres in the residents. This building makes economy in the consumption of energy and it is friendly with the environment without isolating inside his residents. It makes them feeling comfortably with the climate of neighborhood and it facilitates them to moving between their house and their city. The work`s manufacture has low budget. This happens because the constructure has been planning with high precision. With the use of technology of planning and the suitable guidance of contractors they work of manufacture is checked. All works are forecasted by the plannings and so become the bigger possible economy. The house reverses the relation of internal space with the exterior space. Makes the resident conceive the view of city and the view of sea as elevations of certain other next buildings.So the resident swhen they are inside and are looking to outside they feels as if they are outside from the house. The first aesthetics of house is that the residents does not feel his presence when they are inside, but they feel like being at the open space. On contrary from the outside viewing the presence of house is intense because it looks like a movie that tells the old histories of city.
  • 63 Silhouette Istanbul - Zorlu Center Silhouette Istanbul - Zorlu Center ERA Planning Architecture Consulting Co.Ltd. has been selected finalist in an invited international competition. The project is one of the rare mix-use programs in Turkey of this scale. The program had 550.000 sqm including residential, offices, service apartments, two hotels, shopping center and cultural activities, 5000 cars underground parking. Looking towards Bosphorus the site has a great location over the city surrounded by highway traffic at the beginning of Buyukdere Avenue - CBD area. The project`s guideline is to shape a new silhouette for Istanbul with iconic attitude but at the same time building setup which takes its origins from the city itself{topography, surroundings, colors of Bosphorus landscape, urban fabric,etc... Our approach was : to look for a horizontally developped building created with an iconic value for Istanbul, which manifests against the CBD of Istanbul, to those redundant highrise building type, to keep as much as possible the green by creation of open, semi-open and closed green and activity areas, to look for a dialogue between the building and the city by respecting the Bosphorus skyline, to create a street and garden network inside the building on top with a microclimate, neighborhood organisation inside, openings towards the city on internal semi-public gardens, ...
  • 64 Gallery Yeh Enormous urban has been attempted through the project . is the wall of the building as well as a piece of experimental artwork that indicates a sign of the upcoming change of the new gallery. If typical canvas can be thought as two-dimensional medium, the canvas we have developed for the gallery is the spatial skin developed out of the new code found between the floor plan and the three-dimensional medium. The concept applied in can be categorized as and/or - screen for the skinscape can be the medium to provide exhibit information as well as the huge canvas attracting outside events. Space for the skinscape offers unique spatial experience of puncturing through multiple layers of skin, in which each of its layers come as different spatial quality.
  • 65 Single family house for Imereti region villages of Georgia My proposal for Imereti region villages of Georgia aims to create a new, but traditional, even habitual environment. Interrelations between a site and a house itself is very traditional, with typical for western georgian villages ritualized process of entering a yard and a house. Connection of two spaces – front- and backyards by through passage-is also very usual. Ornaments used in shading devices create interesting feature of a house - traditional and modern as well. Dwelling of this kind is rarely discussed by professional print or e-press, so this makes it interesting to introduce it to the international architectural community.
  • 66 KU New School of Architecture A design project, for a new school of architecture for the KU. The site is the Kansas University Campus The idea begun from Frei Otto`s studies of lattice structures with rigid joins, and became a study of how a structural system can `overcome` its main property {that of being structurally efficient} and became a system that is at the same time an `ornamental` element and the element that defines spaces {and of course the structural system as well}. Also an attempt to see how this complexity can be fitted inside {and used in order to define} a volume as simple as that of a box.
