WA 5. Cycle Fullcourseware, September 2009


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Full version presentations of the 5th Cycle winner projects, September 2009- To be engaged with contemporary trends

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  • New urban cemetery enlargement in Todi The project is an enlargement of the XIX° century cemetery building built on the right site, perpendicularly to the historical entrance. The building is developed on two floors. A travertine staircase links the square to the first floor (+1.00 mt.) while a ramp allows the access to disabled persons. A wide entrance leads inside the building, characterized by two parallel hallways which ends with two big windows facing the surrounding valleys and guaranties the deepness and the lightness to the building . A big skylight in glass and steel defines and protects the main façade and lightens the entrance. The two opposite stone elevations have two different images. One linked to the square and the main entrance to the ancient cemetery, the other one has a more urban character. Photos: Francesco Signorini , George Tatge
  • By virtue of the Government Decision on the National Monument of the 1956 Hungarian Revolution and War of Independence, and the Mayor of Budapest jointly prepared the erection of the monument. The plans of the Monument were selected in an international open competition. The independent international jury decided to reward seven plans. The winning plans were submitted by the group „i-ypszilon” (Tamás Emodi-Kiss architect, Kata György artist, Csaba Horváth artist, Tamás Papp architect). The starting points of the design of the memorial were those well-known photos, which depict the undergraduates marching to the sculpture of Jozef Bem from the Polytechnic University, on October 23 1956. The wedge-like shape symbolizes the people going arm in arm, trusting each other, and the power of community. The memorial stands at the border of the City Park. The base of it is a square, that evocates the contemporary streets, the “square of silence”, that gives an opportunity to personal, engrossed remembrance. The rustically corroded, man-sized, iron columns emerge from here, and it is possible to walk among them until the tierce of the work. The spectator can become a segment of the community, marked by the columns; can seek for the opportunity in himself, that led common men to heroism in 1956, and that is still a part of our humanness nowadays. Moving forward along the axle of the work, the columns are located increasingly tighter, their material gradually brightens, they become higher and higher, when finally they unite by formulating a perfectly consistent, eight-meter tall, stainless high-allowy steel block. This wedge refracts the overlay of the Felvonulási street, referring to the force of the revolution, what appeared at this location also. The monument commemorates to that unique moment, when the citizens of Hungary overcame their own individualities, in order to stand up as members of the united community, for the idea of freedom and independence. The monument does not wish to illustrate, but intends to make it possible for the spectators to imagine themselves living through those events of history, thus the remembrance should have an effect on the present days.
  • The Art Tower is an information tower, constructed at the corner of Hayden Avenue and National Boulevard. That intersection is the primary entry point into the re-developed zone of Culver City. Conceptually, the tower has both introverted and extroverted planning objectives. Internal to the burgeoning site area of new media companies, graphic designers, and general office tenants, the tower will symbolize the advent of this important new urban development, provide a changing art display for local viewing, and offer a variety of graphic content and data on its five screens concerning coming events and current achievements of the tenants who occupy that part of the city. Externally, the tower makes displays culturally significant content and local event information, along with art and graphic presentations of all sorts available to in-car audiences who pass the site area, traveling on a number of local thoroughfares in the Culver City-West Los Angeles area. In addition to the large number of cars passing the site, a new surface passenger railway system, the Expo light rail line, currently under construction, will pass by the Hayden-National corner, with two local stops several blocks east and west of the site. The presence of the train riders guarantees an enormous daily audience of Tower art viewers, as well as an increase in pedestrians in the area, who will walk past the Tower from the train stops to local businesses. All the buildings in the immediate area are governed by a 56 foot height limit. The Art Tower height is an important exception to the local height rule. The project will be 72 feet high, measured from grade, and will include an open-air, excavated, concrete seating and staging space at its base that begins at minus 12 feet, and housing for all the electronic and media related equipment for the Tower. The tower consists of five circular steel rings, approximately 30 feet in diameter. The rings are stacked vertically at 12 foot floor to floor intervals, and, as the height increases, the rings are staggered in plan, back and forth – to the north, east, south, and west – in order to establish proximity and viewing angles for various levels at various heights. Projection screens at each floor are to be seen from cars on surrounding surface streets, from freeways, by passengers at train stops, from on-board the moving trains, and from area pedestrians at a variety of key walking and viewing points. Between each pair of staggered horizontal circular steel plains, the curving, conical projection screens are installed. Behind the screens, hung from the tower floors are a number of digital projectors, 12 in all, that will rear-project onto the translucent acrylic screens. Inside the screens, steel decks are provided for viewers to look out at the city, and for a maintenance staff who will service the projectors and screens. The Tower has a glazed elevator in an enclosed glass shaft, and an open stairway to the top, so the Tower will be used as a viewing platform to overlook the city, but its primary objective is to distribute art and other relevant content to the local and the in-transit audiences passing by. There are several target audiences that account for the positioning of the five screens. First is the traffic on the Santa Monica Freeway, several blocks to the north, one of the most highly trafficked freeway routes in Los Angeles. Second, the intersection of La Cienega Boulevard and Jefferson Boulevard, several blocks from the site, another of the highly trafficked intersections in the city, and the location of the primary new, elevated train stop. Third is the corner of Hayden and National itself, adjacent to the project, which is also a signaled, highly trafficked east-west route. Finally, there is one screen, just above grade level, that, unlike the other four, faces the re-development site. That screen will be used by local audiences, seated on the terraced concret
