WA 3. Cycle Fullcourseware, March 2009
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WA 3. Cycle Fullcourseware, March 2009



Full version presentations of the 3rd Cycle winner projects, March 2009- To be engaged with contemporary trends

Full version presentations of the 3rd Cycle winner projects, March 2009- To be engaged with contemporary trends



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  • 1 Pachacamac House Project name: PACHACAMAC HOUSE Function: Retirement Home Chief architect/office name: Luis Longhi Project team: Carla Tamariz, Veronica Schereibeis, Christian Bottger Client: a couple of philosophers Consultancy/collaboration partners (if any): Hector Suasnabar Design date: 2006 Completion date: 2009 (First Part) Area: 480 sqm A hill in Pachacamac, located 40 km south of Lima at Peru’s coast, is the site for the retirement home for a couple both philosophers. The response to the site’s conditions was to bury the house inside the hill, trying to create a balanced dialogue between architecture and landscape, where inside / outside becomes a constant interpretation of materiality with a strong sense of protection and appreciation of the dark and the light. A glass box sticks out of the hill symbolizing architectural intervention on untouched nature.
  • 2 DESI DESI is an attempt to find adequate solutions for an enhanced rural living that also shows the next level of building development. The crucial moment in development is the step from low-income to middle class houses. The trend in Bangladesh shows it very clear – it is a shift in the building materials – from earth to fired brick or concrete. What the DESI building wants to show is that the difference between a basic and developed architecture lies in an increased input on craftsmanship, on technical know-how, creativity and a profound planning. This shows a very fair way of development that doesn’t create a gap between poor and rich nor old and modern. It is a motivation for enhancing craftsmanship, a support on local markets and an increasing cultural pride and sense of identity. The DESI building is a new interpretation of the traditional Bangladeshi homestead. Typically in rural Bangladesh all of the various household functions - eating, sleeping, washing, etc. - are performed in separate structures that are built around a central courtyard. The DESI building, however, attempts to incorporate all of the functions of working and living into a single structure. The design is geared toward a lifestyle that is no longer linked with agriculture, but still linked to the rural context and culture. „It is very difficult to find educated persons who like to live in rural areas.“ {Paul Tigga, Executive director of Dipshikha} DESI {Dipshikha Electrical Skill Improvement} is a vocational school for electrical training. The DESI building houses two classrooms, two offices, and two residences for the school instructors. There is a separate bathroom with two showers and two toilets for the teachers and a bathroom facility with toilets and sinks on the ground floor for the students. Solar panels produce 100% of the building’s energy needs. A solar thermal heating system provides warm water. Solar panels also directly power a motor which pumps water from a well into the water tank. The toilets have their own two-chamber septic tank. This is the first time that sanitary units have been built into earth houses in Bangladesh, proving that mud and bamboo are flexible enough to accommodate modern lifestyle requirements. The building is a perfect balance of high tech and low tech – very basic building methods are combined with modern, alternative energy power systems. Because the building is passively heated and cooled and optimizes natural light and ventilation, the relatively small solar panel and battery system provides all of the power the building requires. Client: DIPSHIKHA, funded by Shanti, Structural engineering and technical supervision: Stefan Neumann, Solar installations and electrical concept: Jakob Schaub, Energy concept: Oskar Pankratz Advisor in earthen structures: Martin Rauch, Supervision of site: Stefan Neumann, Montu Ram Saw, Shoeb Al Rahe
  • 3 Orphanage at Chandpur Project name: Orphanage at Chandpur, Bangladesh Function: Dormitory for 24 students + 1 class room + game facilities Chief architect /office name: Khroma Project team: Saimum Kabir, Md. Rabiul Islam, Md. Mizanur Rahman, M Azizul Mohit Client: Mr. Salim, Managing Director, Com Valley Ltd. Design date: 2005 Completion date: Under construction Area: site area 5,226 sft , building foot print 2337 sft Project Brief: The Orphanage is situated in a rural context, surrounded by low land and water body. The project is an extension of exiting complex to accommodate rooms for 24 orphans, a computer class and indoor and outdoor game facilities. Rural architecture of Bangladesh has its distinct characteristics as regards planning, use of materials and locations. Like urban architecture, rural architecture is also subject to change, but in Bangladesh rural architecture has clung to tradition. For centuries, rural architecture has been constructed based on experience by using local materials and technology. The complex is designed with sympathy to the culture and tradition of rural area. The main challenge of the project was to adopt a design solution which will not only be technically superior but socially acceptable and properly suited to the genius of rural people. Besides, environmental performance of the building was critically judged in respect to natural light and ventilation. The site is east west elongated and surrounded by agricultural land on its two sides. On the west side there is a canal used for irrigation purpose. The building is Basically L-shaped in plan oriented towards an open space. Dormitory blocks and class room are located in two different arms of the L-shape. In order to avoid the excessive heat and to get the maximum benefit of cross ventilation, dormitory block is slightly tilted along south east direction. A screen using local bamboo is designed to cut the direct sunlight. At the same time window behind the screen was designed to act as a lightshelves to ensure diffused distribution of daylight. The class room block is located along the north south direction and is elevated on stilts. The objective was to link the inner open space with the surrounding serene natural landscape which at the same time creates room for indoor games.
  • 4 Stone Terrace Rice terraces are machines used to provide and distribute water from the forest to a series of horizontal surfaces. The material and form of this landscape is defined by the artificial system that maximizes the benefits of light, water and wind for agricultural products. The aim of this project is to convert this system for agriculture to new a system for human life. Minimum volume of residence is inserted into the middle of rice terraces with care of continuity of stonewall shapes. A very simple rectangular, flat interior creates various views according to it’s relation in shape to the surrounding landscape. Two closed gardens at the sunny side are directly connected to interior and become part of living room in summer. Bathroom has exclusive garden with special view to forest and sky. There are water garden and spacious rural landscape beyond of wide north window, Rain is allowed to drip along the roof and north wall in the expectation that this will create beautiful moss on the stone walls. Water from top of rice terrace and rain create Water garden. Water garden not only gives aesthetic effect to the view from north window but also cools breeze which be taken through north window in summer. In summer, cool air is taken in from the bottom of the north window and warm air in the interior rises along with the slope of the ceiling, where it is exhausted from the top of the south window. A tilted roof casts a shadow into the interior during summer and maximizes sunlight in winter. In this way, Stone Terrace becomes part of a natural circulatory system of water, air and light. DATA project name:   STONE TERRACE function:   residence chief architect/office name:   Kazuhide Doi / Kazuhide Doi Architects project team: client:   Hiroyuki Masumoto consultancy/collaboration partners (if any):   Hiroshi Taniguchi design date:   2006.12-2007.8 completion date:   2008.8 (optional) related links:   http://www.doi-architects.net
  • 5 CB30 Function: Apartment Building Location: Calderon De La Barca 30, Col. Polanco, Mexico D.F. Status: Built Chief architect: Dellekamp Arquitectos|Derek Dellelkamp and Juan Pablo Maza Project Leader: Juan Pablo Maza, Aisha Ballesteros Project Team: Aline Wallach, Arais Reyes, Sandra Ortiz, Veronica Alatorre Photography: Dante Busquets, Oscar Necoechea Design date: 2003 Completion date: 2006 Ground area: 420 sqm Total built area: 1310 sqm Relate link: http://www.dellekamparq.com/site/index.php?/projects/cb30/ Description: This building has 3 apartments looking to the street, as well as a two-story house in the back that looks into an indoor patio. The public areas taken into a single space facing the street or an open interior space. There is a spectacular tree in front of the building, and a view to the Polanco Park. These conditions became the central design objective, as we wanted to flood the interior out to the street and the park. To this end, the facade responds to the principle of eliminating obstructions between the inside and outside areas, generating openness and continuity. Working with structural geometry, we managed to support the 15 m. span on a 40 cm slab with no columns that could interfere with the view; we then sharpened the floor slabs and walls to the minimum, hiding the edges within the facade.
  • 6 Asian Culture Complex in GwangJu   Interactive Culture Stage (International Competition, 3th prize) We propose to constitute a stage that acts as a new container for the culture and everyday events.  If new stage for the city is creating an empty open space out of penetrations pathways and plazas, making the new ‘city stage’ is as same as to conduct an enormous mapping operation with penetrating programs and landscape.  We propose the Asian Culture Complex as the earth in between creation and disappearance. The earth that is transformed into fragmented pieces and become urban landscape filled with memories of the site and historical evolution of various spectrums of relationships. Extruded Plaza as Compound Body We propose to make the new plaza as the compound body a system that randomly assembles urban fabric, landscape, paths, open space, built structure, and programs  through which the new cultural courage can be generated. Two-dimensional skin of the plaza is extruded to become spatial skin. Not only stopping at changing the urban topography through spatial morphing, the plaza is rearranged by matching with diverse codes required  cultural code, artistic code, urban code,….matched with spatial code. The plaza is not a two-dimensional urban surface, but rather the multi-dimensional space with layers and folds of spaces that is matched by several codes. It becomes the framework of earthly generation that accommodate multiple channels of arts.       Recording of Gwangju - History and Urban Fabric We propose to establish the Complex through morphing the earth. The Complex becomes the strata of contours tracing the history of Gwangju and its memories of various events, while preserving the existing urban fabric.   1)Trace of History 2)Urban Landscape of Historical Memories 3)Event Stage for Activities  4)Integration of Stages Interactive Sections - Interactive Skins We propose the skin of the earth to act as the framework for the Asian Culture Complex Gwangju. Two-dimensional skin if the plaza is extruded to become spatial skin. Not only stopping at changing the urban topography through spatial morphing, the plaza is rearranged by matching with diverse codes required  cultural code, artistic code, urban code,….matched with spatial code. The plaza is not a two-dimensional urban surface, but rather the multi-dimensional space with layers and folds of spaces that is matched by several codes. It becomes the framework of earthly generation that accommodate multiple channels of arts. SKIN 01 Culture Stage City Stage  for historical memories and cultural activities Making a city - scale urban plaza of Culturescape Street Mat City - We propose the process of extruding out the existing city structures and fabrics as a way of recording the history of Gwangju  existing bands of streets are extruded to become the volume in order to frame the new city condition. This means that the city’s existing fabric with historical value is also the spaces and streets with historical memories and events. Through the reversal of old streets and masses, city-scale urban mat is defined, followed by morphing it into the earthly monument. Urban mat framed out by the streets then forms the landscape slicing through the surrounding urban panorama, hosting various events and programs, while providing needed circulations.       Three-dimensional event plaza embedded in the urban mat during the culture stage (stage 01), is inserted in between streets to become the multi-dimensional skin containing cultural programs and activities. In cohesive with outside landscape elements, it acts as a stage to host diverse events. Outdoor spaces framed out by the streets constitute various themes of programs  parks, commercial facilities, cultural and media centers and others. SKIN 02    Street Cell - Historic Recorder Through a process of spatial reversal, the three-dimensional volume of the streets become ‘objet’ to which its combinations are formed as a historical matrix. Streets are no longer the left-out voids of the city, but to become an active framework containing diverse range of programs.Through each street being accentuated by the city’s important historical events over time, programs and boundaries are defined for the Historic Recorder.Reaching beyond the limits of the concept that a gallery describes only the historical events, historical matrix are generated as a symbolic space for the memories and commemoration. New cultural network is organized at the heart of the cross-road connecting the city of Gwangju and Asia. Cultural network acts as one of apparatus linking functional mechanisms of the surrounding area with the topological context of the site. Through the rearrangement of lines and orientations embedded in the network, the compound body is created out of the existing pathways of the history and the future cultural pathways still to come.  Street cells segmented by the historical events are generated by the cultural hyper-link map and the event stage in the form of a landscape. Upper level of city stage , lower level of landscape plaza combined with the existing city fabric, and the hyper street cell integrated as a network, are altogether organized into the following spatial elements and their combinations: SKIN 03 Network Flow Hyper-street map, acting as the city plaza and landscape, is organized by the series of network cells. The site is not an isolated property, but rather becomes an open stage. The lower level of the city stage is a network of space freely interacted by the people, while the event stage at the upper level is penetrated by the series of programs to possess ideal urban dynamics.
  • 7 House in Carapicuiba The most remarkable feature of the site where the house is located is its depression, in topographical terms. From the street, we cannot clearly see its ground level because the ground surface falls abruptly into a little valley and woods: a stage 6 m below. The program joins two different purposes: a house and an office, it is a place to both live and work. Although these two functions share the same space, it is as separate as possible. The different levels offered by the site were utilized to arrange the two main programs. The street level was kept free of any enclosed space, it is a kind of “pilotis” with two different areas: the first one is on the ground, very close to the street, and the other one is aerial, as a roof terrace over the building. A bridge, made of steel, connects these two areas. The only entrance to the building is the bridge with its steel grid floor that leads over the open space: downstairs to the house or upstairs to the office. The house is divided into two levels, both below the street level. Its spaces are integrated with the woods, valley, gardens, and pool located at the ground level. The house incorporates the outside nature indoors: a sliding glass door opens the living room into the terrace,creating one large space. The bedroom and the patios can also be integrated at the lower level. From the street level, the office is located upstairs. Its dimensions, 3 m wide and 25 m long, making it look like a tube open at both extremities. Therefore, the windows offer new views: more landscape than patios, and more panoramic than an intimate space. The “tube” only rests over two columns. Reinforced concrete supports the whole building. Besides its materials, concrete and glass, this house is essentially designed based on the site’s geography and landscape. So few elements mean more concentration on the required work during its construction process. It makes it easier to control the budget and it help us focus on the necessary steps to build the house. Information project title: HOUSE IN CARAPICUIBA location: Sao Paulo / BRAZIL design year: 2003 construction: 2004 (under construction) architectural firm: spbr arquitetos principals in charge: Angelo Bucci and Alvaro Puntoni project team: Ciro Miguel, Fernando Bizarri, Juliana Braga client: Edward Magro structural engineer: Ibsen Pulleo Uvo and Ruy Bentes landscape architect: Klara Kaiser construction: Alexsandro Bremenkampf structural system: reinforced concrete major material: concrete, glass and some pieces made in steel. site area 450 m2 total floor area 300 m2 cost of construction US$ 250,000.00
  • 8 B 3 Workshop/Studio on Svitrigailos Street {Vilnius,Lithuania}
  • 9 Passive Solar Habitat In an effort to better educate those less familiar with concepts of sustainable living and being able to co-exist with our natural environment, this project expands upon techniques of passive solar housing by utilizing local resources and investigating methods of operability . Inspired by its’ natural habitat while simultaneously consistent with techniques in passive solar design, the project takes advantage of immediate local resources to sustain itself by using the sun’s energy for heating and cooling living spaces and collecting abundant, discarded materials as a way of re-thinking how the building is constructed. The design is perceived as a composition of recyclable materials such as salvaged steel from local industrial zones, timbers, aggregates from quarries and slag. The housing structure is intended to be assembled as a series of prototypical, pre-fabricated components minimizing cost, labor and site impact. In highlighting the use of materials, the design becomes a representation of sustainable re-use principles. Equally relevant to the project’s conceptualization of meshing with its’ natural environment are the dynamics of operable building components. Although many passive systems often do not implement moving parts, the design seeks to investigate means of operability and layers allowing it to open up to natural breezes and sunlight or close itself off from harsh weather, winds or western sun. The building tectonics are seen as an exploration of possibilities in ventilation and natural day-lighting that come with breezeways, operable walls and clerestories. A series of pre-fabricated façade and roof panels are used and are independently operable to maximize interior comfort. The majority of window glazing utilizes south and east facing sun to collect and distribute heat by means of the design’s thermal masses, which are centralized as the floor slabs and circulation core. The ground level serves as the main entry plaza below the interior living spaces. By elevating the primary living/dining/sleeping zones, the functional spaces are doubled without doubling the resources, site impact is minimized and contextual views are enhanced. The roof incorporates an accessible green roof system used for both cooling purposes within the house and outdoor recreation.
  • 10 Bungalow Olger A 120-square-meter house designed as a holiday home for Mr. Arrollo Olger, located in Tenorio National Park. The project benefits of an impressive panoramic view on the region. From there you`re able to see the Tenorio and Miravalles Volcano as for the lake Nicaragua.The climate is very rainy and humid with a short summer from February till May. This is a all-wood project, except for the concrete tower which contains the sanitary fittings. The interior is naturally ventilated, protected from the rain and the sun by the overhanging roof. The centrality of the terrace increases the interaction between the indoor and outdoor spaces. Dimensions have been conceived keeping in mind the reduction of material loss as well as rational use of manufactured products.
  • 11 Kiltro House This project is almost a statement of how to accomplish architecture in Latin-america. The process was so unsteady, that all possible architectural design resources available where exercised to cope with the challenge of this house in the Chilean Central Valley. Everything was in constant change: the program, the surface, building permits, the contractors, even the view ! The modus operandi is rather based on mistakes than certainties. The result: a mix, a bastardized design, a fusion, like a crossbreed dog, in Chilean: a Kiltro.
  • 12 Casa Pakal 3 Function: Single House Office Name: Edgar Marin / Taller de Arquitectura Project Leader: Edgar Marin Client: Norma Gonzalez Consultancy: Engineering – Octavio Rocha Pool Developer – Aqua Plus del Caribe Design Date: 2007 Completion Date: 2008 Area: 340 m2 Related Link: http:// edgarmarin - tallerdearquitectura . blogspot .com Located in the Mexican Caribean, in the Peninsula of Yucatan. The House is surrounded by a tropical jungle. The main idea was to recapture typical elements of the place like the Stone wall, called (Albarrada) and merge with a contemporary architecture that gives the principal characteristic of the façade. The house develops along a swimming lanet hat crosses it to everything long and ends in a tropical jungle garden where all the interior sights are opened. Elements such as pergolas and umbrellas were designed to avoid strong solar radiation of the region.