  • 67 Landscape Carpet International Design Competition for Central Open Space in MAC, Korea - Shortlisted. LANDSCAPE CARPET is a global reflection about the concept of landscape and, therefore, about the existing con-nection between landscape and nature. As a matter of fact, we intend landscape as something different than nature: nature is a category that exists regardless of human acts; at the contrary, landscape is a human construction {artifi-cial} that represents a re-reading of nature itself and, consequently, its re-interpretation. Artificiality in the landscape concept is much more evident if we consider that the term ‘landscape’ contains, in many languages, mainly those of latin origin, the same linguistic root as ‘town’ , and this is a remark of the existing similarities in two anthropic actions {for example, in Italian the word paesaggio restrains the same linguistic root as paese, just like in Spanish paisaje contains the root pais. The landscape we refer to is, therefore, an artificial nature; a different nature, thought and built by mankind. In this perspective, LANDSCAPE CARPET is a compendium of Korean nature: a list of main landscape features of this land that we frame and we narrate in the very center of Sejong. LANDSCAPE CARPET is a list of 4 natural categories of the korean landscape: Lakes; Fields, Mountains and Woods. These categories are the starting points of a process of architectural sampling that, starting from the natural element, comes to the definition of the architectural form. Alessandro Console, Gina Oliva, Claudia Streuli
  • 68 Casa Malinalco In the middle of a gorgeous GolfClub in Malinalco-Mexico, it is possible to discover a quiet composition of geometric and with objets with a mexican-teja roof cover. Those geometric objets like to be part of the landscape, and mix their shapes with the sorroundings. The openings in the facades are the lecture of the plan, and transform the skyline of the field and become part of the silluete of the mountains around. "human and nature as one".
  • 69 Order of Engineers & Architects
  • 70 House On The Water House On The Water single family house which is really worth attention. sustainable architecture {research on water desalination, energy accumulation, ventilation methods, water recycling, heat and energy consumption, tidal and solar energy}
  • 71 Steeple Project This was a single family home that has been converted to a two family. This new multi family residence exemplifies the highest principles of design and construction. Structural elements have been designed to exceed the current minimum building code requirements in anticipation of severe weather conditions predicted by environmentalists and scientists throughout the world. Apparently some designphobic neighbors thought the chimney looks like a church steeple and tried on numerous occasions,unsuccessfully, to have the construction stopped, hence, the name "Steeple Project". This little gem {under 2000 square feet} is very eco-friendly with bamboo kitchen cabinets, recycled glass counter-tops, recycled aluminum tile back-splash, no VOC paint, a highly efficient wood-burning fireplace {which can heat the entire building}, cedar and recycled cement siding not to mention that Feng Shui design principles which were used to insure health and prosperity. This was a fun project!
  • 72 Eye Hospital-Rejoicing Kahn, Romancing with the Sun Islamia Eye Hospital Extension Completion: competition entry The effort here is to make the whole approach to offer more space for the public inspired by the context. Louis I. Kahn and his beaux-arts approach for the overall parliament complex and Sangsad Bhaban has been taken in the scheme as a “basics”. The “celestial square” of Sangsad Bhaban has been shifted to the site as a “transferred square” through a “transitional square”. Basically the repetition of 11’x11’ square grid is forming the whole project as a living transparent and porous urban wall, connecting the “Old Eye Hospital” with a green-courtyard and the Farmgate in distance on the east, the Manik Mia Avenue and the Sangsad Bhaban on the west. Facing west is the unique challenge for the site, which has been taken care of softly, with poetic intuition, without loosing its visual connections. Bangladesh is a country of six seasons with its unique subtle and substantial variations. The persistent sun, monsoon rain and wind have been willfully taken into account to make the scheme responsive to our climate. The use of thin water layer acting as rain collector is not only functional but Deltaic and connotative. The use of linearity, transparency and porosity in the building is not only for cross ventilation and connection but also to make it a traditional pavilion transformed. The use of shades and layers of green and parasols is not only essential but also sensual. The main material in this project is concrete. Its level of permeability and sustainability with structural ability in combination is remarkable. Use of exposed concrete as Kahn used in the parliament building in the hot and humid Bangladesh is not only compatible but also vibrant giving it a poetic essence underneath.

WA 2. Cycle Fullcourseware, December 2008 WA 2. Cycle Fullcourseware, December 2008 Presentation Transcript