  • 3 Gateway Art Tower (Under Construction) The Art Tower is an information tower, constructed at the corner of Hayden Avenue and National Boulevard. That intersection is the primary entry point into the re-developed zone of Culver City. Conceptually, the tower has both introverted and extroverted planning objectives. Internal to the burgeoning site area of new media companies, graphic designers, and general office tenants, the tower will symbolize the advent of this important new urban development, provide a changing art display for local viewing, and offer a variety of graphic content and data on its five screens concerning coming events and current achievements of the tenants who occupy that part of the city. Externally, the tower makes displays culturally significant content and local event information, along with art and graphic presentations of all sorts available to in-car audiences who pass the site area, traveling on a number of local thoroughfares in the Culver City-West Los Angeles area. In addition to the large number of cars passing the site, a new surface passenger railway system, the Expo light rail line, currently under construction, will pass by the Hayden-National corner, with two local stops several blocks east and west of the site. The presence of the train riders guarantees an enormous daily audience of Tower art viewers, as well as an increase in pedestrians in the area, who will walk past the Tower from the train stops to local businesses. All the buildings in the immediate area are governed by a 56 foot height limit. The Art Tower height is an important exception to the local height rule. The project will be 72 feet high, measured from grade, and will include an open-air, excavated, concrete seating and staging space at its base that begins at minus 12 feet, and housing for all the electronic and media related equipment for the Tower. The tower consists of five circular steel rings, approximately 30 feet in diameter. The rings are stacked vertically at 12 foot floor to floor intervals, and, as the height increases, the rings are staggered in plan, back and forth – to the north, east, south, and west – in order to establish proximity and viewing angles for various levels at various heights. Projection screens at each floor are to be seen from cars on surrounding surface streets, from freeways, by passengers at train stops, from on-board the moving trains, and from area pedestrians at a variety of key walking and viewing points. Between each pair of staggered horizontal circular steel plains, the curving, conical projection screens are installed. Behind the screens, hung from the tower floors are a number of digital projectors, 12 in all, that will rear-project onto the translucent acrylic screens. Inside the screens, steel decks are provided for viewers to look out at the city, and for a maintenance staff who will service the projectors and screens. The Tower has a glazed elevator in an enclosed glass shaft, and an open stairway to the top, so the Tower will be used as a viewing platform to overlook the city, but its primary objective is to distribute art and other relevant content to the local and the in-transit audiences passing by. There are several target audiences that account for the positioning of the five screens. First is the traffic on the Santa Monica Freeway, several blocks to the north, one of the most highly trafficked freeway routes in Los Angeles. Second, the intersection of La Cienega Boulevard and Jefferson Boulevard, several blocks from the site, another of the highly trafficked intersections in the city, and the location of the primary new, elevated train stop. Third is the corner of Hayden and National itself, adjacent to the project, which is also a signaled, highly trafficked east-west route. Finally, there is one screen, just above grade level, that, unlike the other four, faces the re-development site. That screen will be used by local audiences, seated on the terraced concret
  • Spaladium Center   Spaladium Centar, sports and business complex is located on the northern part of the Split peninsula, in the vicinity of Poljud, a sports complex with a football field and pool built for The Mediterranean Games in 1979. Spaladium Centar will consiss of a handball arena for 12,000 spectators (already built), a wellness center, a sky bar and an exclusive restaurant on the top floor overlooking the entire city, its surroundings and the islands of the Split archipelago (the investor is planning to complete the rest of the complex in 2010.). There are 1,500 garage parking places. The shopping center will guarantee visits even when the handball arena is not in use. The arena itself is a multi-purpose hall. In addition to handball, the arena will be used for basketball, tennis, volleyball, boxing, motocross, and will also be a venue for trade fairs, conventions, exhibitions and concerts. With this complex Split will get a sports, entertainment, culture and recreation venue that will activate and reaffirm the northern part of the Split peninsula. The complex achieves a balance between the low-lying main area and the tower’s verticality. The agreement between the horizontal and vertical is in its composition and urban planning set in order to place the location with special importance. It resembles a ship carrier: a platform with various attractive contents, with its vertical element serving as a landmark, lighthouse and location sign. It is an entrance to the new city area, its future and gateway to the northern harbor. The complex is integrated into a compact unit by its shape, and is unified by a distinct exterior that binds functionally different elements and usages throughout the year.
  • Nestled in the Australia Bush this alteration and addition project explores the concept of the house as a walk in the bush, meandering up and down while framing and focusing the landscape in to the spatial experience of the house. The edges of the building are purposely frayed to dissolve in to the surrounding bush context, the harsh Australian bush is given a poetic appreciation.
  • 3 Minergie-ECO® villas following the principals of sustainable development (social, economical & environmental) using all natural material (rammed earth, terracota masonery & wood). co-author: Monica Suarez
  • - Architecture Center - is a contemporary place and a milieu both for architects and the public who want to be involved thinking on architecture and experiencing their building environment in more sensitive way. Also, it`s a chance for improving design ability, theoretical background and also experiencing new structural material and technics; both for architects and the public whom concern with architecture. Architecture center in this mean has more functions than just being a place for architects and architectursl teoretical discussions. Of course this is also important but not enough just byself. Interraction, Understanding architecture as a cultural phenomena and art in addition to building science an interractive and efficient dialogue is required between architects and the public. - This Architecture Center is also a part of an open-air museum which includes historical places and buildings as well as new urban fabric. - An Architecture Center - both for architects and the public - should be discovered within thecity itself and have a space that form its own atmosphere. - Experiencing arcitecture and being a "flaneur" in the city, built environments is extremely important in my architectural point of view, but also as a living. - My thesis concerns with directly architecture centers and examines them in the context of architecture- public dialogue. It can be reachable within the WA website both from my page and theaory and issue pages.