  • 13 M useum of Ivan Marchuk and Offices function: MUSEUM, PİCTURE GALLERİES, OFFICES chief architect/office name: VİKTOR ZOTOV project team:   VİKTOR ZOTOV MARİYA ANDONİEVA, ALEKSANDR ZHİDKOV, SERGİİ GORLOV, SERGEY FERLEY, LİUDMİLA BİELASHOVA, IRYNA MİROSHNİKOVA, client: «IVAN MARCHUK EXHİBİTİON CENTER-MUSEUM»LLC design date: 2008 completion date: ONGOING size: 13 000 M2 the main urban task is to connect two central public zones: Andreevski slope and Mikhailovska square – this pedestrian way lays on the building body. Main part of the building cover becomes public; this is amphitheatre and outdoor museum at the same time (prolongation of internal exposition). very precious city territory defines “hidden” architecture: all vertical surfaces made from glass, all horizontal ones have natural grass cover. Sharp angle of visual perception reflects the park. Part of existing trees are saved inside the building. premises that are adjoined to the cover (with natural light) are offices; museum and picture galleries situated “inside” the volume. decorative surfaces, interiors are made according to Ivan Marchuk paintings. project name: NATIONAL SPORT COMPLEX (NSK) size: 90 000 m2 phase: concept program: entertaining complex with covered 50-meter swimming-pool and accommodation for the sportsmen and other persons and office-hotel-apartment spaces, buildings of the sport complex. accommodation function – 20 000 m2 offices – 14 000 m2 public service – 8 000 m2 swimming-pool and fitness centre – 17 000 m2 parking – 27 000 m2 there is a try to combine the new sport functions of Olympic scale awith accommodation and offices. project name: TOWNHOUSE IN THE WOODS size: 3 Ha phase: preliminary design collaboration: Yurii Ryntovt program: 3 apartments in the forest with elements of service and two villas. The apartments are typologically different. metaphor: mossy branch, that fell down on the landscape. decision: to block the apartments to one solid volume, what allows minimal harm to the context. project name: LIBRARY ON VELIKA ZHITOMERSKA STR. size: 6 000 m2 phase: concept program: to prove to right choice of the plot for the public library. from the Lvivska square – it a city-hall (outside and inside the building), gate to the Peizazhna alley. from the Hills side – the ribbon of the landscape with grass and trees goes up to the point of the cornice, making the building a hymn of Nature. the architectural form is presented by two contrasting layers: inside “the ribbon” and on it. the inside layer has refined high-technological interior. the outside layer – park: the visitor can read a book sitting with an ice-cream n the park bench. also – birds in cages on the trees and the stream, which flow from the roof lake through all the building “snake” to the bottom. In the lake – golden fishes and swans. ramp slope – 1:12 underground – the parking.
  • 14 The ZS Hope Primary School Maoping Village On July 19, 2006, rainstorms and mountain floods caused by Typhoon“Bilis”destroyed the original buildings of the primary school in Maoping Village. Zhejiang Association of Commerce (ZS) in Hunan Province urgently raised 500,000 RMB on July 29, 2006 for building a new primary school - the ZS Hope Primary School, Maoping Village. The money was to be used for ground-leveling, playground facilities, desks and blackboards, school uniforms, and so on. The total floor area of the school is 1 168m2, and the actual construction (including interior plaster rendering) cost is 300 000 RMB, which amounts to 300 RMB per square meter. Voluntarily undertaking the task of designing the Hope Primary School, our studio started site analysis on August 5, 2006. Together with local villagers, we constructed this new primary school on December 8, 2007, the whole process having lasted for sixteen months. Leiyang, which is located in the south part of Hunan province, is the home place of Cai Lun, the inventor of paper-making in the Eastern Han Dynasty (25-220 CE). Maoping, which is 30 kilometers to the south of Leiyang, is a small mountain village with its simple folkways. Surrounded by hills on all sides, the village and its houses continuously spread out by following the topographical contours of hills and valleys , with the ancestral shrine at its center. Along with the development of economy and the advancement of urbanization, great changes are taking place in the Maoping Village, as in the vast rural areas of China. Our design began with learning local residents’way of life and interpreting local residential buildings. Containing solutions for local design problems , local experience of building formed a basis for our exploration of new architectural expressions. With a Modernist sensibility, we sought to invoke the essential spirit of local culture, and at the same time relate it with contemporary life. In this way, not only is the new primary school endowed with memory of the past, keeping alive the good tradition of local residential buildings in their appropriate adaptation to the local conditions, but while revealing local characteristics, it can also open-heartedly constitute a place with a spirit of the times and a real sense of culture, so as to expand the values of local culture, and represent the humanistic character of the particular building type as embodied in the Hope Primary School. The site of the primary school is on the slope in the northeast of the Maoping Village. The two-story school building stands on a terraced ground that is embedded in the slope. The configuration, crosssection, materials and colors of the building are basically isomorphic to local houses, and the scale of its gables is largely commensurate with the surrounding houses. The division of the structure by small skywells that correspond to teachers’offices and staircases renders the whole building resembling a cluster of local houses; through the breaking-up of the whole, the school amicably blends with the local environment. In order to keep the construction cost under control and to adapt the project to the local construction techniques, bricks are still employed as the main building materials: red bricks are used for the building so as to have a better dialogue with the surrounding houses; whereas the limited amount of those surviving large grey bricks are applied to roads, paths, and open grounds. The northern brick facade has a few brick lattice works piercing through each of the wall, a measure of architectural treatment that was derived from the tradition of local houses, where this technique had been applied in order to reduce deadweight of the wall and to ensure ventilation. The largest wall with lattice work of this kind on the north side of the lobby becomes the only “decoration”for the lobby space, and entering the lobby, one is presented with a digitalized scene of the outside landscape, making the space distinctive. The southern facade, with wooden framework screen as its integral part, similarly borrowed the language of local architecture, so that the building was instilled with certain symbolic significance, like an unfolded role of bamboo slips for writing, the facade gains an air of scholarship for the primary school building. The corridor on the second floor is thereby distinctive: when one looks out into distance, it seems as if the landscape is present behind a stretch of woods, and the building therefore is not only a architectonic structure but also a toy with intersected light and shadow, which children can enter, and with which remain the special memories of living in Maoping.□
  • 15 Casa Y A concrete box is buried on site in order to obtain more privacy in the public spaces. The crystal façade on the south side allows light to enter during all day providing different degrees of luminosity. The empty space in one-and-half-height changes when one start to descend. The kitchen countertop emerges from the stair steps and faces the dinning room and the end of a more intimate and dim living room. A corridor begins in the access and is placed above the cupboard before reaching the bedroom, which floats over the empty space crossing the crystal façade, and flies towards the garden looking for the view of the sweetgum-tree on the west. The bedroom splits itself from the edge generating a strip of light that descends all the way to the living room. All the spaces are connected to the garden but with different hues of light. The walls and the concrete ceiling enhance the feeling of protection. Our experience of intimacy is improved by the depth, by the concrete, and by the light.
  • 16 Entre Muros House function: single house chief architect/office name: David Barragán and Pascual Gangotena / al bordE arquitectos project team: David Barragán and Pascual Gangotena client: Carla Flor consultancy/collaboration partners: Arq Bolívar Romero / technical advisor – rammed earth specialist design date: july 2007 completion date: june 2008 area: 180.00 m2 The wish to set up, the search for living in harmony with nature, the need of autonomy for each one of the three members of the family, the low budget (understood as the optimization of resources and spaces) and the phrase: "There is always another way of doing things and another way for living", settled by her, were the starting point for the design. Far from the pollution of the city, the house is set in the hillside of the Ilaló volcano in a indomitable land. It's limited by two streams opened to the landscape of the valley. A cut in the sloping land helps to generate a platform for the project and also to get enough raw material to build the gravity walls. The waving form as a result of this cut in the land, defines the position and order of every wall.  The succession of these adobe walls and the different heights of the roof caused the division of the house even for the activity or the user. In order to get rid off the domino effect, the gravity walls break their parallelism solving the structure and strengthening the character (spirit) of every "refuge". The furniture is worked inside the thick adobe walls. The long corridor is used as an element that isolates the project from their immediate neighbours and reinforces the autonomy of every space. This architecture aims to highlight the nature of the material elements that compose it, promoting the aesthetic, formal, functional and structural qualities as well as the maximum respect of the environment. ASKING PERMISSION TO THE ILALÓ VOLCANO The harmonious relation between the nature and the architecture is very important for the owner and also a decisive fact for the design, constructive process and the operation of the house. 1. Following ancient customs, a ceremony is prepared to ask permission to the volcano. There, presents and the best auguries are buried creating an energetic centre in the space that divides the social area from the private one. The house is cleaned of bad energies in the ceremony, and finally an offering is put into the energetic centre which works as a meeting point between the users and the volcano. 2. The gray waters go to processing pools turning them into irrigating waters. A dry bath and a solar system to heat the water are designed. The wood and reed-grass have been cut in “good moon” to avoid the usage of chemical products for its treatment against plagues. 3. The land like material of construction generates low impact in the projects environment. The raw material comes out of the generated cut in the sloping land. It does not produce rubbles, stores heat and regulates the interior climate by having the aptitude to absorb and desorber the dampness more rapid and in major quantity than other materials.
  • 17 Eicher-Volvo India Headquarters, Gurgaon function: Office Headquarters chief architect/office name: Romi Khosla, Martand Khosla project team: Chandu Arisekere, Veer Nanavatty client: Eicher Group consultancy/collaboration partners (if any): Structural Engineers - CONCAT design date: 2007 completion date: area: 57155 sq.ft. Concept Eicher House building is conceived in a way that brands the engineering core of Eicher business. The building reflects this emphasis on engineering and expresses its structure on the outside of the building surface. By designing an innovative structure based on the tetrahedron within a cube, the Architects working in close collaboration with Engineers in Pune have devised an economic and bold solution to a multi-storeyed structure. The Eicher House is primarily divided into 3 main components I) the base, II) the main office and III) corporate head office. The base is a linear building sitting on the ground; comprising entrance lobbies, cafeteria, games rooms, service areas, as well as the Research and Development wing. Sitting astride the base are two volumes, one large and the other small. The former comprises the entire office floor space of the Corporate Building, and the latter houses within it the offices of the senior management of the Eicher corporate infrastructure. Both these volumes are meant to juxtapose each other. Vegetation and Sun Protection The volumes that don’t house buildings on the base, i.e. the open terraces, have been planted over with roof gardens. The main building also has creepers growing down the side of it, to act as sunshades for the building, reducing heat intake. The West and South facades of the buildings have louvres angled to reduce the direct intake of heat into the building. The louvres are angled specifically for the latitude and longitude of the Eicher building. We have tried to balance here a building which is engineered, as well as climatically responsive.
  • 18 House in Nicosia location: Nicosia, Cyprus function: Residential Unit chief architect/office name: Nikos Mesaritis/ Polytia Armos project team: Nikos Mesaritis, Marios Pelekanos client: Costas and Sophia Avraam design date: 1999 completion date: 2003 material: concrete, glass, wood and steel structural system: reinforced concrete construction cost: 8 00.000 Euro related links: www. polytia .com
  • 19 Church of Living An old Catholic church is transformed into one spatial residence. The character of the small church is maintained and where possible reinforced. The colors of the characteristic leaded glass come to life by white-ning the complete space. The stained glass works as a projector on the clear surfaces. For extra daylight roofwindows are added, through which diffused light enters the chapel. In order to create contact with the city a large Mondriaan-like window is added behind the original altar. It’’s an abstract version of the leaded glass with its strong colors. The balcony with its beautiful organ is extended in the shape of an organizing element. This sculpture defines the different spaces in the chapel: living, dining, cooking and studying on top of it. New spatial hierarchy is created by the asymmetric placing of this organizing element. It’s kept minimalistic and given abstract shapes, by which it intensifies the contrast with the original soft shapes of the chapel. Some original furniture is re-used in the new atmosphere, like the churchbenches in the dining-zone. Also the table is made out of churchbenches. In contrast with the daytime-chapel-space, the bedroom is made extremely dark with clear white sanitary.
  • 20 Riva Split Waterfront, Split Program public space Status completed Start date Jan 2005 End date May 07, 2007 City Split Country Croatia Geolocation 43° 30’ 28” north, 16° 26’ 16” east Type public competition - invited Project surface 24707 m2 (competition entry) Ground plan surface 24707 m2 (competition entry) Ground plan surface 14000 m2 (already made) Price 11.3mil€ Client The City of Split Author 3LHD Project team Saša Begović, Marko Dabrović, Tanja Grozdanić, Silvije Novak, Irena Mažer Design of urban elements Numen/For Use: Nikola Radeljković, Sven Jonke, Christoph Katzler, Jelenko Herzog Landscape design Ines Hrdalo Light technology design Nova-lux - Zlatko Galić and Dijana Galić Electrical installations Mladen Žanić, VOLT-ing Water installations Ivo Makjanić, HIDRO-dizajn 3D visualization Boris Goreta Model Zoran Kodrnja Main contractor Kostruktor Split Supervision IGH Split Publications The Good Life: New Public Spaces for Recreation Exhibitions Take One, Hamburg, 2005; The Good Life: New Public Spaces for Recreation, New York, 2006; Wonderland, 2004-2006   The city of Split, Croatia and its waterfront, the Riva, the embodiment of Splits history and character, are among the most interesting and most remarkable sites in the Mediterranean. The Split waterfront is an urbanized, open and accessible public space – it is, so to speak, the town’s living room. It stands in front of Diocletian’s Palace, the home of the Roman emperor more than 1700 years ago. Over the centuries the palace was transformed from a private residence into a town. In a related fashion its waterfront also underwent numerous transformations of material, form, finish and functional use. Considering its exceptionally valuable role in the city of Split, the competition guidelines for the waterfront restoration had very precise requirements for respecting cultural and historical heritage, taking particular care of the contact zone between the project area and Diocletian's Palace, a world heritage site protected by UNESCO. In May 2005, an expert jury awarded the first prize to the design work of 3LHD architects at the public competition. The project was completed by the agreed upon deadline and the Riva was opened on May 7, the Day of the City of Split, by the procession of St Duje, patron saint of Split. The waterfront is a focal point of community activity where the city meets the sea. 250 meters long and 55 meters wide, it is also the main public square, the space for all kinds of social events, promenade by day, parade by night, the site of sport events, religious processions, festivals, celebrations and political rallies. The 3LHD project rearticulates the space for all the events referred to above, harmonizing them on a new integrated surface that adapts to all the usage scenarios while retaining the Mediterranean character of the city’s socio-cultural symbol. The project’s goal was not to simply add a new modern layer atop the earlier structure, but to free the existing surface of everything superfluous, establishing an infrastructure that meets the needs of contemporary life. The project development starting point was a modular network of concrete floor elements 1.5 x 1.5m, the measure of a full stride of two steps in Ancient Rome, so called paces. The color of the concrete varies from white to pale gray and its arrangement and concept is conditioned by the notion that the elements seen from afar should make a pixel image of a rippling sea. The modular floor covering is the framework for all the current and future purposes and determines the arrangement and the positions of all the other elements of the public space: benches, green areas, outdoor cafés, sunscreens, and structural elements such as manholes, water connections or distances between light sources. The project amends the detail that over the course of time the functional arrangement of certain spaces of the waterfront was identified, but never architecturally designed. The northern part, along the palace and buildings, always had a row of cafés, restaurants and pastry shops, which were removed from the façade by the renovation project in order to enable free pedestrian movement along the buildings. The outdoor cafés have become an element of spacial design both as a functional part and as a part of the visual identity. Sunscreens, lights and other equipment, which used to have different shapes, sizes and colors, have become a part of the image of the city from the sea and a unique element adapted to the climate, with the motifs of masts, sailboats, sails and ships. The screens made for the outdoor cafés are useful not only as the protection from sun and wind; the flexible project of this urban element enables its easy opening and closing, of course depending on the weather, making it possible to set the sunscreen/sail vertically, turning it into a projection screen by night. On holidays or during concerts and city festivals, it is possible to have all the elements of the outdoor cafés – tables, chairs and the screen – completely removed to enable the free passage of a large number of people across Riva. One outdoor café consists of an element measuring 6x6 m, which is 16 (4x4) modules. The central promenade is 10.5 m (7 modules) wide and is free of vertical elements over its entire length. It enables the passage of delivery and emergency vehicles. The promenade is defined in space with the outdoor cafés on the north and with light sources, palm trees and a series of three differently shaped parks on the south. A very important design element of the new Riva, are the green elements that introduce the unexpected into the project with their flowering, growth and scents, forging an unbreakable bond with nature. The primarily Mediterranean but also aromatic, medicinal and spice plants include myrtle, oregano, basil, wormwood, thyme, immortelle and lavender. As perhaps a symbolic element, there is also "brnistra", a species of acanthus, with the Latin name of aspalathos which is said to be the origin of the name of Split. Plants are chosen for their color and height: they are almost always short, not interfering with beautiful seascapes, and with adequate colors that make the gray and green leaves look from afar like the rippled sea, like the colored concrete elements. The plants' colors vary from a dull whitish-gray to lively silver and green tones; when the plants flower, they get variegated accents, from stony soil to shrubs. All the chosen plants belong to the Mediterranean climate and can stand the conditions on the Riva. They are mostly perennials, immune to salt, thriving in the hot sun and demanding little water. The landscape project was done together with Ines Hrdalo. All urban elements were specially designed for the Riva and reinterpret the celebrated Mediterranean quality of idleness. By night Riva becomes an ardent lungomare with the light sources following the particularities of its different areas. The main promenade includes the basic lighting of the pedestrian zone. Tall lights, arranged in an orderly manner along the promenade, shed a uniformly warm white light on the entire central stretch. This is the first example in the world of the fifth generation of LED technology being applied to city lighting. Similarly tall lights on top of the poles supporting the sunscreens have lamps that light the narrower northern promenade. Urban elements were designed together with Numen – For Use design team and light designers from Novalux. The competition program asked for a solution for the entire area of Riva, covering 24,707 m2; in the end, however, it was decided that the first phase would renovate only the central, purely pedestrian part, covering 14,000 m2. The renovated area of Riva is a strip, some 55 m wide and some 250 m long, with its longer side following an east-westerly course along the coast.
  • 21 IAP House This is design proposal for IAP House has evolved from a series of inspirations. As a pre-requisite, it attempts to justify the fundamental expectation to be the hall mark house of design professionals who are bestowed with the responsibility to shape the built environment for the people. The design complex draws its reference from the historic profile of Karachi in general and Clifton in particular. The orthodox simplicity in the geometrical compositions, depicted through different hybrids of orthogonal forms had an over whelming influence in the early development of built forms across this area. Despite rapid transformations, few of the built reminiscents can still be dotted in the older enclaves of the vicinity where site for IAP house is located. Among the ingredients, wall profiles have a profound appearance in the overall façade and form interface. The wall gave the initiating physical identity to the compositions. A relationship of correspondence was created between the walls and masses inside its enclosure. Tying the link to the roots, the front wall is made a prominent feature of the cumulative design development. The WALL acts as a protective barrier for the dweller to enable him / her to accept and reject the outer world elements and asserting his / her desire to exist and be part of the urban fabric. Within this inner world, functions and activities are allocated specific & separate areas / spaces yet they remain part of the inner world by being around a central open space traditionally called “SAHN”. It acts as a nucleus where all the activities converge and originate, where the views and experience of domesticated nature enrich the environment. Simple geometry / form, authentic materials and nature constitute the essential elements for the architectural composition. In an urban environment beset with preponderating influences of various kinds, the proposal has attempted to instill the merits of nature while remaining honest in approach to the client’s brief. In the given context the wall plays a definitive role to keep out the external world and to protect the world inside. It only permits those elements {wind, sunlight and sky} of the outside world that promote balance of the inner realm. This leads to the skilful manipulation of rejection and acceptance. The site of IAP House is surrounded by non-descript views and buildings. Overall appearance of the structures does not go beyond the mark of a run down fabric in need of design intervention of an appropriate kind. The site front falls on the south west exposing it to the full day sun cycle and other prevalent weather conditions. Apart from being contextual, it is a functional and green / sustainable building. It is required to be an inspirational building in terms visual and spatial experience. An attempt has been made to create an “Architecture” which relates to the specific needs and context but avoids indulging into historicism and semiotics. The U – shaped structure which envelopes the activities / functions of the program stands detached from the front wall. It creates an open space / court yard allowing the amaterial elements like wind, sunlight, sky and rain to enter the building. The front wall acts as protective barrier clearly asserting its presence in the changing flow of the city. In contrast, it acts as back drop for amaterial elements in the interior to enrich the space. The building layout provides proper cross ventilation and day light ingress {openings, skylights and open to sky court}. The water has been used as prime landscape element. Apart from its aesthetic relevance, it has functional value. The reflective pool in the front acts as a deterrent from vandalism. Neighbourhoods of Karachi in general and Clifton in particular have a strong breeze factor that adds thermal comfort to any developed profile. It intelligently used through careful orientation, the breeze can reduce the energy consumption level especially during long stretched summers. The pool on the sides helps to cool the west ward wind flowing over it into the building. The inter play of light and shadow helps in revealing forms, texture and spaces. The Stainless Steel lattice work encompassing the court yard and stair cases on the sides subtly accentuate this interplay all through the day enhancing dialogue with the material while fulfilling the requirement of security. The use of concrete with the traces of regularly attached shuttering and separators is not to express the material itself but to employ its sculpturesque with solidity to the outside. Inside light pattern and overlapping shades bring out the tranquility and softness transcending material quality.
  • 22 House no.12 Precision in a linear time ware, occur after the proximity. In fact, raising one, end up to the different consequences. Precision passes and raises above the proximity relaying on ergonomical logic and the economy of environ. Proximity and precision constructing the form and creating the meaning of composition .but this composition is the consequence of different time length entities. Precision and time consuming have a direct relation. It means that proximity is part of precision process in both directions which ends up to more precise or proximate. It is true that all proximities are part of precision process; they build the building. That means the composition is the result of time differ incidents. All the architect effort is to achieve the precision. In other word synchronizing all the different time properties of materials. House no. 12 is experiencing the collective destiny of unequal time length material in a close set. All the neighboring of entities is exploration of the decay. "Decay" is the counter process of proximity to precision which happening in house no. 12. In short, the process here is the xenograft of nature on to the House: transposing entities from an entirely different species to another, in a frozen and preserved condition corresponding to their in situ status {i.e. natural position}. A body of capture rather than enclosure or superficial {tethered to the logic of visible surfaces} openness.
  • 23 P rogrammatic Mountain CINEMA vs. NATURAL CINEMA duality of a cinema / projection within projection “Flim are viewed in a darkened room, each spectator sits immobilized, fixated by a single hypnotic frame of light, semi-somnambulant, isolated, but surrounded by presence of others. This unique social and psycological experience produces a pleasure similar to that derived from dreams, and which can later be discarded and disavowed.” -Dan Graham; theater, cinema, power There has been no social engagement and contingencies due to internalized typology of previous cinema itself, its compositional problem, and left over parking space in the series of different contextual geographies. Responding to the environmental and atmospheric changes, architecture becomes a device creates new typologies of cinema and social engagement both in and outside on the boundary of different geographies. Lighting and shadow become environmental parameters to overlap two types of cinemas and to create differentiated programs in one space. Furthermore those architecturally perform by carving the geometry of individual cinema and its composition, and thus create time-related socializing in `desert island context`.
  • 24 Ziranenge/Angel Entry for the "Design for the Children Competition" hosted by the Architecture for Humanity Organization - Children Hospital , Rwanda, Africa Our Response: ....A childrens legend.... the year now is 2058. my memory is cluttered with images of when it began ...50 years ago. It was a time of great confusion and anarchy. A time when cultures and economies were failing around the world. It was a time after the genocide. It was a time when children were being lost to various deadly plagues of the kingdom. It was a time when the children sang a song of million voices..... Ni ryari izuba, Rizagaruka, Hejuru yacu, Ni nd` uzaricyeza ricyeza. {When will the sun return above us?} {Who will reveal it once again to us?} - Million VOices byJean Wyclef It was during this time that the two appeared - mystical, alien, beautiful and powerful. Yet there was something about them that was warm,earthy and humble. in their presence one always felt like this was were one belonged. They held within them the power to heal worlds. DP and CB were stardusts. they were miniscule in comparison to the larger greater force that was locked and hidden within themselves. No one knew exactly where they came from or where they would appear. But rumor was they were part of a sacred tribe called "fight for the children". Together their duty was to heal the children of the land and aid in the birth of more. As these were no ordinary children they were the symbols of hope for a land that was termed as a place where "GOD comes to sleep". However there was a prophecy which predicted that a time would come when the stardusts would transform into higher beings of OA and IA. The prophecy also predicted that the unison and transformation of these two stardusts would unlock the doors of the greatest healing force in the land - Ziranenge, ANGEL. Concept: Ziranenge/Angel When we downloaded the information regarding the different sites proposed by the competition it was difficult for us to decide which site to pursue as we have limited understanding of the conditions on both sites based on the raw data available. Hence it became critical for us to formulate a system/tools of design that could be interpreted for various sites irrespective of boundaries. Keeping this ideology in mind we decided to select Lat. 2 09’46.011”S Long 30 31’21.07”E as our probe site. In order to understand accessibility to the site we began by drawing a circle 1acre in size {depicting the built up allowed} within the site as the loci for he site. We then began to trace paths of people who would arrive at the hospital from distances out of the region as well as those within the periphery of the site which became our point of access into the site. We later moved the foci on site to various locations as to understand how these walking patterns would morph and to challenge the notion of the location of the building within the large site. Our next move was to focus on the acre and develop the overlaps in various fragmented options that could take the form of the program. We selected one of these options to take the form of our design proposal. We have titled our proposal as Ziranenge/ Angel as we feel this project is one that a} will be responsible in bringing relief to the children and pregnant women who have limited access to such facilities b} we also feel that the project in a way would become the regions “child” where everyone around would contribute to it in some for or the other. Our goal was to create a structure that would offer security, comfort, be cost effective and have the ability to create its own identity. We are proposing the use of Adobe bricks as they are not only sustainable but their ability age naturally and to appear as part of the landscape are essential qualities of design. An important factor in terms of design was also to propose the fortress wall as a design element that rises from the ground around the building and is carved by local artisans in a traditional fashion. The trellis provided above also rises from the ground at times is to be constructed out of dead wood found and can be built in course of time. The fabric portions of the proposal are to be considered as bed sheets or canvas to offer protection to people who have travelled for long distances to the hospital. The trellis can also be loaded with solar panels whenever the institution can afford to do so. The roofs of “Angel” are designed to collect water through gutters engraved into the slopes or at the ends of the vaulted roofs. The water is collected from the roofs and processed through an ancient traditional water purifying system designed in Mandu, India which involves the physics of processing water through centripetal and centrifugal forces to rid water of its impurities before use. All the roofs proposed are to be covered in broken china/porcelain in order to reflect heat radiations. For the children’s ward and the infant ward we have designed the wall in a way so that they may have an interaction with the outside world even though they are confined to a ward. We have designed the roof of the ward so that the children in bed can look out to the stars through little mud pods which are situated on the roof and the walls. These also add to the insulation of the walls further. We would like to incorporate local children’s art on the walls of the structure. We have limited the use of glass and stressed more on the use of intricately locally carved meshes to be used as ventilators for ventilation and cooling purposes. The room for HIV prevention is incorporated with a niche to place a computer and screen to transmit information to all passers by. The amphitheatre is designed to be in close proximity to the HIV room so it can work as an informal space for conversations or seminars. As part of our escape strategy in case of any catastrophe we are proposing a hot air balloon that may be used to transport the patients from one place to another. The balloon also acts as a marker in the sky indicating the presence of an “Angel”. In time we believe we will be able to create Angels all over Rwanda and they will formulate their own healing constellation which grows from one to two to three to an entire network of angels where each one is designed by the process of understanding the existing conditions with viable solutions that lead to their integration into the fabric of the country.
  • 25 Hye Ro Hun HYE RO HUN (House on Floating Land) architect. Hyo-man Kim, KOREA The house in urban nature This site is located in borderline between city and mountain. The view of the front side that is the east-side is clearing up, so the urban landscape of downtown Gwangju is seen. There are mountains by the rear-side as a nature and view. Dramatic access way from gate to entrance By opening transparent gate door, it starts to begin access into the house, along the long walkway where looks like architectural canyon. After the penetration through under space of the upper bridge-corridor, it comes to reach the inner court that is attached to entrance. Two boxes on floating land Two wooden boxes which are consisted of duplex room are laid on landscaped architectural mass which contain living room and dining room. The one box contains master bed and study room and another box is consisted of two bedrooms and study rooms for two daughters. Floating garden over the living room - Special Space and Light of ‘Box inside Box’ Over the living room where has dynamic space in 9M high, double height master bed-mass with bamboo garden is floating…Through the top light of the roof, moving sunlight vary the atmosphere of the inside space of living room all day long. Floating roads Horizontal or vertical ways which are indoor or outdoor, all the ways inside of this house circulate itself continuosly each other with the dramatic sequence of the various space. DATA project name: HYE RO HUN (Floating land) function: Individual residence chief architect/office name: HyoMan Kim, Iroje KHM Architects. project team: SuMi Jung client: HyungSub Shim consultancy/collaboration partners (if any): X design date: 2004 completion date: 2005 area: 269.07 ㎡
  • 26 Imprenta Grafishow / Grafishow Printing Works 2002 Buenos Aires, Argentina Honourable Mention CPAU/SCA Biennial Architecture Award Function: Printing Works Office name: Daniel Ventura Arquitecto Design date: 2001 Completion date: 2002 Area: 220 M2 Associate architect: Federico Azubel related links: http://www.danielventura.com.ar http://www.archiportale.com/progetto/buenos-aires/daniel-ventura/imprenta-grafishow-grafishow-printing-works_6723.html http://www.trama.com.ec/espanol/revistas/articuloCompleto.php?idRevista =10&numeroRevista=78&articuloId=117 Constructed in the city of Buenos Aires, on a lot measuring 8.66 metres wide and 23 metres deep, this building, a printing works covering 220 square metres, consolidates the edge of the city with a metal wall rising the height of the ground floor and first floor. Use of resources which are very basic, in terms of both structures and construction techniques, allowed the architect to employ a vocabulary that might be defined as 'expressively austere'. The ground floor, a uniform, windowless white structure that seems to be intentionally limited to the function of base, barely reveals the location of the entrance door and the loading and unloading bay for printing material. But the first floor opens up toward the sky, letting daylight in through a series of metal fins which dematerialise the building's mass to create an elaborate counterpoint of solid and empty spaces. From the outside, the transparency of the hermetic crystal wall reveals the different degrees of depth in the building, while from inside, a tree provides shade from the sunlight, its perennial green mass standing between the metal fins and the sky. As the project was intended to be an elaboration on an architectural structure, space is expressed by the naked vocabulary of this structure and the elements composing it, which, playing with light, express their strong artistic value while at the same time interpreting the building's various functional requirements. The deep volume of the printing works is illuminated by four skylights which evenly light up the whole surface, and a system of glass walls ensures the space is perceived as continuous right down to the back, where the bright light of the entrance hall dominates the void.
  • 27 Caleta de Pescadores Artesanales, Pichilemu Wood`s Student Proyect. 3 student Iván Henríquez Sol Angel Ramírez Raúl Hidalgo and one "boss" professor Professor: Iganacio Prieto We represent the Universidad the Viña del Mar in this national concurse CORMA. for more info you can visit : http://www.arqydisarquitectura.bligoo.com/content/view/220592/Proyecto_Concurso_CORMA_2007.html
  • 28 A House in Jeddah The house is to be built on a 28m by 30m site in Jeddah. The design is an attempt to exploit some of the spatial and form vocabulary rooted in local traditional architecture and use it in a modern context. Paradigms like "Roshan" (bay-window) and open courtyard are merged with "facade painting", terraces and light-shade articulation.
  • 29 Nashr Yadavaran Administrative Building The main concept behind the design of this project can be expressed through several layers. The science of "space" is concerned with the different dimensions of both the society and the single individual. The outer surface of the building creates a transparent effect by allowing the entrance way to be visible in great depth. This is a combination of the various elements of both social and bureaucratic space, which is capable of promoting space quality. The large 2x2 partially see-through gate opens by rotating on one leg, and connects the outside public space with the private inside building space creating a unique type of "shared space". Likewise, the wooden-roofed platform, on top of the ground floor stairways, creates an ideal setting for holding events such as book presentations or group readings. The use of one particular material, the red travertine rock, was accentuated. Its use in the overall structure gave tone to the local community and can possibly create a "remembrance space". Limitations met were the regulations of urban development in Iran which divide the land into two proportions of 4/10 and 6/10. The regulation states that 6/10 of the land can be allocated for the structure, while at least 4/10 must be allocated for the yard. These regulations do not favor architects who are trying to create the highest quality space possible. In the interior, spaces are blended together and the borders of the walls are vague, nevertheless when the entirety of the building is viewed the divisions are clearly evident. The extent of sunlight that enters the building varies according the level of necessity of each floor. The workroom receives a great deal of sunlight, the meeting room receives a bit less, while the upstairs attic receives the smallest amount of sunlight.