  • A new 4000 sq.m. building for the Porter School of Environmental Studies on the Tel Aviv University campus. The PSES building will be built according to principles of green design with technologies and materials that will reduce the building`s impact on the environment. It will be TAU`s first "green building", and one of the first of its kind in Israel. The design gives a synergic approach to the environmental, social and economic aspects of sustainability. The environmental aspect presents an energy sufficient structure that is derived from the site conditions {wind, sun, acoustic} and allows research that simultaneously presents the available technologies to the public. The surrounding buildings can plug in to the available recycling and energy systems within the building. The social aspect is achieved via human interaction throughout the entire building allowing formal and informal meeting places between researchers and visitors. The economical aspect saves building area and maintenance cost. The project is a living lab of ecological and social values for the community and the environment. It tells the story of the complex sustainability term and simplifies it to the public by strolling along the eco-wall, the ground floor and the roof that present current research of energy, water, soil, vegetation, materials and so on that they can see, touch and learn. The building expresses sheer optimism and aesthetic wrapped with technology, nature and humanity. The building will be a key element in the future public road that will connect the nearby museums, the unique landscape and the zoological garden. The building can absorb changing technology and keep being relevant and attractive for leading researches around the world. The eco-wall is an iconic ever-changing window display for the other universities and visitors and act as a constant social-educational contributor. The building can naturally grow up one floor without interfering with the look and the activities of the building and its occupiers. Team: Geotectura NCArchitects Axelrod-Grobman Architects
  • It was asked for an introvert residence, with internal yard where the water would constitute the sovereign element of the space but also of the whole work. Exploitation of the natural parameters to the best possible means, being the south-east sun and the western air, the spaces to have height and light and also to be plain and hospitable to the art collection of the householder. The reference to the westwards neighbouring thicket was considered that besides to be a direct factor, it had to intervene decisively in the format of the work. That is why the compact skin, which encompasses the residence and enclose the open space revealed on the west. The natural elements enter the residence changing gradually in colours and being filtered at the top of her volume. As for the water, being free and erosive is piercing the skin to a point at the south. The access is tangent to the curve and the spaces refer to the interior, while the “public space” of the living room, being transparent, sees outside with a view to the thicket. The internal circulation in the ground floor organizes, separates and unifies the inside with the outside, while in the first floor it recedes leaving the spaces in free optic to the yard. The plantings outdoor are allocated freely and not, up to the limit of the plot.
  • Golf Tower - Apartments San Isidro, Lima, Peru The Golf’s Tower provides “Panorama Apartments” which embraces the view over the Lima Golf Club. The graded rooms and the multiple ways to open and enclose them allow the users to individual configure the inside-out relations. The apartment unfolds towards the context through the plan that turns from an enclosed sequence of spaces at the south side to an open plan towards the north side. The main rooms like the living room, dinning room and master bedroom are situated at the façade, while the TV-room, study, kitchen and master bathroom are connected to these main rooms. Living, TV room, dinning, kitchen and master bedroom can be combined to one continuous space along the facade to maximize the experience of the “Panorama Apartment”. The inside view from the apartments is modulated through various elements: The balcony along the entire width of the building has operable sunscreens, the floor to ceiling windows of the facade fold away and open completely to turn the inside out. The dining area and the kitchen have four sliding walls to close them to the living and TV room. The master bedroom is separated from the living room by one large sliding door; the study is separable from the living and TV room by electrochrome glass. A “soft” separation are the curtains running in a curtain rail “loop” which is cast into the ceiling and so the curtains can be placed anywhere along this “loop”. The remaining bedrooms are facing the Pacific Ocean towards the south. The operable floor to ceiling windows have external covers, similar to the front facade, which act as view protection. When open they give way to the Ocean view as well as protect the view from the side. The structure of the building is a cast concrete structure. The north side is open and flexible through four columns supporting the structure. The circulation core structurally supports the north side. The privacy of the apartments is enabled by the external sunscreens. When closed, these form a “solid” building and provide an ever-changing pattern when partially open. The flexibility of the apartments constantly shapes the sculptural appearance of the Tower from the Lima Golf Club like a living organism.
  • House_Sz – an open residence inwards and out – House Sz is a residence designed for a couple in their thirties. The goal was to provide a living environment with a rich atmosphere that is open, inwards and out, through the implementation of two different courtyards. With four walls set at necessary intervals, the residence is divided into three major zones – private, public, and “plus alpha” zones –and each of these zones is segmented into individual spaces and functions using two courtyards and glass walls. The private zone is divided into the main bedroom, bathroom, courtyard, and hobby room, with the courtyard serving as a buffer to maintain privacy. The public zone is comprised of the main room, courtyard, and garage, and extends across the front road to the foliage of the park. Here, the courtyard serves as an instrument to open the residence towards the surroundings. Meanwhile, the plus alpha zone through the centre of the residence, besides being the core circulation route that connects all the spaces, serves as a gallery with 30-metre wall space. The floor is laid with concrete slabs and coated with a glossy protective layer, giving the space a special ambience. It is as if it’s a mysterious cave that leads on and on, or a passage in Paris that guides people to new discoveries. Thus, we named this the “passage gallery.” Furthermore, the roofs of both the private and public zones slope down towards the inner courtyard, designed so that the rooms can enjoy as much sky as possible. In particular, for the view of the trees in the park to the west of the dining room and living room, the garage roof is careful designed so it is as thin and unobtrusive as possible to provide the best scenery. The maple tree in the courtyard will provide different colours for each season, adding to the residents’ pleasure. So does the residence itself give pleasure? I hope that it is able to provide nearly as much happiness as nature can bring.
  • 12 Self.Urb Self.Urb focus on the possibility of building extensively over water, tackling the current issue of the raising sea level, in an environmental manner. It creates a ‘floating city’. Self.Urb defines a system that intertwines the urban context with self-sustainable, prefab dwellings. Self.Urb uses computer algorithms to define a global strategy that goes from predicting the development of the urban planning, to maximizing the sustainability of the plan, to designing, assembling and placing the dwellings.
  • 13 Chapel of water Chapel of water, This is a chapel without any religion, location is tainan, Taiwan ,use the nature element to design a chapel, falling water and fall off is the main idea of this design, through the slope from the entry, we could see the new image from the space. The sun goes down from the end of the water wall, and a small bridge from the beginning could touch the water screen by ourselves. simply goal is to make people feel calm and comfortable,
  • 14 Museum Of Natural History Of Salt Range College Project, Museum Of Natural History Of Salt Range, My project is to design a Museum of Natural History of Salt Range (Khyora Mines). The site is situated in hilly area and contours site at Kalar Kahar near Katas Fort, (the ancient historical fort and temple of Hindus) Punjab, Pakistan. I developed my concept from the surrounding context. I worked on rough and deformed stoney form, which can merge in the surrounding. I placed stoney forms irregularly and put functions in them.
  • In Progress The architectural rehabilitation of 6 buildings in mud brick, Wadi Daw‘an Hadramut. The site has 13 buildings in total constructed between the 1920-1940s, and belonged to the Ba Surrah rulers.
  • This is a competition project "school cum cyclone shelter" arranged by Islamic Development bank to provide better solution for cyclone and flood effected people in bangladesh coastal belt. We have made a extensive analysis over coastal belt in bangladesh about their living pattern and way of survival. After the effect of cyclone SIDOR we found some of traditional local hut which was undisturbed completely. We found some very intelligent local technique, using of material , structural system. We have convinced about this to resist against cyclone. and also we suggested some of our architectural and structural innovation to enhance local people living standard. Design Consideration- 1. Modular system to use in any type of site of coastal belt. 2. Due to saline water in coastal belt concrete are very difficult to cast that’s why we suggested to use nominal concrete. Only Column and Beam are provided to strengthen the structure. 3.Floors and roof are arranged by Treated bamboo/timber and brick / pre-cast concrete which are called FILLER SLAB. Roof “Charchala” ( pyramidal)which is traditional and this is very useful to resist cyclone and it helps to collect rain water very easily. Brick Wall used by rat trap bonding. 4. Using inverted V to strengthen the vertical structural member. 5. Use “paschati” ( Logia/ verandah) in both side which could act as semi-outdoor space and it is very useful space. 6.Using ramp for disable. 7.Using “ killa” (earthen mounds) with the top level raised above the maximum height of surges is a possible solution for sheltering livestock. 8.Sustainable energy- low energy consumption in construction has been considered by using modular system, repetitive use of material, easy errection process, solar energy. 9.Consider traditional architectural feature and to empower local people living pattern. 10.Very low construction cost. 11. In day time spaces used for school and afternoon it will act as recreational or interection or information collection place. 12.Eco- friendly structure. Notion is to provide a sustainable architecture. Program- 1. Lower level for live stock which is open space. In normal time it will act as children play lot. 2. Upper level school and community space.
  • Box of lights and shades. The project was born when a couple of grandparests required a house for their retirement years for themservles, their childen and their grandchildren. Grandparents who enjoy their third generation’s games and who love reading with a passion. A heritage of lots and lots of books from their teaching days. Intense light is the main material with which the house is erected. To design a simple and natural house where one can live happily. With very simple gestures, to obtain a place that can evolve in the short or long term. A trace for always. The sides of the plot are closed with white walls and in the centre, complying with the established setbacks, a white “H” is placed. Given the site and the aspect, we decided on a type of diagonal space resulting from the connection of two joined double-height spaces. The light coming in from above through the large skylight which emphasizes the direction of the sun to the south, puts this space into tension effectively. A space open to the landscape. The house opens to the landscape in a diverse way. In the library, which is taller, a large square opening was opened, which frames and valuese the landsape. The construccion is simple and finished in white like all Andalusian houses, so it looks as if the house had been there forever. A simple closed house, by means of light and Proportion, becomes a large and open house where, with almost nothing, everything is possible.