  • 30 Drobeta Archaeology Museum 1. Why? The need for the promotion of the national cultural heritage and its integration in the international circuit represents a fact in the European and world-wide conjuncture. In order to achieve this desideratum, it's mandatory to revitalize the whole museum complex, the archeological park "Drobeta", from Drobeta Turnu-Severin, which gathers not only multiple elements, remains of the roman civilization, but also a museum, which, at present time, functions as a general museum complex, that includes various specializations. Here, you can admire until present day, aspects of “citadin” roman life and, later on, elements of the roman colonial life in Drobeta. One of these elements is the roman castrum Drobeta, which is known to be the first stone fortress built by the romans in the Dacia province. The castrum had the strategic role of defending the bridge. .The uncovering completed in 1950 revealed an important infrastructural part and, in certain areas, even the castrum's superstructure - elements that were subsequently consolidated and integrated in the tourist circuit. In a general planimetry, we can clearly distinguish, not only the elements of the first construction (II nd century), but also the ones belonging to the second one (III rd –IV th century) and also the castrum's perimeter, excluding the eastern part, where it can be estimated, thanks to its symmetrical composition. The castrum is also equipped with an independent construction, destined for the roman baths. The roman baths of Drobeta, probably the most complex of the kind, built by the romans in the Oltenia’s region, are placed in the south-western extremity of the museum complex. The relocation towards the north of the railway (in the 1980's), operation imposed by the realization of the Hydro energetic Dam of the Iron Gates I and II, affected a major part of the roman baths ruins and of the roman palestra, which, combined with the lack of supervising, led to the destruction of the major part of the bath's installations and, subsequently, their elimination from the tourist’s circuit. The key-artifact of the site, The Trajan's Bridge, which had a lot to suffer from the poor management, emphasized with the lack of the heritage conservation regulations and deteriorated by some interventions that were intended to be appropriate, is still holding on, even after nearly 2000 years, preserving in the visitor's conscience the memory of this place. Designed by Apolodor of Damasc, at the specific orders of the Emperor Trajan, the bridge was considered by the romans the 8th wonder of the world. Completed in only 2 years, during the second Dacia invading campaign, between 103 and 105 a.C., the bridge was 1134, 9 meters long, 14, 55 meters wide and 18, 60 meters high and had in its structural composition 20 piles of stone, with weaved core from brick with hydraulic roman cement, with an opening of 50 meters. Its superstructure was built exclusively of oak wood. Unfortunately, the various attempts on this place left their marks. The defective restorations combined with the lack of maintenance, had affected and still affect parts of the ruins. Even more, the indirect long term effect provoked by these actions (the decreasing number of visitors), forced the administration to seek new solutions. In this direction, a development plan was conceived including a project theme for a new museum corpus, which represents, in this case, the starting point of this project. 2. How? The concept - “Drobeta" archeology museum The project theme left for the architect to decide, among other things, an essential element of the architectural project - the location. Although some boundaries, dictated by the property documents, existed, these have not confined in any way the possibility of deliverance of the architectural concept, regardless of its type. So, in the attempt of placing the building in this sensitive context, I tried to keep the memory of the place, but, in the same time to define the way of exhibiting for the visitor, using exactly this antic-modern transposable. The symbols of the place became the symbols of the museum. The regulating directions, not only roman, but also of the modern city, have define the shape of the museum. The architectural concept suggests the evocation of these key elements of the site. The roman axis give meaning to the directions - the directions become transposed into language. The relation of the museum with its objects is one of interaction, as have already seen. The imagined museum is created by its objects, but its mission must not stop here, the museum must recreate the objects - and so, became necessary an active and continuous intervention in their protection - the "In situ Museum". As we already have seen before, the "in situ museum" approaches the most to the concept of the optimal condition in the customer - object - museum scheme. It confers the vestige its well deserved space - it includes it in the attempt to protect it, it attends it in the attempt to exhibit it, it exhibits it in the attempt to render or to explain its value. The object’s name, in this case, is Trajan`s Bridge. The Trajan`s bridge suffers in the attempt to exhibit itself. Its remains, specifically the four ending piers {the portal pier, piers no. one and two, and the abutment pier} no longer have the power of visual effect, necessary for the exhibition of the past, but the bridge pulses at symbolic level, its importance in the antic context, the political and cultural factors assure this object an undying place in the universal history. All these aspects, transposed into an well controlled scenography, will render the Trajan`s bridge its long lost value and positions in its relation to the viewer. As I already stated before, I chose for the "in situ" approach, having as a weight center the vestiges of the Apollodorus of Damascus `s bridge. Crossing the bridge to the Romanian side passed through the castrum. The castrum was equipped with an articulation which connected with the bridge’s floor, being the only way of reaching Romanian soil. This essential element in the defensive system is resumed in my proposal in an evocative shape, which concures with the "loisir" needs of the archeological park. In the same way, the object brings on the castrum`s guard layout, trying to offer the viewer a vision of this operation. Fulfilling the initial role, it will connect the museum with another proposal of semiotic interpretation - a light variant of a protecting tower of the "pricipalis destra" gate, which, having a vertical component, will serve at the same time as a belvedere point as well as a signal. In the concept of development and arrangement thought for the city at Danube’s shore, the proposed museum occupies, on medium term, the ending position { unfortunately, in the present stage, some areas with industrial character and inappropriate placement represents a setback for the normal course of development}. This type of positioning in a track that includes many more other objectives, gives to the museum a privileged position in its relation with the visitor - it can remain in the memory of the viewer as the route subject. This type of relation, as we have already seen, it`s not always positive, being able to transform itself in the dusty node of interaction, which we are trying to setback. The Antic Drobeta Harbor, whose remains were completely destroyed, has no way in participating in the museum representation. It remains at the latitude of our interpretations, and we have the obligation to present it, in one way or another. A sort of city-square accentuated by a powerfully anchored in the Danube’s waters tries to present the place’s memory, in a today Osnabrück shape, which combines itself very well with the utility element. A really problematic element for the site and archeological park and for the whole concept of city`s shore development, since its appearance, is represented by the railway. Obviously, its current position, between the bridge’s ruins/Danube and the roman castrum/roman baths, influenced the whole museum organization. The permanent exhibition includes the ruins, crosses the railway and then it takes the shape of an underground corpus, taking advantage of the space offered by the natural amphitheatre. In this way, of adapting at the natural landscape, I tried to conserve a part of the current character of the archeological park. Giving their underground placement, the corpus that serves as a administrative, research and public equipped area, is organized around 2 inner-yards. These have not only the role of natural illumination and ventilation, but it also separates the corpus from the visiting sites of the archeological park. We can safely say that all these connections took, in the end, to an image that tries to express itself, a self-characterization in a way adapted to our times - the symbol of the bridge between distant civilizations, a part of a glass bridge that crosses the Danube, but which connect with nothing, at least physically.
  • 31 The Consulate The shape of the building is made on a contrast between vertical concrete walls and soft form of ptfe membrane . This elements emphasize each other and creating minimalistic but spectacular mix that reflect a diplomatic function . Tranquil expression of its facade is “like the reserve of diplomat in the grip of mounting excitement which he manages to keep carefully concealed”.* The collaboration of mentioned materials existing not only on aesthetic layer but has also sustainable targets. The soft translucent membrane as an element of multi-layer facade allows light to penetrate but diffusing it on the way to interior. Between membrane and internal low emission glazing there is an air ventilating space. The concert walls ,thanks to each thermal capacity play the part of heat magazine and slowly radiate stored energy. The additional advantage of this facade is a possibility to use it as a information carrier by putting light projector between layers.
  • 32 House TTN House TTN – residence for an “urban” extended family House TTN was designed to accommodate three families – the parents and the families of their two daughters. They had decided to live together again with the birth of grandchildren. Thus, the main objective for House TTN is to provide the necessary functions for an “urban” extended family, accommodating the needs of modern nuclear families who have grown accustomed to independent life but have chosen to enjoy the benefits of being part of a large family. The first request for this project was to have a sort of collective residence to accommodate three homes, a plan which would completely separate the families within the same building. However, after much thought on how to maximize convenience, the effective and rational use of the site, and the pleasure of each other’s company, House TTN decided to take a semi-independent, sharing approach. In order to have more than one nuclear family live together as one, it is essential to secure a comfortable distance within the design. Thus, each family has their own independent kitchen unit, bathroom, and toilet, but the homes are adjoined through the ground floor area and common deck – inside and out. The parents’ living space is located on the ground floor, with a highly independent main room (that is also shared by all three families) as well as private rooms (one Japanese-style room and one bedroom) opening towards the outside. The first and second floors are divided east and west, creating living spaces for each daughter’s family. Outdoor common decks in between the two sides of each floor serve as both converging points and buffer space. Transparent glass and sudare or Japanese wooden blinds are used on the common decks to separate the families but at the same time avoid complete privacy. It is possible for each family to go about their business independently, but these purposefully built common areas make it possible to achieve a higher quality of life. A comfortable distance is achieved by softly compelling the families to come together. Another important aspect of House TTN was its structure. As the decision had been taken not to separate the homes completely, the residents wished to retain an option that would enable them to cut the building in half, left and right, in case they wished to do so in the future. In order to make this possible, the two sides of the structure including the foundation are completely independent of each other, and designed to guarantee durability after being divided. Of course, if two new separate buildings were to emerge, they would both need to pass the various building regulations. Therefore, this aspect greatly influenced the initial plan and form of House TTN. However, it may also be said that because of this requirement, it was possible to achieve a bold design, shaping the areas that would be removed if the house were to be divided into outdoor common decks. It is unclear whether this option will be taken in the future, but having an alternative will surely encourage friendly and active communication between the families.
  • 33 MUKWANO HOME - School and House for HIV orphans It’s not often that a commission to design a treehouse is offered, so when Colenso BBDO – on behalf of Yellow Pages briefed Pacific Environments Architects for a ‘reality’ TV advert for an off-the-wall functioning restaurant, Pacific Environments jumped at the opportunity. The idea was to source all products and services through Yellow Pages listings. Yellow Pages assisted in the selection of the enormous Redwood tree on which the treehouse is to be built which is over 40m high and 1.7m diameter at the base, on a site north of Auckland. The concept proved challenging and encompassed a range of consultants to get both Resource Consent, Building Consent and construction underway in a very limited time. ARCHITECTURAL CONCEPT The concept is driven by the ‘enchanted’ site which is raised above an open meadow and meandering stream on the edge of the woods. The tree-house concept is reminiscent of childhood dreams and playtime, fairy stories of enchantment and imagination . It’s inspired through many forms found in nature -the chrysalis/cocoon protecting the emerging butterfly/moth, perhaps an onion/garlic clove form hung out to dry. It is also seen as a lantern, a beacon at night that simply glows yet during the day it might be a semi camouflaged growth, or a tree fort that provides an outlook and that offers refuge.The plan form also has loose similarities to a sea shell with the open ends spiralling to the centre . It’s the treehouse we all dreamed of as children but could only do as an adult fantasy. Access is via a 60m tree-top ‘accessible’ walkway –an adventure in itself. The selected site and tree had to meet a myriad of functional requirements -18 seated people and waiting staff in relative comfort complete with a bar; gaining correct camera angles with associated light qualities for filming the adverts, web cam and stills, have unobstructed views into the valley and entrance to the site and structural soundness . The final selected tree is one of the larger trees on the site and sits above a steep part of the site which accentuates the tree`s height. Kitchen/catering facilities and toilets are at ground level. The Architectural component embodies a simple oval form wrapped ‘organically’ around the trunk and structurally tied at top and bottom, with a circular plan that is split apart on the axis with the rear floor portion raised. This allows the approach from the rear via a playful tree-top walkway experience, slipping inside the exposed face of the pod and being enchanted by the juxtaposition of being in an enclosed space that is also quite `open` and permeable to the treetop views. There is also a ‘Juliet’ deck opposite the entrance that looks down the valley. The scale and form of the tree-house creates a memorable statement without dominating it’s setting. While it’s natural ‘organic’ form sits comfortably, the rhythm of the various materials retains it’s strong architectural statement. The verticality of the fins mimics the verticality of the redwoods and enable the building to naturally ‘blend’ into it’s setting, as though it were a natural growth. CONSTRUCTION It sits almost 10m wide and over 12m high, with the split-level floor sitting 10m off the ground. Timber trusses form the main structure. The curved fins are glue-laminated pine, plantation poplar has been used for the slats and redwood milled from the site used in the walkway balustrading. Openings are formed for windows by leaving spaces between the slats/fins that keeps the overall form yet affords a variety of openness for the views and light and closes down toward the rear. To loosen the regularity of the elements, steel is wrapped arbitrarily around the pod. Tying this up at the top and base has a sense of greater connection with the tree. It is designed to be weather resistant using acrylic sheeting fixed to the roof under the fins with vertical roll-down café-style blinds within. Lighting is an important architectural component enhancing and changing the mood, with discreet lighting within the walkway and up-lighting within the tree house. A team of consultants working alongside the architects includes fire and structural engineers, town planners and aborists to meet functional and Building Code requirements. View http://www.yellowtreehouse.co.nz for ongoing updates, blog, video and still footage with live webcam images. Visit http://www.pacificenvironments.co.nz for more information about the architects. The treehouse is to be completed on the 12th December 08.
  • 4 Parc André Citroën-Cévennes This Park is the fourth perspective on Paris’ left bank. Its character and its orientation towards the Seine make it comparable to the Jardin des Plantes, the Champs de Mars and the Invalides. It draws upon and builds on the characteristic traits of these founding large public open spaces. The Park is permeated by the city, just as the Park itself permeates the city. The way in which its boundaries have been designed heralds a new relationship between urban and natural landscapes; there is fusion of architecture and vegetation – the stability of the architectural forms highlights the motion of the vegetation’s textures. The landscape is shaped by the juxtaposition of architectural material and plant-based material. Each constructed form presents a themed garden. The palisades and ramps, stone waterways, monolithic fountains, pools and podiums reveal the shapes and forms of the movement of water, light and vegetation. There is no other narrative than this approach to motion as the image of nature. The Serial Greenhouses give free rein to the development of the creepers and fragile trees contained within them. The footbridges leading to them navigate their way through the mass of foliage of the trees which line them. Seats and benches offer the chance to rest in various positions. The tranquillity of the architecture frames or lends focus to the gardens’ variations which can be touched and passed through, representing nothing but the play of their textures, their colours, their movement and their substance in its original state. Two large greenhouses form the background of the Park’s general perspective. The pillars and monolithic doors contrast with the weightlessness of their glazing. One holds an austral garden, while the other contains an orangery which can also be used for exhibitions. Their dimensions, {15 metres high, 15 metres wide and 45 metres long}, as well as the fountains and waterways in the square they enclose, lend symbolism to the garden on a scale befitting Paris. © Patrick Berger
  • 35 Memorial of Flight no.655 function: Memorial chief architect/office name: Vahid Pariz & Afsoon jaberi project team: Vahid Pariz & Afsoon jaberi & Sina Abdollah poor client: “Foundation for preservation of the works and promotion of the values of the scared defense” consultancy/collaboration partners (if any): design date: August,2008 completion date: It was a concept area: 600m2 Iran Air Flight 655 Iran Air Flight 655, also known as IR655, was a civilian airliner shot down by US missiles on Sunday 3 July 1988, over the Strait of Hormuz , toward the end of the Iran-Iraq War . The aircraft, an Airbus A300B2 operated by Iran Air as IR655, was flying from Bandar Abbas , Iran , to Dubai , UAE , when it was destroyed by the U.S. Navy 's guided missile cruiser USS Vincennes , killing all 290 passengers and crew aboard, including 66 children, ranking it seventh among the deadliest airliner fatalities. Vincennes was traversing the Straits of Hormuz, inside Iranian territorial waters, at the time of the attack and IR655 was within Iranian airspace.
  • 36 Drik Picture Library and Gallery T ook a brush full of color from the light of the sun and put it on the canvas of shadow and created an aquarelle in the “DRIK PICTURE LIBRARY AND GALLERY” project, a place for the photographers. The project is housing exhibition gallery, picture library, design studio, photography studio, dark rooms with related facilities, computer & multimedia, books library, restaurants etc. “ Light” is indispensable in photography. “Light” is also the key element in this project. The essence of this project is understood from the water color effect created in the courtyard by the play of light, shades and shadows of the sun & thus creates an a r Tchitecture. Project : Drik Picture Library & Gallery Location :House # 58, Road # 15/A, Dhanmondi R/A, Dhaka. Client :Dr. Shahidul Alam Architect :Md. Rafiq Azam Consultant :STHAPOTIK Structural design :Nazrul Alam Land Area :1500 sqm. Project cost :US $100,000 Commencement :1993 Completion :1995 Influence :Watercolor Award :a. “Commendation Award, South Asian Architectural Award-1997”, Instituted by J.K. cement company Ltd. India.
  • 37 house+ function single-family house office name PAG Pracownia Architektury Głowacki chief architect Tomasz Głowacki collaboration partners Piotr Gubernat, Łukasz Wojciechowski project team Małgorzata Kowalczuk Dominik Górecki Paweł Jarosik location Galowice, Poland design date 2003 completion date 2005 site area 14 000 m2 building area 278 m2 usable floor area 249 m2 total area 403 m2 references „Architektura- Murator” 08/2005, pages 102-103 „ A10- New Europe architecture” 08/2006 pages 40-41 mentioned as one of “25 best polish architects’ single-family house 1983-2008 in “Murator” 02/2008, pages 66-73 “ Moj dom” 04/2009, pages 12-20 The building is located in the Sudety Foothills, on a large plot separated from its neighbors by some woodland. Its form recalls the pre-war country farm buildings characteristic of Lower Silesia. Two enlongated masses topped by a pitched roof form a cross with four wings, thus dividing the plot and decreasing the scale of the house by framing the views. It also contains protected annexes and differentiates functional zones. In order to make the mass homogeneous, both the roof and walls were faced with one kind of material: fiber cement tiles.