  • Siwa oasis is located in Egypt nearly 50 km east of the Libyan border and 560 km from Cairo. The Siwan people are mostly Berbers, the true Western Desert native people. The cultural centre located in Siwa Oasis drew inspiration from the local indigenous architecture encountered during the visit .It’s primary aim is to revive the local crafts and enhance the quality of life of the nearby dwellers and also as an attraction to tourists where performances are held and products of the workshops are sold.The building site’s main view is a nearby mountain (called the western mountain) so the amphitheatre is oriented to this view. The forms are an outcome of space requirements flexibility of materials and roofing systems .It’s a form dictated by structure .Walls are made of rammed earth vaults are made of compressed earth blocks made from the local “karsheef “soil, a good insulator of heat(A mixture of silt ,sand & cohesive salt),except the indoor theatre It’s structure is a reinforced concrete frame due to it’s wide span . Its walls are of compressed earth blocks. The design incorporates elements to treat the harsh arid climate .There is a courtyard in the galleries easily accessible from the main entrance, and another one in the workshops area to provide ventilation .In addition to a large windcatcher in the indoor theatre and the outlet chimney. Which allows a draught that cools the building naturally The tower that includes the stairway that leads to the rooftop observatory above the library is inspired from a minaret in the old city of Shali in Siwa. Site Area : 3885 m2
  • Evolution of the Concept ¬¬¬ Common Voyage to the Past - A meeting ground of two civilizations Pakistan having the history of around 5000 years old Indus Valley civilization and Bangladesh having the history of around 3000 years old Bengal civilization has a common voyage to the past. The resemblance between Bangladesh and Pakistan is the historical ruins of Buddhist civilization, particularly the terracotta brick ruins of both lands make it a common ground for the design. This inspired us to use this phenomenon as “typology” to develop the site as an “archeological Landscape”, a meeting ground for two civilizations. Horizontal Delta Meets Vertical Margalla - A single line, a humble intervention The concept of the project has evolved with a single horizontal line representing the land of Bangladesh against the vertical majestic Margalla Hills of Pakistan as a tender intervention. Bangladesh, the largest delta on earth having water in abundance with flatness of the land and Pakistan having a contoured land with range of mountains in Islamabad played the key role in setting up our whole design. Large water body as “delta” with flat long rectilinear parasol roof as “Jali” representing the flat humble landscape of Bangladesh looking at the regal stunning Margalla Hills is complimentary to each other. Design Consideration Geography and Climatology The city of Islamabad is situated at the edge of the Pothohar Plateau, south of Margalla Hills. The modern capital city Islamabad and the ancient Gakhar city of Rawalpindi stand side by side, displaying the country’s past and present. The area’s micro climate is regulated by three man-made lakes Rawal, Simli and Khanpur. The city over all has an extreme climate with hot summer with monsoon rain occurring during July and August, and fairly cold winter with sparse snowfall over the hills and sleet in the city. The weather ranges from a minimum of -3.9 degree C in January to maximum 49 degree C in June. Structural System Keeping the fact that Islamabad is potentially an earth quake zone a simple grid of 22 feet by 22 feet has been selected for the design. Also, the structural design has been developed respecting the local construction system. For this, basically 18x18 inches and 10x18 inches concrete columns with 24x10 inches beam structure have been used. Here concrete block cavity walls between columns have been used. Adding 2 inches exterior terracotta cladding totaling approximately 21 inches or 13 inches walls (basically these two types of wall as exterior walls) are the basis for the overall design. The “Jali roof” or parasol with approximately sixteen inches thick slab is supported by the circular columns of 25 inches diameter with numbers of circular punches. Use of Material - A link between climate and history The hot and dry climate of Islamabad in summer with low humidity and rather cold winter requires special consideration. Simultaneously considering the use of bricks in both the Indus civilization of Pakistan and the Bengal civilization is another consideration for the scheme. So, the C.C block wall with cavity and cladding brick as infill with R.CC structural column support is suggested to achieve the relatively comfortable interior. Here the use of locally available facing brick with increased thickness justifies the archeological ambience linked to the past. Soil Condition and Vegetation The overall soil, except a layer of fertile top reddish soil, is good for the 30 to 40 feet tall trees and shrubs. The rock is the basic formation of the soil underneath. For this reason Islamabad grows green trees mostly with the moderate height plants such as Acacia, cassia fistula, delonix regia (Krisnachura), apocynaceae(chatim), Jhao etc.. Therefore, these kinds of vegetation have been used in the proposed scheme. SUSTAINABILITY: Cost Economy and Ecology Rainwater Harvesting As the use of water plays a vital role in the overall
  • The project is a landscape study in a limitrophe context in south of Greece. The extended site is situated at the region of Laconia in a section common named “Mani”. A chersonese included at the left sector of mountain “Taigetos”, presents a considerable population formed through variform communities and settlements. At the middle of the 19 century geopolitical and economics new classifications supersede the site and render it as marginal. Regressive evolvement, inefficient natural resources, deficient development of infrastructures, graduated expatriation, abusive constructions and a critical economy derives a comprehensive and problematic conditions. Conversely in timeless represents an extreme ensample of optimality that overstep the insularism: A life-size microcosm with constant and variable fuctions that modulate an autonomic segment and establish it in a topocentic multiplex. The particular landscape’s physiognomy and the generically absence of modernization, can determinate a necessity of soft-transforming by a project. Social Quality, Recreation time, Activities, Accessibility, Paths and Visual Fields defines a system that introduce a different perception in the open space. Signs, prototypes unfettered by “standards” becomes effective by contemplate the mensuration in a marginal place and definite an identity.
  • The project is located in Chikusei City in Ibaraki Prefecture, approximately 60km north-east from Tokyo in Japan. In this region, there are historical storage buildings of stone since early 20th century, although the most of these buildings, called “Ishi-Kura” in Japanese, were demolished and disappeared from the townscape due to the city development after the World War II. A volunteer group in the region obtained one of the storage buildings and maintains it as their activity base for discovering the region-specific historical and cultural heritages. The building is named as Tokinokura, which means a storage persists in past and future. Although Tokinokura is in good condition and useful for the volunteer group, there was no toilet for the visitors and staffs. In autumn 2008, the group organized a public design competition for the toilet, which they desired for long time. This design was selected out of 76 applied design proposals and constructed in Feburary – May 2009. This small toilet building includes two toilet booths for men and women. Although the floor area is only 8.62?, there is rich space above toilet booths. It is intended that the toilet starts new history with Tokinokura. It means not only to preserve the region-specific landscape but also to create new landscape in future. Visitors in the toilet booth could experience quiet and rich feeling, enjoying the soft light from the upper window and the framed view of the old stone wall of Tokinokura. -structure The floor of the building is 7.2m×1.2m rectangular shape and the height is approximately 4.5 m. Conventional timber structure is adopted and three bearing walls of plywood are placed in the transverse direction at the exterior walls and a partition between the women’s toilet booth and the storage space. There is no structural wall between the men’s and women’s booths, in order to share the sink and make the boundary ambiguous. Because a diaphragm condition is not expected at the roof level, lateral load due to wind is transferred by 6.0m span wind girders, which is fairly long for the conventional timber structures. A couple of timber sections are used for the girders and combined the girders and plywood could provide wide opening without columns to see the wall of Oya-stone behind the building. -materials Exterior wall finish: Black and elastic plasterer finish coordinating with the surrounding landscape. Approach finish: White granite stone like the back wall material of Tokinokura. Roof and window frame: Barium steel gull with black printing painted like the materials of covered wall in neighbor storage. Materials of the interior space are as follows: Wall finish : White plasterer finish of Japanese traditional material called “Shikkui” which has humid conditioning and fire prevention. Many traditional, important architecture as Temple, Shrine, Castle in Japan finished this material on their walls. Ceiling finish: Structural plywood painted and structure beam of laminated timber Floor finish: mortar finish with clear painted
  • PT ASF is appointing consultants to submit a proposal for the landscape masterplan concept design for Real Madrid’s new football academy at Canggu, Bali. This prestigious development will be in two parts. The football academy will be developed on a 2 hectare site and there is a separate 3 hectare villa and spa complex on an adjacent plot. The challenge will be to design an inspirational, contemporary landscape which responds to the distinctive character of the site and provides a functional, accessible hierarchy of public, semi-public and private landscapes. is an award winning collaboration, combining the talent and enthusiasm of designers, Eoghan Sheils, Yannes Pasaribu, Stephen Flynn, Kate Collins and Julio Julianto....There are a series of separate stages to the study. The first task is a detailed analysis of the site – the topography, drainage, orientation, vegetation, patterns of land use, views, special features etc. The site analysis will extend beyond the site to the surrounding landscape so that we are in a position to understand how the site ‘fits’ within its wider landscape context and how it may be influenced by external forces. This analysis will be summarised on an Opportunities & Constraints Plan and will lead directly to the development of a concept design which seeks to resolve all the issues identified in the analysis while creating a distinctive identity for the Academy & villas.
  • The idea is to explore the inside-outside relation and the threshold in between. The threshold, the frontal wall characterized with the hanging masses inspired from "Roshans" of old Jeddah, is embracing the outdoor space in front and yet the spatial continuity between the inside and the outside is well defined.
  • A modern, sustainable intervention in the desert. The single-family residence renovation represents a forward thinking approach to desert life. The one-acre site is within a single-family residential neighborhood, surrounded by textured desert mountains to the south, west, and northeast. The pure structure cuts a clean sharp edge through the revegetative desert landscape. The newly added program focus in the renewed design is to perforate the original frame of the existing home to allow a vibrant, natural daylighting experience. A large overhang on the South façade screens the plane of glass from the harsh summer sun, while allowing winter light to wash the interior walls. The east elevation is shaded by mature vegetation, while the west face of the residence has limited, strategically placed openings protected with large overhangs. Views to the surrounding mountains and desert sky naturally radiate through the home. The additive program refines the circulation experience and relationships between uses for a spontaneous and organic residential experience. The concrete and stucco structure of the original house remains in tact minimizing material required to be sent to the landfill. A large percentage of the construction and building materials are high recycled content such as the glass, zinc siding, and concrete flooring. New high-efficiency HVAC units are utilized to condition the added space. All foreign landscaping and turf has been replaced with native plantings with very low water requirements. The one-acre parcel has been regraded to capture the entire roof and site rainwater, reducing the total amount of stormwater required to be treated by the municipality while naturally supplementing the vegetations needs. The layering of elements from the natural “filtering” of the desert landscape, to the exterior materials of zinc metal siding and glass sets a dramatic relationship of a refreshing living experience.