  • 38 parkINpark The PARKinPARK is conceived as a response to the ongoing increase of car traffic in the historic center of Thessaloniki and the future plans of the city council to address the problem by constructing a number of underground car park stations around it. The main challenge of the thesis is to prove that architecture can have a positive effect when applied to the rigor of transport pragmatism. The project reconsiders the conventional parking garage typology as a potential urban apparatus. By exploring the latent flexibility of its function and intensifying its station-character, the parking garage acquires the qualities of a hybrid multi-layered urban plaza ready to accommodate a variety of events together with the streams of cars. The scheme integrates an underground car park station with a digital film school, an urban plaza and a bus station, all of them seamlessly connected with each other in terms of form and structure, and with the surrounding urban tissue in terms of circulation and views, resulting into a catalyst of unpredicted urban events. My thesis is set at the edge of the city centre of Thessaloniki Greece. The site is currently used as an open air car park although it is called a plaza by the people and it has a bus terminal. My project for the site consists of an underground car park with a capacity for 500 cars and a digital film school combined and set under an urban plaza with a bus terminal. My intension was to create a transport hub for people arriving by car and continuing by public transport in the city centre and a place of interest for the local community that could function as something more than just a plaza on top of a car park. For that reason I started rethinking the conventional car park typology and how it could finally acquire a more station-like character and not just a storage area of cars. I tried to achieve a programmatic intensification in the building organised in a way that changes the process of leaving and taking a car or even delays or postpones it. The form of the car park achieves to embody a diversity of programs into the parking experience in two ways. First by the way that the parking ramps are interwoven with the film school and second by the flexibility of the space on the ramps themselves. The zigzag form of the ramps with the connections between them allows for multiple possibilities of how they can be used. Every ramp can be separated from the rest of the network of ramps and function autonomously inviting different activities such as open markets, exhibitions, installations or any other event.
  • 39 The House on the Beach The project presents a modern house for two people. The whole construction is subordinated to a glass stairway, which is in fact the main point of the block. In order to display it better and to bring into the house as much light as possible the interior walls are made from glass. Under the influence of electric current glass converts into intransparent coat, which guarantees intimacy and privacy feeling. The house consists of 6 rooms, including two toilettes. On the first floor there is a bathing salon – completely from glass open for the sky - and 2 bedrooms. On the ground floor there is a living room and a kitchen connected with a dinning room.
  • 40 The "Inhabitable Docks" for the "Estero Salado" Enviromental Restoration Guayaquil is the biggest city of Ecuador. It contains more than 3 million people. With an occupied area bigger than 45.000 hectares, its size is bigger than Buenos Aires or Barcelona; and it keeps growing constantly. As the most important city in the country’s economical development, Guayaquil is always an attractive destination for those who search for a better income. Most of these persons come from Ecuador’s inner provinces. Unfortunely for most of them, their new living conditions are miserable. Guayaquil still has neighborhoods on deplorable situations since 40 or 50 years ago. This project was born, as we started to worry about the relations between the city and the natural environments around it. Because of the city’s nature as a port, we focus on how Guayaquil affects the hydrographical events that surround it. These include the Guayas River and the “Estero Salado”, in Spanish the “Salted Estuary”. In our personal research, we observed some occupation processes, used by the new humble inhabitants, near the estuary’s shore. Those processes bring awful consequences for the estuary’s natural environment. The new Occupants use to build their houses over the water, using mangrove trunks as structure. These houses do not consider any structural study at all. Normally, they’re built with recycled wood, and plastic or zinc sheets as a ceiling. They also don’t count with any type of plumbing, so their users are forced to throw their human residues to the estuary. To all this, we must add the terrible consequences brought by a municipal law, which permits the occupants to refill the area under their houses with rocks, garbage and constructions waste, to make that area a land of their own. All these things we’ve mentioned have erased the original shores in the area. Some estuary’s islands have disappeared completely, because of this urban behavior. According to our opinion, an effective solution to the mentioned problems should consider the following aspects: It should offer a better and safer place for the occupants, with the benefit of electrical and water supply. It should permit the shores recovery, especially for its reforestation with local mangrove species. Because of its proximity with the city, the estuary should be considered as a urban space, instead of a natural one. So, it becomes necessary to implement urban treatments and urban activities on it; like nautical transport in small scale, craft fishing and tourist rides. If their inhabitants feel the estuary as a part of their habitat, they would take care for it. This also means, the architectural solution should transform the place into an attractive point to visit. It would be a great success, if we could include a benefit not only for the shore’s occupants, but for the people living in the blocks, beside the shore. All those points were considered in our proposal result: “The Inhabitable Dock”. It is a 30m long dock, with an oversized structure, designed not only to serve for boats, but to hold up the houses of those who live nowadays over the estuary’s waters. These docks should be built respecting the distance between the streets that end perpendicularly to the shore. Its columns are separated 5m from each other, and its height is increased with 5m more. This allows the insertion of small and light houses between the dock’s structures. It is projected that each dock could contain at least, 10 houses. The only restrictions the occupants should take note about are weight and volume. That gives an interesting touch of uncertainly to the project, because its final look would be given by the dock’s occupants, and not by the architects. The Inhabitable Docks would promote other activities, linked with the estuary; specially between their occupants, which used to be urged to get a job. Another plus to this prototype is the benefit that brings to the people who live beside the shore. The Dock’s inhabitants take the electric energy and potable water from the existing city system; but there’s no residual water system on the area. So, we consider also to build a small treatment plant, under its docking floor entrance. This plant would also serve to the houses in front of the inhabitable dock. Finally, the translation of the houses, from the estuary to the docks, would leave many wide open spaces, across the shore. We would reforest those areas with mangrove. That would help to recover the site’s natural conditions. Better space, better infrastructure, Nature recovering. This project is one of the many paths that architecture should make cities more authentic and interesting, as our lives become easier, happier, and better.
  • 41 Cultural & Research Center Project concept: The concept of the project was to preserve the original way of building and life style. Also to keep, acknowledge and revive the special characteristics of the oasis culture aspects including its vernacular architecture. To do this I'd chosen an abandoned area of the old village {Shali}, keeping its hilly characteristics, urban pattern, and building materials. I used the hilly characteristics and urban pattern to articulate and separate the different functions of the center. Project description: The project composed of multi terraced floors. The ground floor dedicated for exhibition {Indoor & outdoor}, art workshops and garage The 1st floor designed to accommodate the second part of the exhibition, saloons, administration, audio video labs, and lectures - theater hall. It has old caves as part of the exhibition. The 2nd floor includes the upper part of the lecture – theater hall, library, and the center director room. The 3rd floor has the researcher's offices which are separated from researcher guest house by path that is semi covered by the upper floor of guest house rooms. The 4th floor has the upper part of the guest house. The guest house is designed as separate studios to give privacy to each researcher
  • 42 IA&E Modernisation formodesign was asked to support Technical University Of Lodz with a concept of Institute of Architecture & Engineering modernisation. The task was to connect existing department buildings and design additional expo and educational spaces. Design construction is being developed on the TUoL Steel Construction SIG {Special Interest Group} classes.
  • 43 Highway Habitat Le Corbusier was noted for his praise of the straight automobile lanes and his contempt for the curved "pack-donkey`s way". The modernistic approach has since turned motorized transport routes into the foremost element of urban planning. Today a considerable amount of city-space is occupied by asphalt roads, while a further amount of asphalt covers the ground for car parks. These asphalt spaces operating within the city system are immensely wasteful areas, due to the misconception that each land use should be allotted a separate part of the city surface. The spread of urban functions means people seek employment farther away from their homes and also find themselves driving greater distances for shopping and leisure. The private automobile consumes large amounts of energy form the earth`s non-renewable sources and is a significant source of air pollution. Inside the city, the streets of combine pedestrian and motorized traffic and serve the buildings alongside them. However, the highway traffic system which encircles the city centre in order to reduce congestion within the city creates a transportation artery set apart from the urban fabric. This network or `river of traffic` transforms strategic plots in the city into rarely-used land and expands the cloud of urban smog. The Highway Habitat project proposes a clever use of these valuable areas. The built mass connects both parts of the city split by the traffic artery by means of a continuity of buildings and open spaces. This plan provides the city with a system of green spaces for the inhabitants, public facilities combined with habitation, workspaces and areas for commerce and leisure. This mixed-use strategy is a key ingredient for creating a sustainable environment, made by planning a complete system with a variety of functions that contribute to a socially-advanced community, creating round-the-clock activities and notably reducing the need for transportation. (optional) related links: www.kkarc.com
  • 44 The Rainbow School function: KINDERGARTEN chief architect/office name: ALESSANDRO CALVI ROLLINO ARCHITETTO project team: ALESSANDRO CALVI ROLLINO, MICAELA TOLIO client: COMUNE DI PRATO design date: APRIL 2008 area: 1550 sq m description: The requirement for this project was to build a 6-classroom kindergarten, to be completed in two phases, giving prominence to the existing natural landscape, to the environmental impact, to sustainable building solutions and to pedagogical issues. The architectural design is strictly influenced by the surrounding landscape; the entire building with its main façade, is oriented toward South because of bioclimatic reasons ( radiant heating and solar photovoltaic modules ); the space between the façade and an opposite green artificial hill, creates a corridor toward the agricultural landscape. Outdoor space flowing into the school has a psycho-pedagogical function, since children feel comfortable with the view of a familiar landscape: Learning is made easier. The school is a symbolic centre for the life of the children and it becomes a landmark because of the Rainbow Façade, an element for playing and a stimulus for the fantasy. Materials and colors have some pedagogical purposes with particular interest to visual, acoustic, haptic, olfactory and ecological qualities. The activity rooms are set into an higher glass curving volume; their structure is made of timber while the envelope is made of rough lime plaster and the finishing floor is linoleum; common floor spaces are covered with solid Oak (indoor) and Ipè (outdoor); cladding for the facilities spaces is made of reddish brown copper. Each activity inside the school has an own peculiar space for color and material so that the children easily understand differences and hierarchies among the spaces. The building develops horizontally throughout the allotment: the high glass volume acts as a plaza for common activities while the activity rooms and the facilities spaces (service department, teacher office, parent room, storage) are set into it.
  • 45 Archcordion The present design is a temporary foldable exhibition space. The design is derived from paper fold model. The idea is to have a mobile structure which could be portable, compact and shifted from place to place. Its an extraordinary skin created from simple paper folds. The design is purely developed from model work using compression of the entire volume as a key pattern.
  • 46 Vistas del Ange l function: Residential multifamily development chief architect/office name: Juan Lacape / LAKP project team: Juan Lacape / Monica Kurzel / Pablo Roman client: BATIR S.A. design date: 2006 completion date: 2008 (first phase), 2009 (second phase) 2010 (third phase) area: 250 square meters per unit average, 30 units total (7,500 sqmt total) related links: www.vistasdelangel.com, www.lakp.net about the project A steeply sloped site in the mountainous skirts of Guatemala City’s valley rested undeveloped while having impressive views. Guatemala is a seismic zone 4 area, and this was a factor for the site to remain undeveloped. Structures with long spans were designed to rest on top of concrete piles poured into the steep slope in order to be able to develop a residential solution that is cantilevered through the air. All habitats in the project have long glass expanses, all the walls are light gauge steel sandwich panels, and a wooden Prodema rainscreen was applied on top of some panels, along with aluminum composite panels. Structural steel has been left exposed in order to enrich the interior spaces. The habitats were designed for a specific market segment (affluent professionals in their thirties), and thus a specific lifestyle product was developed.
  • 47 Urban Connection-Making the City by Fields Generated Architecture The project has arisen from the belief that by creating a rhythm of dynamism and concentration by linking the qualities of the spaces already existing, the result is an urban architectural experience that can “build” the city. In this sense, it is about making the city by interrelationing the force fields to create great tension in order to create the urban space. he proposal represents the landmark of a pilot urban project, that aims to valorize the potential public spaces that assure the interaction between the river crossing Bucharest, and the activity poles generated by the convergence of the different sectorial zoning. The Connection Building for the Polytechnic University Campus in Bucharest operates as a space of flow: interconnection and distribution. The proposal intervenes in an orthogonal matrix to establish a greater degree of institutional integration while engaging the building with its urban context. The entering building is the most active nerve-core of the whole Campus and student housing area. The building comes into being as a result of the force fields which figures create together, forming the basics of a vigorous urbanity in the actual dynamics of today’s urban transformations.
  • 48 Living on Display “ Living on Display” is a “store-and stor-age” prototype that incorporates housing units and a refrigerated warehouse,which also houses retail and wholesale programs. Its ambition is to learn from, reinvent and thus preserve the industrial. It also strives to raise awareness about refrigeration and its related energy consumption. By having the kitchens of housing units and the warehouseshare a refrigerated space, this prototype radically exposes the private side of people’s daily lives to the public. The retail and wholesale program adopts the ‘cuttingout the middleman’ business model which shortens the food supply chain. The installation of a conveyor belt not only minimizes waste by serving in small portions but also examines the notion of movement, display and spectacle. ‘ Living on Display’ challenges the way people live, eat, store and shop.
  • 49 Caravanserai (Tracing the Desert) The studio explores an integrated tourism and recreational project in a dry context of central desert near a salt lake in Maranjab-Iran. Central deserts are one of the most interesting parts to visit because of their pure nature. Here, a tourism building with regard to the traditional Caravanserai prototype is designed with a tracing concept. The lines, ups and downs of the site are the basic inspirations in this heterogenic formation . To achieve this form, the lines of the desert are morph ed to the internal space of the Caravanserai. Functional diagrams are based on two main parts as cultural and residential. A restaurant, an amphitheater and a small science center for astronomy studies is designed as its creative physical planning to enjoy the sky in the desert nights. Mechanical rooms, car and pedestrian accesses are considered as important and fundamental parts of the design process. The design process explores a dynamic and vigorous trace of the desert lines which are making the architectural volume in an organic site. The respect to the horizon line makes some parts underground and some specific holes are designed to have volume effects in these spaces. The travelers and visitors reside and stay in the desert in a calm nature. Structural consideration contains the frames and slabs which can be built with vernacular building construction materials as shown on the structure models. Due to the hot weather and the harsh climatic winds, a sustainable approach is chosen to put some of the main parts underground and to use solar systems on the roof.
  • 50 Agropark AGROPARK "Staccato" - accent on the green Sited on the 1,5 hectare of land, Agropark is located on the highway connecting the city of Surabaya to the mountain resort. To catch the attention from the high speed traffics, a striking objects needs to be created as a stopping point in the form of rest area, restaurant with garden, souvenir, gift, handicraft and kiosks selling local agricultural products. Surrounding by the rice field, the building is like “staccato” in music, a distinct breaks between notes. It becomes “accent on the green”. The contrast approach is applied on this project to create the focus object among the greenery surrounding. The Agropark concept of elevating the main floor on top of the ground is reminiscence of Indonesia grandstand vernacular house. This vision turns out to be a perfect symbolic way to anticipate natural disaster of the mud flooding near the area. The project was designed before the happening of catastrophe as a proof of sustainable architecture. The main building axis towards the corner and main circulation coming from the city creating a warm welcoming gesture. A variation of 22,5 degree angle of the direction which is good fortune according to the client’s belief became the starting point of the site plan. The tabletop structure is clad in copper color metal skin accentuated by a random pattern of sky blue, ocean green, titanium silver squares and rectangles. The color schemes reflect the nature of the environment, blue sky, rich greenery, and copper earth tone. The striking colorful dots are like staccato notes in music and together they form a distinctive box as the “chorus architecture”. Cool mountain breeze circulates through windows and triangle trellis that were punched into the envelope, providing fresh air and natural ventilation. Floating impression by raising up the box is a way to respect the nature such as natural spring water across the site and to maintain green ambience. Fish pond and reflecting pool generate the cooling effects as part of energy efficient buildings.The green architecture is found in the design’s awareness of the site, it’s sensitivity to Indonesia’s tropical climate and landscape, and it’s mission of sustainability. The architects have designed a building that emerges from the landscape and forms an integral part of it, so the landscape is as important as the building. Nature and man made are integrated to form a perfect harmony. Tropical sustainability are maintained to maximize shade, cross ventilation, natural green surrounding, absorption by plants and bridge channeling. The indoor comfort can be achieved since the project is located on high elevation of the hill side. The rich tropical greenery surrounding can be seen through the reflection of the wall cladding as a statement to blend with nature. The architecture exists as an entity within itself. If there is a theme which links together, it is the integration of music and architecture. The architect`s interest as a musician, composer, and arranger influence the design process in creating architecture like song compositions. The music is ”jazz” and the intention is to address “improvisation” on the architecture. The central conviction is about the power of culture and artistic creativity to enhance the quality of life. The urban impact is a dream come true for neighborhood residents. This is architecture with collateral benefits - a status symbol that belongs to the community and does it part to enliven the village symbolically.
  • 51 Winery in Megalohori, Santorini Function  Winery Chief Architect/office name  Yannos Yanniotis & Associates Civil Engineer  Chatzisarantis Panagiotis & Koukoussis Panagiotis Mechanical Engineer  Ε vgeniadis Nikos Client  Boutari Wineries Design date  1987 Completion date  1989 Area  Megalohori, Santorini Cycladic architecture The Cyclades -islands in the central, eastern and south-eastern Aegean- are protected by a planning regime which determines the morphology of their architecture. Small single or two-floor structures which blend into the natural terrain arranged around courtyards protect the privacy of residents during the hot summer months and also provide opportunities for communication. The colour of the buildings, as prescribed by law, is white. The only exceptions are the colours of the doors and windows where there are three or four basic colours to choose from (light blue, grey, green, red-terracotta). Amid the barren environment of the islands with their harsh terrain and minimal vegetation, these small structures provide the characteristic visual plasticity, particularly when they are integrated into the fabric of villages that have narrow lanes no wider than 2 m and external entrance steps. The complex at Boutaris Winery The Boutaris Winery is located in Santorini –arguably the most unique island of the Cyclades– on the road to Faros, after Akrotiri. The Winery, with its distinctive white dome, was designed in 1987 and went into operation in 1989, playing a leading role in the growth of wine-making on the island. It is o pen to the public and offers visitors complete guided tours. Architectural composition The complex, surrounded by vineyards, is situated almost next to the very edge of the crater, and includes a state-of-the-art vinification centre, a tank area, an administration building, a sales department and shop, and a building known as the 'Dome': an indoor amphitheatre laid out in the form of concentric segments of a circle. This corner plot has a long façade along the road leading from Megalohori to Akrotiri. Passenger vehicles and lorries enter and exit the complex from this road on the north and west respectively. The main entrance for the public to the administration building is also located there. The buildings are laid out around a central courtyard with the management building and winery on a N-NE orientation, the tank on an E orientation, the Dome on a S orientation and the accommodation facilities (to be developed in the future) on a W orientation. The courtyard is the central reference point in the entire structure and it forms a link to all individual functions. This area is protected against the harsh northerly and north-easterly winds and thus the courtyard acts as a linking tool and helps reproduce the traditional standards of architectural composition and communication. The building structures are plain, single-floor constructions with flat roofs in the case of the administration building and the tanks, while the roofs of the winery and the accommodation facilities are domed. This ensures a contrast between the stark, plain volumes of the outer, perimetric view of the complex and its interior, with the gentle landscaping of the courtyard and the buildings radiating off it. The geometry of the Dome, which is the distinctive compositional element here, was determined by the amphitheatre-like internal layout. It is a building inscribed on a circle, with concentric circular indents housing rooms where visitors can sample Boutaris’ range of wines from Santorini after watching a sound and image show. The domed construction of the building repeats a typical Cycladic motif found in the architecture of the island; sometimes white, sometimes dark blue, inspired by the colours of the Aegean. Lastly, the dominant material is white plaster and the flooring used in the courtyard outside the Dome is slate and pebbled tiles which form decorative mosaics in earthy hues.
  • 52 Solar Plane House function: residence chief architect/office name: metastudio project team: Michael Nekuda client:NA consultancy/collaboration partners (if any): NA design date: January 2009 completion date: NA area: 2,300 sf related links: http://www.metastudiodenver.com/ The parti of the house is two simple stacked rectangles. The lower level ensconces the entrance, the master bedroom, bath, and second bedroom. Above is the living area, perched like a tree house on the heavily wooded site. This “tree house” contains the kitchen, small storage space, and a small office along with four 'outdoor rooms' that allow for entertaining or a more meditative/solitude experience. The 'outdoor rooms' are situated in such a way (on each side of the house) to allow for experience with nature no matter the season taking advantage of the sun in winter or the shade in summer. The major axis has been re-oriented along east-west, which allows for an entry sequence that forms a thickened threshold between indoors and out. A cmu wall along the north-south axis serves as a signifier leading visitors into the space while establishing a visual and physical connection to the back yard where a rock garden acknowledges early Druid activity in nearby Lowell, MA. Along the south wall of the bedrooms is used to introduce natural light while still maintaining a sense of privacy. The flooring is concrete with radiant heat, concrete walls are also used to provide mass retain heat. An evaporative pond is used to pull cool air through the house as the heat is naturally drawn out of the upper level. The roof plane consists of 76 grid connected solar panels – the solar plane. The plane performs many tasks as a formal, expressive and functional element. A rain screen is introduced at the exterior walls with the wood louvers preventing heat gain as the air gap between works to dissipate excess heat while allowing for an edited visual connection and a degree of privacy.
  • 53 Small Library in the Center of Thessaloniki function: PUBLIC BUILDING-SMALL LIBRARY project team: ALEXANDROS ZOMAS, ALEXIA RAISI design date: FEBRUARY 2008 area: 1500.00 m2 university: ARISTOTLE UNIVERSITY OF THESSALONIKI, DEPARTMENT OF ARCHITECTURE, GREECE The building is located in the centre of Thessaloniki {Greece} near one the most lively squares of the city named Navarinou square. The given plot is very small and narrow and it is part of a city block with high residential buildings. Only one side of the plot overlooks the street while the two other sides are adjacent to the near buildings and on the back it opens to the open air area of the city block. The building accommodates a three storey library, a small conference room, a small exhibition space and a cafe. The main idea was to develop the building in high by stacking these different functions while giving each of them different morphologies. A very important element of the building was the insertion of the public space inside the building and to accentuate the ancient ruins that are found on the basement of the building. The entrance is drawn back so as to enable the lighting of the ancient ruins but also to make a smoother transition from the public space towards it. The small conference room was designed as a dynamic surface where the inclination of the seats produces the inclination of the surface. It’ s placement on the second level along with the developpement of a basic axis of entrance ensures a fluid free space equally important that functions as a channel of light, air and motion on the level of the ruins. The library unfolds on three levels with internal atrium, where the two first levels are drawn back while the third one thrust itself forward and is protected from the intense lightning by wooden blinds. On the top of the building we find a cafe which exploits the view towards the square with a dynamic form of a light metallic construction. As a public building the library opens itself towards the public life of the city. The structure of the concrete and the definition of the scale with the diversification of the volumes, and the elaboration of the section and the elevation at the same time make the understanding of the building possible. The continuous notional relationship of the inside and outside, of the open and closed spaces describes the project. This project was made by Alexia Raisi and Alexandros Zomas students at the Aristotle University of Thessaloniki department of Architecture Greece.
  • 54 Aeroform Aero form – subsidized urban living module With an ever increasing global population land is becoming one of our most valuable resources and it comes at a premium. Specifically in dense urban areas, the rising demand and limited supply of land makes home ownership very difficult for most people who want or need to live in the city. We must start to look at new ways of occupying space within the city. Rather than destroy preexisting space to make room for the new, why not examine ways to occupy residual space within the city? Let’s take a common element which is pervasive in every major metropolitan area – the billboard. Now most people perceive the billboard as a simple structure used for the display of two-dimensional graphics. In their minds it is merely a flat plane. What if we start to think about the billboard in a more dimensional way? How can we occupy the space behind or around it? Aeroform is conceived as a prototype which explores the dimensionality of the billboard and creates a subsidized living module that would allow people with limited means to live in a home in a major metropolitan city where escalating real estate values would normally prohibit such home ownership. This fusion of the billboard and the house creates an opportunity for inhabitants to generate income from the billboard, in turn subsidizing the exorbitant cost of living in a home in a major metropolis. Aeroform essentially pays for itself. Conceived as a prefabricated, lightweight unit, Aeroform is constructed off-site, shipped to the site, and grafted to the existing structure of a billboard. The outer shell is made of structural insulated panels covered with a layer of carbon fiber in order to reduce the weight of the structure and minimize any structural reinforcement to the existing billboard. The form of the building is directly influenced by its location and program. The shell, which reflects its context of the roadway and the automobile, is streamlined on the exterior for optimal aerodynamic and climatic performance. The name Aeroform is derived from the term aerofoil, which is a structure having a shape that provides stability, or directional control in a flying object. Operable windows at each end of the unit allow for cross ventilation and provide an abundance of natural light within the living spaces. On the interior a programmatic shrink-wrap occurs to optimize the overall volume of enclosed space. This process produces an aerodynamic section that continuously changes from one end of the unit to the other. Sustainability is not an option but rather it is a necessity for Aeroform. Since land is at a premium the goal of Aeroform is to reduce the building's footprint to a single point that touches the ground. By using an existing billboard’s support structure Aeroform has a minimal impact on the environment and its site. It also reduces the amount of raw materials needed to construct the home by re-using the existing steel structure of the billboard. In some cases there is the opportunity to use the space in-between two or more billboards. In the future several different versions of this prototype will be developed to accommodate various billboard structures such as V-face, double face or triangular configurations. Since the billboard is a universal structure the prototype can easily be adapted for use in any city, anywhere in the world.
  • 55 Moon Project – Villa Function: Special residential building on the moon Imaginary Chief architect/office name: Suleiman Alhadidi Project team: Suleiman Alhadidi Design date: 2007 Completion date: Conceptual - It will not be built Area: The Moon! Maximum height: 13.5m. Total floor area: 995m2 The Moon Villa is an imaginary project which was done in 2007. After an intensive study of the possibilities of making these kind of projects on the Moon land due to the environmental constrains and moon's gravity we end up with a theme "Shallow". The site of the moon is shallow with no signs of life on it. The organic shape we designed is to break down the silence of the context and to respond to the environmental forces.
  • 56 Casa de la Cascada / Waterfall House The waterfall house was conceived by the request of a young business man in a closed neighborhood. The particularities and requisites of the client, among with the lot’s characteristics, established the path to follow in the design process. The borders of the small lot we are referring to, seem to disappear in the unmistakable visual: the lake. The surrounding houses, the sun’s path and the visual were needed to understand the emplacement. At the back of the lot, at the ground level the lake has a shy presence. So it was considered to raise up to get a better look at the lake. This is the reason why it was decided to place the social area in the upper level, conquering the panoramic views to the lake during the day. It is there where the water shows up. Unexpected at that height, it embraces the architecture and paints it with reflections, bringing life and movement. Appearing and disappearing to the eyes of the user, relaxing with it’s sound, dazzling with reflects, going through a path that stimulates the senses. The shallow pool expands the house limits, making them infinite. It erases the line between natural and artificial, inside and outside. The elevated water fall, as a waterfall, over the swimming pool in the lower floor, refreshing the ambients and providing privacy at the same time. The water fall also filters the northern light makes it less harmful. The waterfall is the icon of this house; this is why it was after it. About the functionality of the house, we designed flexible spaces, so it could be adapted as much as to the socially active life of our client, as to the needs of a future family. The flexibility allows isolating the private areas in the lower floor from the public areas in the first floor and part of the lower floor. As a way to connect the street life with the inside of the house, was designed a mixed use room, used as a garage, playroom or to host parties. The vertical circulation in triple height baths the inside with cenital lights, joining the different levels. The volumetric game outside and inside vanishes at the back, opening the spaces to the lake. The balance between full and empty tries to avoid the adverse effects big windows may cause to thermal isolation. In contrast, the front presents a closed design holding the service areas and giving privacy to the house. CREDITS PROJECTS AND DIRECTION: ANDRES REMY ARQUITECTOS DESIGN TEAM: ANDRES REMY, FLAVIA BELLANI, MARCOS POZZO, PAULA MANCINI, LAURA RODRIGUEZ SEGAT. LEANDRA RODRIGUEZ LLEBANA. BUILDING DIRECTION: ANDRES REMY, LAURA RODRIGUEZ SEGAT. STRUCTURAL STUDY: CARLOS DOLHARE SURFACE: 340m
  • 57 Lalitha Mahal at Madurai Lalitha Mahal is an independent residence designed by Ashok babu at Madurai, India for Mr.Chidambaram. It is built with a style inspired from traditional Chettinad architecture. The theme revolves around the traditional concept of a central open court. The use of chettinad style carved wooden pillars and exposed brick work add life to the interior space. The challenge was to integrate the modern demands of the client with their traditional roots of chettinad and vasthu beliefs and evolve a product that forms the lifestyle statement for them. The plan is kept simple with straight line geometry and the emphasis is laid on the interior finishes and lighting. The focus is kept on the central court at all levels. The six bed room house is built on a site area of 7230 Sq.feet and has a total built up area of 6000 Sq.ft.
  • 58 Museu del Molinar de Montuïri function: Museum office name: TEd’A arquitectes project team: Raimon Farré, Jaume Mayol, Irene Pérez client: Montuïri Townhall design date: 2004 completion date: 2009 area: 1.079 m2 related links: www.tedaarquitectes.com The village rises on a small hill. The village is shown as an accumulation of houses. Its scale is domestic. The houses stand about a strong unevenness. The village is built from stone. The village is hermetical, fenced, blind, opaque. The building stands in an end of the village, on the highest point, with sights over the Pla de Mallorca. The plot shows an unevenness of 9 meters between the street of access and the new inferior promenade. The building uses this unevenness. It appears excavated in the terrain, of stony appearance, sculpted in the rock. The result is a semi buried building that generates a square above of it and to the same height than the street. It is constructed in concrete, smooth in the inner side and very rough on its outside. Thanks to this relief -also present in the houses of the village- the patina of the time, the dirtiness added by the years will enter to be part of the architecture. On the other hand the village is composed of small modules. These modules describe houses. Houses which are contained between two party walls perpendicular to the street, constructed in stone and of great width. Likewise it happens in our building. The building is sorted from small modules, one beside the other. Following the model. Walls of concrete of one meter of width placed in parallel and separate six meters from each other. These walls configure the space, they sort the facilities, they are an entrance of natural light. The sequence is marked on the plaza through cuts of light. The building is hermetical, closed, opaque, blind. Only some small fissures will allow us to enter inside. When we go down to the ground floor we will see how the light plays with the model of the party walls. From one side it enters tangent above the wall, it shows all the dimension and outlines it. On the other side it puts it against the light, cutting a big hole which allows the light to enter more intensely.
  • 59 Refuge Of Cowboys Architect: Andres Lillo Coria Refuge Of Cowboys Architect : Andres Lillo Coria This work is the outcome of the process by which obtained their Architect´s diploma at the School of Architecture, University of Talca in Chile. It involved all phases from Design and management to actually building a work of architecture which contributes to the public. Conversation between the graduated and a cowboy who raises the "veranadas" during the construction of the project. Cowboy: ....And what are you doing? Student: A refuge for you. Cowboy: For Us?, Oh my god that’s nice Student: ... Cowboy: Hey, I have the same wood tables at my home! Student: ... Cowboy: It’s useful to study... The project is located in the Region of Maule’s Andes Mountains, specifically a sector called “El Melado”, where the booth of the river receives 55 families that have developed a domestic economy, sustaining their needs with the resources that obtain from place; they visit not very often the urban center. The cowboy appears as neuralgic issue in the local economy guiding every year 5000 heads of cows from the lowest zones, to the "veranadas" as a place of destination, in the highest places of the mountain chain, involving from the owner of the cows up to whom interact along the "veranadas", nourishing this way the economy. External agents who knows the natural local resources, beauty and lucky of this remote place, have introduced a new economy reinventing the job of the cowboy, turning it into tourist guide of foreign visitors. With a job, routes and consolidated detentions, arises the need to materialize a issue, having clear that the offer is a refuge for cowboys, the search treated the following conditions: a. A design intimately tied to the territory, geography and climate, must be a light shade in summer but also support the load of snow in winter allowing the slide. b. The wood of pine is the material that once I insert acts in a less aggressive way, being added to the existing landscape, and also generating a great size to a low cost. c. There is solved the need of shade and cover, being inserted in the landscape without interrupting it. In this way, the add of the element {table} manages to compose a system of plate, which even operating as block, manages to be transparent, allowing to see the landscape. http://refugioarrierosmelado.blogspot.com/
  • 60 Rising Core House: a proposed low-income urban housing model linked with income generation for slum upgrading and poverty alleviation function: Low-income housing, socialized housing chief architect/office name: Albert Zambrano project team: Annello Abong, Allan Acielo, Angelo Adriano, Marco Amores, Nestor Barbosa Jr., Raison Bassig, Brian Bayona, Bon Campana, Christine Ferro, Ezra Geronimo, Joseph Josue, April Lantican, Hannah Lising, Dimsy Malonzo, Krishna Manalo, Ryan Mariano, Cerise Mina, Jan Pedregosa, Lovelian Reyes, Franco Santiago, Rannie Sherman, Ralph Uyan, Albert Zambrano, Erwin Zembrano design date: October 2002 D escription For each good thing there is to living in cities, there lurks a dark side—a reality that confront us in this age of rapid urbanization—poverty, unemployment, political instability and social unrest, and environmental degradation. For developing countries, this scenario is exponentially exacerbated to proportions that have spurred many to find ways to address this problem. Filipino architect Albert Zambrano may just hold the key with the project proposal, Rising Core House (RCH). RCH, as it is conceptualized, is a housing delivery system and a corresponding prototype house design that intends to create more dynamic, humane and sustainable human settlements in cities and urban areas in developing countries like the Philippines. Geared towards low-income earners, RCH’s development process takes on a two-fold strategy: first, it aims to provide a responsive shelter that has the flexibility to accommodate future requirements and adapt to changing conditions; and second, to create livelihood or income-generating opportunities for its residents and the community. These are seen to eventually stave off social unrest and foster political stability. The main thesis of the project is this: the poor should not remain poor. RCH is projected to be a vehicle of change—a way to harness initiatives, creativity, energies and resourcefulness that will allow the urban poor to improve their conditions over time. Zambrano’s immersion with Manila’s urban poor, resulting from years of study, research and planning low-income housing has resulted in an advocacy that Zambrano has taken on at the very root of this project. The RCH is a product of evolution from Zambrano’s early studies of simply producing the least possible livable dwelling space for low-income housing. The RCH is designed by combining the characteristics of vernacular architecture with slum development patterns and sustainable building approaches. Each unit can start with a 12 square meter floor area which can expand to over 150 square meters and is conceptualized to function as a shophouse. The lower floors are appropriated for income generating activities while the upper floors are used as dwelling. These dwelling spaces, moreover, can generate rental income if owners choose to lease them out. Collective income of the community is likewise developed with the creation of jobs from new construction, expansion, upgrading, renovation and repairs. Such construction activities then create multiplier effects on other sectors of the economy and stimulate the growth of micro-enterprises (MEs) and small and medium enterprises (SMEs) creating more income generating opportunities for the poor in urban areas. In a theoretical narrative1, Zambrano relates how an individual resident earning a keep from a shop in front of his house can generate enough savings to construct an additional floor. The construction will logically feed other businesses, setting in motion a domino effect that will highly affect the entrepreneurial dynamics and human interaction between members of the community. The breakdown of barriers between the private and work sphere, and the merging of the two is not a novel concept but its application in light of current realities that beset urban areas can pave the way for a shift in perspective in the way we live, work and interact within the local community. With strategies combining reduced operational expenses, security of tenure, micro-finance and support for home-based enterprises (HBE) in micro-, small and medium enterprises, Zambrano’s RCH proposal could be an effective and holistic approach for poverty reduction and a much needed urban revitalization.