  • The Old front Door There is a traditional concept for a faculty building where the visitors and occupants of the faculty are expected to leave the street and enter through the main door the faculty environment. The main door is locked at night and has a name board for the spaces within. There is no Main Door We propose a landscaped garden, a street, a series of buildings that diffuse the boundaries between the faculty the campus and the city. The Ground Floor is the Front Door onto which the University Academics, the Students, the Professionals and the interested Public enter into the environment of the Faculty of architecture. The environment of the Faculty of Architecture is defined by the foot print cast on the ground floor by the perimeter of the glass canopy that extends into the landscape of Mettel Park of the campus. The Canopy of glass is horizontal and static and protects As visitors and Users of the faculty move to the space under the glass canopy, they are drawn by the energy of the faculty to the `Information-Communication WordWall` of glass that forms the spine of the faculty at all levels. The WordWall of glass is vertical, dynamic and communicates. The vertical WordWall glass spine and the horizontal glass canopy of the faculty are defined by vibrant sheets of glass. They form the vertical-dynamic element of the building and the horizontal-static elements of the building. The vertical divides zones, provides information to, communicates with, announces to, separates from and unites its users. They write messages, they see projections, they read announcements, they see each other or they ignore each other through it. They use the dynamic vertical WordWall wall to extend their minds and share their ideas with each other and with the Community. The Social Space The WordWall of glass is therefore the source of attraction for all who visit the Central street, because it is here that academia from the University and faculty of architecture will interact, it is here that the students of all faculties will interact and it is here where the visiting public from the town and region of Delft will interact will all the users. The ground and first floor will host the public lectures and demonstrations, the seminars and conventions, the exhibitions and open forums, the restaurants, canteens and cafeterias set amongst the park landscape under the canopy of glass. The two themes of New Concepts and the Dynamics of the City and Campus are integrated together as a single multifaceted theme for the whole proposal. The Academic Space Three floors of academic faculty and student functions are located above the social space Three floors totaling 30,000 sq meters are located above the social front door of the faculty. These floors provide the Central Processing Functions of the faculty and consist of the Studios, Office spaces for the administration and faculty, most lecture Halls – a major lecture hall is situated on the ground floor for public lectures, educational facilities and data facilities as well as some conference rooms for internal conferencing plus all storage space. The spatial arrangements of these academic functions is seen to be shared as well as exclusive if required. The library has been located on the ground and open basement level. We visualise the library providing services to the wider academic users, the students as well as users from the region of Delft town.
  • The Santa Fe District in México City is divided (fragmented) by an interstate highway, into a Residential/Corporative side and a comercial side, making the interrelations very dificult for the everyday user. The project consists of a network of bridges that help to close the gap between the two urban zones and includes a multi program layout for comerce, bike paths, foodcourts and services.
  • TT-Villa Designing in perfect surroundings asks for a building which gives optimal experiences of the environment. This is the case with TT-villa which is Situated on a west facing hillside near the sea, among vigorous vegetation which spans from tall palm trees and rhododendron. We have tried to create a building where both interior and exterior has equal contact to nature and sea. An inhabitable oasis in the midst of the wild , with the commodities of modern living. As a stair, sometimes hovering above nature, sometimes carved into the rock, the building steps down the hill providing interior and exterior access between the arrival on the top of the building and the beach below. Along these paths the layout of the house provides terraces connected to the different functions of the building. Nature can grow unobstructed between the building volumes. We have chosen to divide the program of the house into three categories. These are divided on three floors with the most public functions on top, close to where you enter the building. Semi private functions in the middle and the most private functions at the lower level. By offsetting the three floors from each other we create additional terraces. Rotating the floors opens up the house towards the sea and maximizes the area of terraces. Instead of having a backside as in a traditional cliff side villa the building is now placed with views both towards the sea and the green rocky slope. The vegetation grows between the different floors of the building blurring the notion of what is inside and outside. Opening up the blinding system completely, gives you picturesque views still not allowing the sun to enter the house. your living, dining or bedroom is converted into covered terraces.
  • The site of the former salami factory Cattaneo in the heart of Dietikon has been turned into an urban environment for living and working. It integrates the historic character of the location and its cosmopolitan outlook and represents the development of Dietikon from a village to a city in the larger context of Zurich. Concept The residential buildings on the Cattaneo site contain 37 spacious apartments and lofts. The floor plans of all apartments are generously designed on spaces between 80 and 145 m2, with large balconies or terraces. With slight curves in the floor plan the new constructions adapt to their different positions and create outdoor spaces of a high quality. The entire site has room for up to 16 commercial units. Thanks to their differentiated character these can be used for different functions for services and sales. The individual spaces measure between 70 and 300 m2. In the setting of the site, the head building marks the central point of the outline described by the residential buildings I-IV. It also represents the landmark of the more densely built zone along the major street. Head building In the east part of the estate, a 7-floor building with apartments and commercial space was raised, with direct access from the main street. This head building forms the visible landmark within its immediate environment as well as within the larger urban context. The contemporary materials, the height and the location reinforce its significance. The head building is structured with incisions in the volume, which on different sides of the building can be used as balconies. On the upper floors they lead to different individual floorplans with a variation of views. The lower floors are used for commercial space and offices. Spacious residential buildings in a quiet location The four apartment buildings on the site are located away from the main road. In total there are 27 apartments with sizes ranging from 80 to 145 m2, generously divided into flats with 3 to 4 bedrooms. All apartments have large balconies or terraces. Some of the ground floor spaces can be used for offices and ateliers.