  • 61 New Parliament Complex for Trinidad & Tobago The twin island Republic of Trinidad and Tobago is situated in the southeast region of the West Indies. First settled by Amerindians of South American origins it was then colonized by the Spanish. The islands came under British control in the early 19th century then became independent of British rule on August 31st 1962. As a nation only 44 years old, Trinidadians and Tobagonians {Trinbagonians} are very aware of their national identity both culturally {festivals, music, religion, and art} and politically, as it continues to grow and flourish. An architecture that reflects these developments and seeks its validity as a reflection of the society and its belief system; while anchored in the development of contemporary architectural devices informed by local architectural traditions, I believe, is possible. Designing a New Parliament Building for Trinidad and Tobago will provide an opportunity to explore this notion. The following issues are explored in this design: • Investigation of the possible influence of calypso on architecture. • Marriage between the site and the structure, and a union between the context and the structure. • The relation of interior and exterior spaces as a continuous and unified fluid space. • Concern for qualities of proportion and rhythm and respect for human scale. • Adapting modern architectural language and strategies to national locus, informed by local architectural traditions. To explore and develop an architectural vocabulary and architectural strategies derived from the calypso culture of Trinidad and Tobago in the design of a Parliament Building rooted in the Genius Loci of its site and on the contemporary architectural discourse as it relates to Trinbagonian life. Combining the Architecture of this new Parliament for Trinidad and Tobago with the symbolism of its culture and calypso will serve as grounding for it such that it resonates with the spirit of the place and the spirit of the people. Opportunities will have to be formed for the people to create their own traditions, as they will be the ones to turn it into a parliament befitting of Trinidad and Tobago. Function : Parliament Complex with spaces for Cultural Exhibitions & Performances’. Chief Architect: Vernelle A.A. Noel, Assoc. AIA. Project Team: Vernelle A. A. Noel. Design Date: January 2007 Completion Date: May 2007. Total Area: 200,000 – 230,000 s.f.
  • 62 m_house The idea to invent a concept like the m_house occurred by looking at trailer parks, which are used in the U.S. as an alternative form of residence for low income families. The problem was how to provide a dwelling that is affordable, flexible in size, and movable if necessary while being attractive enough to be interesting to people of all income levels. By doing so, this would weaken the ability to judge the financial situation of a family by the appearance of their home. The concept for the m_house is based on the functional requirements of temporary exhibition pavilions. The structure is independent from the ground condition, consists of uniformed members, and provides all necessary connections like electricity and water. The wall modules are attached only to the structure and therefore easily exchangeable. They are made of various materials with an endless variety of designs and functions. To achieve this variety without making the modules unaffordable, it is necessary to involve a large number of manufacturers and designers of all kinds. Inspired by the concept of Open Source software, the question evolved that if it would be possible to develop “open source architecture” and have it available to companies that usually have nothing or little to do with architecture such as companies that produce electronics, appliances or furniture. This expanded involvement creates a new way of how to design, provide, use and recycle residential buildings. After deciding on the function and overall form, the users have the ability to choose their modules from a vast number of recourses to meet their needs and to give the rooms their desired function. This can be done either alone with planning software and online research or with the help of an architect, interior designer or representative of one of the module providing companies. Depending on how much the users plan to invest, they can purchase modules produced for retailers like home improvement stores, order modules online which allows a more personalized selection or order individually designed and produced modules for a high-end customization. The erection of the building is simple enough to be done by the user, some friends and one trained m_house coordinator within a very short amount of time. The only requirements are the preparation of the ground wherever the “feeds” of the structure come into contact with it, a small scale crane and the connection to electricity, water and plumbing. Because electricity and water supply are integrated into the structure connected to the ground at only one point, the appliances used in wall modules can be “plugged in” and hidden into the structure in the way of how electric cables and oil tubes are connected within cars. Since plumbing is only necessary in bathrooms and kitchens, floor modules in these areas are prepared to be connected to the local sewage. A major feature of the m_house is the possibility to add, reduce or simply to exchange wall modules at any given time. If the number of family members that live in one unit chanes, it might be necessary to enlarge or reduce the available space. The change of income could allow for an upgrade or downgrade to save money. Furthermore, it makes it possible to keep your building up to date in regards to energy standards and personal comfort. A worn out module can easily be replaced or repaired. What makes the m_house different from other module buildings is the idea of involving multiple companies and organizations of various interests. It is imaginable, that modules can be donated by companies and sponsors and that used modules are resold by services like Good Will.
  • 63 Morphological Request: Dance School at Athens We face the object to planning as department of a wider total of objects scattered in the urban web, as piece of network that informs the users for cultural action. The geometrical elements of space provide information on the beginning of synthetic process that later is strengthened by the functional needs and the morphological objectives. Basic synthetic intention is the particular tour of user inside the building, a movement ascendant, peristrophical, around from a concatenation of centered weighted voids: one dancing whirling. The process concerns moreover in the 2D diagrammatic composition - plates - and the incorporation of this in the 3D object as other fragmentary carpet. We study finally, the nutshell of building, his final clothing, with which it communicates the user his importance, accompanying the walk inside and outside except speaking in him his movement.
  • 64 Adharshila Vatika DESIGN BRIEF The design required for 5-6 classrooms with capacity of 30 children meant for children age group of 2½-5 year with activity room, Dance & Music room, and Medical room. The reception room should have waiting for around 12-15 people with Administration & Principal room near it. The requirement was to have classrooms well lit up with nature & natural light. Further outer areas to be landscaped & designed for out door activities like swimming pool, slides, skating, assembly space & sand pit. The School was to be centrally air-conditioned. The building to have a character of kinder garden school with use of pastel shades (Client had mentioned the colors used in Disneyland). DESIGN PROCESS The prior emphasis was kept on the functional requirement and the character (elevation) of the building. The building two storied was placed at middle of the site where all rooms should have natural ventilation. The plan kept as simple as possible & only had a corridor connecting all the spaces which over looked the central courtyard. An environment to be created inside which transforms into children’s space, one with which they can identify with, the areas & space they can easily remember and move around. The building plan worked on a hexagonal shape enclosing an open courtyard acts as a secured space for children’s to play. The building longer side facing the main G.T Karnal road has an entrance from front but the main entrance to be used by children’s was kept from side road (Side road has less traffic & Children’s movement can be monitored properly). The two entrances are kept at side, one lead to the reception area with the administration & principal room and the other to be used by children’s which opens on to the staircase well leads them to basement as well as first floor. The swimming pool is kept at the comer in the rear side of the plot. Big glass windows gave children’s to have a good view of open areas. The building elevation was intended to be derived using basic forms of circles, triangles and square. Further it had to differ from castle shaped or fairly tale exterior. It had to be modern and raw in its outlook. The use of colors & forms used in exterior was reflected in the interiors too. The foremost attempt in execution of the building or selection of materials or colors was not to loose the character of the building which it was meant for (an apprehension from client that it should not look like a mall). The landscape was also an important aspect of design with transitional between two spaces achieved by different materials & their colors. The classrooms has been worked on a theme and has been designed on its function and utility where the children’s identify and educated as in one of the classroom has flags painted o different countries and at other has colorful display of alphabets and jungle book characters. The corridor which connects all the classrooms has interesting elements on the wall and floor which act as a good transitional space, further big windows overlooking the corridor creates an interactive environment among children’s. COLOUR COORDINATION The colors has played the most important part in defining the character to the building. The selection of colors on the building forms should be eye pleasing, Therefore pastel shades were the obvious choice avoiding bright or dark colors like Red, Green, Orange. The form & colors are like a composition with one complimenting each other and Not standing apart, its like fruit basket where all the fruits of different shapes & colors form a perfect composition. The entrance gate has kept very simple where in longer one rectangular panel has painted in different shades of pink, while the smaller one has different circles painted in pastel shade (distinguishing from normal entrance gates where gate has cutout of Cartoons to get a pre- school look). The central circular element (front elevation), is in axis of front entrance, is cladded with Al. Composite Panel, which neutralizes with “yellow ocre” color on Parapet wall at terrace level on either side. The bands of pastel cream blends with brown color of the corridor walls in front (since “yellow ocre”, brown, cream are of same family colors- if used in right proportion always blends well together). The grape paint, dark shade on the front part acts as a frame (always dark). All the classrooms concept has been worked on theme & decisions of colours has been taken on instinct (at site) taking all the three dimensional spaces in consideration. Dark colors were avoided. CHILDREN’S SAFETY The entrance of the school is kept from the road side instead from the main G.T.Karnal road at front as the traffic is less and the movement can be monitored well. Similarly all the risers in the staircase for steps as kept 5 inches for children to access easily. Antiskid tiles are used to avoid children’s to fall. Further railing is designed keeping children’s height in consideration. The swimming pool at the rear side has monitoring camera which can be viewed from the reception & principal room further the depth of the swimming pool is kept 1’-6”. Ramp from front leads one to the corridor on ground floor (used for disabled children).

WA 3. Cycle Fullcourseware, March 2009 Presentation Transcript

  • 1. 20+10+X Architecture Awards 3nd Cycle, March 2009 www.worldarchitecture.org
  • 2. www.worldarchitecture.org ● Selected by the votes of Honorary Members (20 projects) ● Cited by Honorary Members (+ 30 projects) The constituency of WA has decided to cite those projects that have received the admiration of many Honorary Members ● Selected through the rating of all visitors (10 projects) ● "Most thought-provoking +X" projects (4 projects) WINNERS / 3 . Cycle
  • 3. www.worldarchitecture.org Luis Longhi | Pachacamac House | Peru SELECTED BY THE VOTES OF HONORARY MEMBERS
  • 4. www.worldarchitecture.org Luis Longhi | Pachacamac House | Peru
  • 5. www.worldarchitecture.org Luis Longhi | Pachacamac House | Peru
  • 6. www.worldarchitecture.org Luis Longhi | Pachacamac House | Peru
  • 7. www.worldarchitecture.org Anna Heringer | DESI  |  Bangladesh SELECTED BY THE VOTES OF HONORARY MEMBERS
  • 8. www.worldarchitecture.org Anna Heringer | DESI | Bangladesh
  • 9. www.worldarchitecture.org Anna Heringer | DESI | Bangladesh
  • 10. www.worldarchitecture.org Khroma |   Orphanage at Chandpur   |  Bangladesh SELECTED BY THE VOTES OF HONORARY MEMBERS
  • 11. www.worldarchitecture.org Khroma | Orphanage at Chandpur | Bangladesh
  • 12. www.worldarchitecture.org Khroma | Orphanage at Chandpur | Bangladesh
  • 13. www.worldarchitecture.org Kazuhide Doi   |  Stone Terrace  |  Japan SELECTED BY THE VOTES OF HONORARY MEMBERS
  • 14. www.worldarchitecture.org Kazuhide Doi   |  Stone Terrace  |  Japan
  • 15. www.worldarchitecture.org Kazuhide Doi   |  Stone Terrace  |  Japan
  • 16. www.worldarchitecture.org Derek Dellekamp   |  CB30  |  Mexico SELECTED BY THE VOTES OF HONORARY MEMBERS
  • 17. www.worldarchitecture.org Derek Dellekamp   |  CB30  |  Mexico
  • 18. www.worldarchitecture.org Derek Dellekamp   |  CB30  |  Mexico
  • 19. www.worldarchitecture.org Yoongyoo Jang   |   Asian Culture Complex in GwangJu   |  South Korea SELECTED BY THE VOTES OF HONORARY MEMBERS
  • 20. www.worldarchitecture.org Yoongyoo Jang   |  Asian Culture Complex in GwangJu |  South Korea
  • 21. www.worldarchitecture.org Yoongyoo Jang   |  Asian Culture Complex in GwangJu |  South Korea
  • 22. www.worldarchitecture.org Alvaro Puntoni House in Carapicuiba {with Angelo Bucci} Brazil SELECTED BY THE VOTES OF HONORARY MEMBERS
  • 23. www.worldarchitecture.org Alvaro Puntoni   |   House in Carapicuiba { with Angelo Bucci}  |  Brazil
  • 24. www.worldarchitecture.org Alvaro Puntoni   |   House in Carapicuiba { with Angelo Bucci}  |  Brazil
  • 25. www.worldarchitecture.org V ano K snelashvili | B 3 | Georgia SELECTED BY THE VOTES OF HONORARY MEMBERS
  • 26. www.worldarchitecture.org Vano Ksnelashvili | B 3 | Georgia
  • 27. www.worldarchitecture.org Vano Ksnelashvili | B 3 | Georgia
  • 28. www.worldarchitecture.org Aaron Beyers | Passive Solar Habitat | United States SELECTED BY THE VOTES OF HONORARY MEMBERS
  • 29. www.worldarchitecture.org Aaron Beyers | Passive Solar Habitat | United States
  • 30. www.worldarchitecture.org Aaron Beyers | Passive Solar Habitat | United States
  • 31. www.worldarchitecture.org Aaron Beyers | Passive Solar Habitat | United States
  • 32. www.worldarchitecture.org Sebastien Verniers Bungalow Olger Costa Rica SELECTED BY THE VOTES OF HONORARY MEMBERS
  • 33. www.worldarchitecture.org Sebastien Verniers | Bungalow Olger | Costa Rica
  • 34. www.worldarchitecture.org Sebastien Verniers | Bungalow Olger | Costa Rica
  • 35. www.worldarchitecture.org Sebastien Verniers | Bungalow Olger | Costa Rica
  • 36. www.worldarchitecture.org Juan Pablo Corvalan | Kiltro House | Chile SELECTED BY THE VOTES OF HONORARY MEMBERS
  • 37. www.worldarchitecture.org Juan Pablo Corvalan | Kiltro House | Chile
  • 38. www.worldarchitecture.org Juan Pablo Corvalan | Kiltro House | Chile
  • 39. www.worldarchitecture.org Juan Pablo Corvalan | Kiltro House | Chile
  • 40. www.worldarchitecture.org Edgar Marin | Casa Pakal 3 | Mexico SELECTED BY THE VOTES OF HONORARY MEMBERS
  • 41. www.worldarchitecture.org Edgar Marin | Casa Pakal 3 | Mexico
  • 42. www.worldarchitecture.org Edgar Marin | Casa Pakal 3 | Mexico
  • 43. www.worldarchitecture.org Victor Zotov | Museum of Ivan Marchuk and Offices | Ukraine SELECTED BY THE VOTES OF HONORARY MEMBERS
  • 44. www.worldarchitecture.org Victor Zotov | Museum of Ivan Marchuk and Offices | Ukraine
  • 45. www.worldarchitecture.org Victor Zotov | Museum of Ivan Marchuk and Offices | Ukraine
  • 46. www.worldarchitecture.org Wang Lu | The ZS Hope Primary School Maoping Village | China SELECTED BY THE VOTES OF HONORARY MEMBERS
  • 47. www.worldarchitecture.org Wang Lu | The ZS Hope Primary School Maoping Village | China
  • 48. www.worldarchitecture.org Wang Lu | The ZS Hope Primary School Maoping Village | China
  • 49. www.worldarchitecture.org Alfonso Jimenez | Casa Y | Mexico SELECTED BY THE VOTES OF HONORARY MEMBERS
  • 50. www.worldarchitecture.org Alfonso Jimenez | Casa Y | Mexico
  • 51. www.worldarchitecture.org Alfonso Jimenez | Casa Y | Mexico
  • 52. www.worldarchitecture.org David Barragán | Entre Muros House | Mexico SELECTED BY THE VOTES OF HONORARY MEMBERS
  • 53. www.worldarchitecture.org David Barragán | Entre Muros House | Mexico
  • 54. www.worldarchitecture.org David Barragán | Entre Muros House | Mexico
  • 55. www.worldarchitecture.org David Barragán | Entre Muros House | Mexico
  • 56. www.worldarchitecture.org Romi Khosla Design Studios Eicher-Volvo India Headquarters India SELECTED BY THE VOTES OF HONORARY MEMBERS
  • 57. www.worldarchitecture.org Romi Khosla Design Studios | Eicher-Volvo India Headquarters | India
  • 58. www.worldarchitecture.org Romi Khosla Design Studios | Eicher-Volvo India Headquarters | India
  • 59. www.worldarchitecture.org Romi Khosla Design Studios | Eicher-Volvo India Headquarters | India
  • 60. www.worldarchitecture.org Polytia Armos | House in Nicosia | Cyprus SELECTED BY THE VOTES OF HONORARY MEMBERS
  • 61. www.worldarchitecture.org Polytia Armos | House in Nicosia | Cyprus
  • 62. www.worldarchitecture.org Polytia Armos | House in Nicosia | Cyprus
  • 63. www.worldarchitecture.org Zecc Architecten Church of Living Netherlands SELECTED BY THE VOTES OF HONORARY MEMBERS
  • 64. www.worldarchitecture.org Zecc Architecten | Church of Living | Netherlands
  • 65. www.worldarchitecture.org Zecc Architecten | Church of Living | Netherlands
  • 66. www.worldarchitecture.org 3LHD Architects | Riva Split Waterfront, Split | Croatia SELECTED BY THE VOTES OF HONORARY MEMBERS
  • 67. www.worldarchitecture.org 3LHD Architects | Riva Split Waterfront, Split | Croatia
  • 68. www.worldarchitecture.org 3LHD Architects | Riva Split Waterfront, Split | Croatia
  • 69. www.worldarchitecture.org Hanif Daud and Saman Mahmood | IAP House | Pakistan CITED BY THE VOTES OF HONORARY MEMBERS
  • 70. www.worldarchitecture.org Hanif Daud and Saman Mahmood | IAP House | Pakistan
  • 71. www.worldarchitecture.org Hanif Daud and Saman Mahmood | IAP House | Pakistan
  • 72. www.worldarchitecture.org Mehrdad Iravanian House no. 12 Iran CITED BY THE VOTES OF HONORARY MEMBERS
  • 73. www.worldarchitecture.org Mehrdad Iravanian | House no. 12 | Iran
  • 74. www.worldarchitecture.org Mehrdad Iravanian | House no. 12 | Iran
  • 75. www.worldarchitecture.org Mehrdad Iravanian | House no. 12 | Iran
  • 76. www.worldarchitecture.org Seungteak Lee | Programmatic Mountain | United States CITED BY THE VOTES OF HONORARY MEMBERS
  • 77. www.worldarchitecture.org Seungteak Lee | Programmatic Mountain | United States
  • 78. www.worldarchitecture.org Seungteak Lee | Programmatic Mountain | United States
  • 79. www.worldarchitecture.org Amit Talwar | Ziranenge/ Angel | Rwanda CITED BY THE VOTES OF HONORARY MEMBERS
  • 80. www.worldarchitecture.org Amit Talwar | Ziranenge/ Angel | Rwanda
  • 81. www.worldarchitecture.org Amit Talwar | Ziranenge/ Angel | Rwanda
  • 82. www.worldarchitecture.org Hyo Man Kim Hye Ro Hun South Korea CITED BY THE VOTES OF HONORARY MEMBERS
  • 83. www.worldarchitecture.org Hyo Man Kim | Hye Ro Hun | South Korea
  • 84. www.worldarchitecture.org Hyo Man Kim | Hye Ro Hun | South Korea
  • 85. www.worldarchitecture.org Daniel Ventura Imprenta Grafishow / Grafishow Printing Works Argentina CITED BY THE VOTES OF HONORARY MEMBERS
  • 86. www.worldarchitecture.org Daniel Ventura Imprenta Grafishow / Grafishow Printing Works Argentina
  • 87. www.worldarchitecture.org Daniel Ventura Imprenta Grafishow / Grafishow Printing Works Argentina
  • 88. www.worldarchitecture.org Iván Henríquez | Caleta de Pescadores Artesanales, Pichilemu | Chile CITED BY THE VOTES OF HONORARY MEMBERS
  • 89. www.worldarchitecture.org Iván Henríquez | Caleta de Pescadores Artesanales, Pichilemu | Chile
  • 90. www.worldarchitecture.org Iván Henríquez | Caleta de Pescadores Artesanales, Pichilemu | Chile
  • 91. www.worldarchitecture.org Hadi Baghlaf | A House in Jeddah | Saudi Arabia CITED BY THE VOTES OF HONORARY MEMBERS
  • 92. www.worldarchitecture.org Hadi Baghlaf | A House in Jeddah | Saudi Arabia
  • 93. www.worldarchitecture.org Hadi Baghlaf | A House in Jeddah | Saudi Arabia
  • 94. www.worldarchitecture.org Reza Pourvaziry Nashr Yadavaran Administrative Building Iran CITED BY THE VOTES OF HONORARY MEMBERS
  • 95. www.worldarchitecture.org Reza Pourvaziry | Nashr Yadavaran Administrative Building | Iran
  • 96. www.worldarchitecture.org Reza Pourvaziry | Nashr Yadavaran Administrative Building | Iran
  • 97. www.worldarchitecture.org Catalin Trandafir | Drobeta Archaeology Museum | Romania CITED BY THE VOTES OF HONORARY MEMBERS
  • 98. www.worldarchitecture.org Catalin Trandafir | Drobeta Archaeology Museum | Romania
  • 99. www.worldarchitecture.org Catalin Trandafir | Drobeta Archaeology Museum | Romania
  • 100. www.worldarchitecture.org Krzysztof Budzisz | The Consulate | Belgium CITED BY THE VOTES OF HONORARY MEMBERS
  • 101. www.worldarchitecture.org Krzysztof Budzisz | The Consulate | Belgium
  • 102. www.worldarchitecture.org Krzysztof Budzisz | The Consulate | Belgium
  • 103. www.worldarchitecture.org Teruo Miyahara House_TTN, Japan CITED BY THE VOTES OF HONORARY MEMBERS
  • 104. www.worldarchitecture.org Teruo Miyahara | House_TTN | Japan
  • 105. www.worldarchitecture.org Teruo Miyahara | House_TTN | Japan
  • 106. www.worldarchitecture.org Lucy Gauntlett Yellow Treehouse Restaurant New Zealand CITED BY THE VOTES OF HONORARY MEMBERS
  • 107. www.worldarchitecture.org Lucy Gauntlett | Yellow Treehouse Restaurant | New Zealand
  • 108. www.worldarchitecture.org Lucy Gauntlett | Yellow Treehouse Restaurant | New Zealand
  • 109. www.worldarchitecture.org Patrick Berger Parc André Citroën-Cévennes {avec Gilles Clément, Alain Provost, Jean-Paul Viguier architectes et paysagistes} France CITED BY THE VOTES OF HONORARY MEMBERS
  • 110. www.worldarchitecture.org Patrick Berger | Parc André Citroën-Cévennes | France
  • 111. www.worldarchitecture.org Patrick Berger | Parc André Citroën-Cévennes | France
  • 112. www.worldarchitecture.org Vahid Pariz | Memorial of Flight no.655 {with Afsoon Jaberi} | Iran CITED BY THE VOTES OF HONORARY MEMBERS
  • 113. www.worldarchitecture.org Vahid Pariz | Memorial of F light no.655 {with Afsoon Jaberi} | Iran
  • 114. www.worldarchitecture.org Vahid Pariz | Memorial of F light no.655 {with Afsoon Jaberi} | Iran
  • 115. www.worldarchitecture.org Rafiq Azam Drik Picture Library and Gallery Bangladesh CITED BY THE VOTES OF HONORARY MEMBERS
  • 116. www.worldarchitecture.org Rafiq Azam | Drik Picture Library and Gallery | B angladesh
  • 117. www.worldarchitecture.org Rafiq Azam | Drik Picture Library and Gallery | B angladesh
  • 118. www.worldarchitecture.org Rafiq Azam | Drik Picture Library and Gallery | B angladesh
  • 119. www.worldarchitecture.org PAG Pracownia Architektury Głowacki house+ | Poland CITED BY THE VOTES OF HONORARY MEMBERS
  • 120. www.worldarchitecture.org PAG Pracownia Architektury Głowacki | house+ | Poland
  • 121. www.worldarchitecture.org PAG Pracownia Architektury Głowacki | house+ | Poland
  • 122. www.worldarchitecture.org Ermis Adamantidis | parkINpark | Greece CITED BY THE VOTES OF HONORARY MEMBERS
  • 123. www.worldarchitecture.org Ermis Adamantidis | parkINpark | Greece
  • 124. www.worldarchitecture.org Ermis Adamantidis | parkINpark | Greece
  • 125. www.worldarchitecture.org Hugon Kowalski | The House on the Beach | Poland CITED BY THE VOTES OF HONORARY MEMBERS
  • 126. www.worldarchitecture.org Hugon Kowalski | The House on the Beach | Poland
  • 127. www.worldarchitecture.org Hugon Kowalski | The House on the Beach | Poland
  • 128. www.worldarchitecture.org John Dunn | The "Inhabitable Docks" for the "Estero Salado" Enviromental Restoration | Ecuador CITED BY THE VOTES OF HONORARY MEMBERS
  • 129. www.worldarchitecture.org John Dunn | The "Inhabitable Docks" for the "Estero Salado" Enviromental Restoration | Ecuador
  • 130. www.worldarchitecture.org John Dunn | The "Inhabitable Docks" for the "Estero Salado" Enviromental Restoration | Ecuador
  • 131. www.worldarchitecture.org Abdullah Fouda | Cultural & Research Center | Egypt CITED BY THE VOTES OF HONORARY MEMBERS
  • 132. www.worldarchitecture.org Abdullah Fouda | Cultural & Research Center | Egypt
  • 133. www.worldarchitecture.org Abdullah Fouda | Cultural & Research Center | Egypt
  • 134. www.worldarchitecture.org Formodesign | IA&E Modernisation | Poland CITED BY THE VOTES OF HONORARY MEMBERS
  • 135. www.worldarchitecture.org Formodesign | IA&E Modernisation | Poland
  • 136. www.worldarchitecture.org Formodesign | IA&E Modernisation | Poland
  • 137. www.worldarchitecture.org Knafo Klimor Architects | Highway Habitat | Israel CITED BY THE VOTES OF HONORARY MEMBERS
  • 138. www.worldarchitecture.org Knafo Klimor Architects | Highway Habitat | Israel
  • 139. www.worldarchitecture.org Knafo Klimor Architects | Highway Habitat | Israel
  • 140. www.worldarchitecture.org Knafo Klimor Architects | Highway Habitat | Israel
  • 141. www.worldarchitecture.org Alessandro Calvi Rollino | The Rainbow School | Italy CITED BY THE VOTES OF HONORARY MEMBERS
  • 142. www.worldarchitecture.org Alessandro Calvi Rollino | The Rainbow School | Italy
  • 143. www.worldarchitecture.org Alessandro Calvi Rollino | The Rainbow School | Italy
  • 144. www.worldarchitecture.org Sackthi Muthu  | Archcordion | India CITED BY THE VOTES OF HONORARY MEMBERS
  • 145. www.worldarchitecture.org Sackthi Muthu  | Archcordion | India
  • 146. www.worldarchitecture.org Sackthi Muthu  | Archcordion | India
  • 147. www.worldarchitecture.org Juan Lacape Vistas del Ange l Guatemala CITED BY THE VOTES OF HONORARY MEMBERS
  • 148. www.worldarchitecture.org Juan Lacape | Vistas del Angel | Guatemala
  • 149. www.worldarchitecture.org Juan Lacape | Vistas del Angel | Guatemala
  • 150. www.worldarchitecture.org Catalina Ionita Urban Connection-Making the City by Fields Generated Architecture Romania CITED BY THE VOTES OF HONORARY MEMBERS
  • 151. www.worldarchitecture.org Catalina Ionita Urban Connection-making the city by fields generated architecture Romania
  • 152. www.worldarchitecture.org Catalina Ionita Urban Connection-making the city by fields generated architecture Romania
  • 153. www.worldarchitecture.org Hui Ying Candy Chan | Living on Display | Romania CITED BY THE VOTES OF HONORARY MEMBERS
  • 154. www.worldarchitecture.org Hui Ying Candy Chan | Living on Display | Romania
  • 155. www.worldarchitecture.org Hui Ying Candy Chan | Living on Display | Romania
  • 156. www.worldarchitecture.org Seyedehmahsan Mohsenin | Caravanserai (Tracing the Desert) | Iran CITED BY THE VOTES OF HONORARY MEMBERS
  • 157. www.worldarchitecture.org Seyedehmahsan Mohsenin | Caravanserai (Tracing the Desert) | Iran
  • 158. www.worldarchitecture.org Seyedehmahsan Mohsenin | Caravanserai (Tracing the Desert) | Iran
  • 159. www.worldarchitecture.org Samuel A. Budiono | Agropark | Indonesia SELECTED THROUGH RATINGS
  • 160. www.worldarchitecture.org Samuel A. Budiono | Agropark | Indonesia
  • 161. www.worldarchitecture.org Samuel A. Budiono | Agropark | Indonesia
  • 162. www.worldarchitecture.org Samuel A. Budiono | Agropark | Indonesia
  • 163. www.worldarchitecture.org Yannos Yanniotis | Winery in Megalohori, Santorini | Greece SELECTED THROUGH RATINGS
  • 164. www.worldarchitecture.org Yannos Yanniotis | Winery in Megalohori, Santorini | Greece
  • 165. www.worldarchitecture.org Yannos Yanniotis | Winery in Megalohori, Santorini | Greece
  • 166. www.worldarchitecture.org Meta Studio | Solar Plane House | United States SELECTED THROUGH RATINGS
  • 167. www.worldarchitecture.org Meta Studio | Solar Plane House | United States
  • 168. www.worldarchitecture.org Meta Studio | Solar Plane House | United States
  • 169. www.worldarchitecture.org Alexandros Zomas  | Small Library in the Center of Thessaloniki | Greece SELECTED THROUGH RATINGS
  • 170. www.worldarchitecture.org Alexandros Zomas Small Library in the Center of Thessaloniki Greece
  • 171. www.worldarchitecture.org Alexandros Zomas Small Library in the Center of Thessaloniki Greece
  • 172. www.worldarchitecture.org Brendan O`Grady   | Aeroform | United States SELECTED THROUGH RATINGS
  • 173. www.worldarchitecture.org Brendan O`Grady   | Aeroform | United States
  • 174. www.worldarchitecture.org Brendan O`Grady   | Aeroform | United States
  • 175. www.worldarchitecture.org Suleiman Alhadidi | Moon Project – Villa | Jordan SELECTED THROUGH RATINGS
  • 176. www.worldarchitecture.org Suleiman Alhadidi | Moon Project – Villa | Jordan
  • 177. www.worldarchitecture.org Suleiman Alhadidi | Moon Project – Villa | Jordan
  • 178. www.worldarchitecture.org Andres Remy Casa de la Cascada / Waterfall House Argentina SELECTED THROUGH RATINGS
  • 179. www.worldarchitecture.org Andres Remy | Casa de la Cascada / Waterfall House | Argentina
  • 180. www.worldarchitecture.org Andres Remy | Casa de la Cascada / Waterfall House | Argentina
  • 181. www.worldarchitecture.org Ashok Babu Lalitha Mahal at Madurai India SELECTED THROUGH RATINGS
  • 182. www.worldarchitecture.org Ashok Babu | Lalitha Mahal at Madurai | India
  • 183. www.worldarchitecture.org Ashok Babu | Lalitha Mahal at Madurai | India
  • 184. www.worldarchitecture.org TEd`A Arquitectes  | Museu del Molinar de Montuïri | Spain SELECTED THROUGH RATINGS
  • 185. www.worldarchitecture.org TEd`A Arquitectes  | Museu del Molinar de Montuïri | Spain
  • 186. www.worldarchitecture.org TEd`A Arquitectes  | Museu del Molinar de Montuïri | Spain
  • 187. www.worldarchitecture.org Escuela de Arquitectura Universidad de Talca Refuge Of Cowboys Architect : Andres Lillo Coria Chile SELECTED THROUGH RATINGS
  • 188. www.worldarchitecture.org Escuela de Arquitectura Universidad de Talca Refuge Of Cowboys Architect : Andres Lillo Coria Chile
  • 189. www.worldarchitecture.org Escuela de Arquitectura Universidad de Talca Refuge Of Cowboys Architect : Andres Lillo Coria Chile
  • 190. www.worldarchitecture.org Albert Zambrano Rising Core House: a proposed low-income urban housing model linked with income generation for slum upgrading and poverty alleviation Philippines MOST THOUGHT-PROVOKING +X" PROJECTS
  • 191. www.worldarchitecture.org Albert Zambrano Rising Core House: a proposed low-income urban housing model linked with income generation for slum upgrading and poverty alleviation Philippines
  • 192. www.worldarchitecture.org Albert Zambrano Rising Core House: a proposed low-income urban housing model linked with income generation for slum upgrading and poverty alleviation Philippines
  • 193. www.worldarchitecture.org Albert Zambrano Rising Core House: a proposed low-income urban housing model linked with income generation for slum upgrading and poverty alleviation Philippines
  • 194. www.worldarchitecture.org Vernelle Noel New Parliament Complex for Trinidad & Tobago Trinidad and Tobago MOST THOUGHT-PROVOKING +X" PROJECTS
  • 195. www.worldarchitecture.org Vernelle Noel | New Parliament Complex for Trinidad & Tobago | T rinidad and Tobago
  • 196. www.worldarchitecture.org Vernelle Noel | New Parliament Complex for Trinidad & Tobago | T rinidad and Tobago
  • 197. www.worldarchitecture.org Christoph Jessnitz | m_house | United States MOST THOUGHT-PROVOKING +X" PROJECTS
  • 198. www.worldarchitecture.org Christoph Jessnitz | m_house | United States
  • 199. www.worldarchitecture.org Christoph Jessnitz | m_house | United States
  • 200. www.worldarchitecture.org Christoph Jessnitz | m_house | United States
  • 201. www.worldarchitecture.org Panagiotis Roupas | Morphological Request: Dance School at Athens | Greece MOST THOUGHT-PROVOKING +X" PROJECTS
  • 202. www.worldarchitecture.org Panagiotis Roupas Morphological Request: Dance School at Athen s Greece
  • 203. www.worldarchitecture.org Panagiotis Roupas Morphological Request: Dance School at Athen s Greece
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