  • Located next to an architectural icon in the heart of Chicago`s downtown, this 40-story tower creates a strong skyline image and a major urban plaza. It is certified by the U.S. Green Building Council as a Silver LEED-Core and Shell building, the first high-rise building in Illinois to achieve this status. Setting the building back from the street reveals the formerly-obscured north face of the classic Inland Steel building, whose elevation is echoed in the curtainwall elements defining the tower`s first 19 floors. This setback also creates a tree-lined plaza that joins a sequence of downtown public spaces. Rich materiality, such as sculptural cast-glass lobby walls and a back-lit marble wall masking parking, distinguish the tower as a Class "A" property. The tower meets the skyline with an extended curtain-wall of textured glass that conceals mechanical elements. Within this wall, two large, east- and west-facing openings, screened by angled, frosted low-iron glass, track moving sunlight shadows by day and become illuminated beacons by night.
  • This small project had originated from an idea of one musician, who wants to have very small temporary unusual building selling equipments for music industry. At the same time, his budget and timing are very limited. Many types and options of building have been brought into consideration between the architects and client. At the end of the day, the used and abandoned containers have become the most acceptable and interesting concept for both architect and client’s design solution. They are economical, unique, quick assemble and it is an interesting way to give a new life to the almost worthless product. The project includes the use of 3 old containers which were carefully chosen by architects from the junkyard. The client prefers to have the exterior skin re-painted rather than to have them as they are, as proposed by the architect. The interior spaces of the shop have been arranged into 3 main sections. Firstly, the shop area on the ground floor consists of combining 2 containers together. Secondly, the office and living area are located on the second level. Finally, a spacious balcony connected to the living area. The sound and heat insulations have been specially integrated to the overall interior spaces of the shop, in order to protect the echo sound and to control the internal temperature. In Thailand, This kind of project are rarely to be found, thus, coordination between the architect and the local contractor becomes very important, and at the same time, very difficult. The details of every single distorted spots of the containers have to be carefully drawn up and check by architects; in order to achieve the correct interior and exterior fittings.
  • Reacting to the overcrowding of Seoul and the need for a more geographically centralized government, South Korea has initiated design and construction of a new city with government administration at its core. The basis of the competition was the design of a 12sq KM open space devoted primarily to park uses, but also housing major cultural institutions such as a design museum, performing arts complex and modern art museum, as well as residential and commercial programs. Located two hours south of Seoul by train, the Multi-Functional Administrative City, or MAC, will serve as a fully functioning capital city. Intrinsic to the planning of the region is the city’s open space, placed as a ‘heart’ within the urban context. This open space is situated between a forested mountain and a river that floods yearly. When developed, it will be surrounded by new government buildings, as well as by densely populated areas of mixed use. We began our investigation with the premise that the cultural institutions could act as an energizer for the park. If spread throughout the park at equal distances, their effectiveness as an attractor would be diminished, but if placed closely together, in a purposeful act of densification, their proximity could act as a vitalizer. Located on crossing axes that connect site features, the cultural hub becomes the center of the park. The north/south axis links an off-site folk village and the sports complex. The east/west axis connects the dense city development to an amphitheater that was added to the program requirements to draw visitors to the center of the site. As well as being an active destination, the hub’s placement on the edge of the site forms a gateway between city and open space. The existing grid of the remnant rice fields is reinforced as tertiary pedestrian circulation, crisscrossed by a system of streets. They become the boundaries within which differing program will be implemented over a planned phasing of 20 years. At each intersection one encounters a unique programmatic condition, standing at the point of convergence of diverse uses such as sports field, forest, windfarm and rose garden. Other uses include features such as formal gardens, playgrounds, ice rinks, solar energy fields, rice fields, wetlands, running paths, water reclamation sites, etc. Our proposal also stipulated a policy by which to fund the park. We proposed that the park act similar to the urban condition, in that each plot of land could be sub-divided as need dictated. The cost of development would be subsidized by a city-wide tax on large businesses moving into MAC. Cost would be proportional to the size of business, and would cover park maintenance for corresponding plots within the park. Commercial and leisure program is placed along the west end of the promenade, connecting the residential district across the river with the site, and lending diners views of the water and the wetland habitat beyond. The residential program lines the south bank of the river, and acts as a connective feature on the southern half of the loop. Here, a planned sporting complex is realigned to connect with the densification axis. Another medium density residential area is established to the north {beyond the competition’s limits.} Originally zoned as low density residential spanning the entire eastern edge of the site, this more compact arrangement allows uninhibited flow of the park to the mountainside beyond. The park is poised to evolve, similar to a city, in that over time uses differentiate and the program size and arrangement will change to meet necessity or desire. The project will not lie as a static formal construction within a bustling city.
  • Presenting a new Gateway to Venezia, a more graceful and venetian way to enter, or leave, the city of today. A boat terminal situated in Cannaregio, next to Palladios uncompleted Scoula della Miserecordia, connecting the city to the airport and thereby a statement of Venezia as a city also of this very millennium. Several parts of Venezia is overexposed and crowded, her old gates are difficult to pass by. Today`s temper and tempo demands more, a fast and direct public boat to the mainland and the airport, on this location, will take the pressure away from those squares and revitalize this more negelcted, non aristocratic, uncompleted and forgotten part of the city. The setting is in short walking distance of the business area, the Citycounsil, the Courthouse, Strada Nouvo, the Casino, etc. a reliable, cheap and venetian way to enter the city for both its inhabitants and visitors. Venezia in this millennium also, craves something different and venetian, that is what this building attemps to do, presenting a revelation of non expected miracles, a gateway that craves and expects, reveals and teases, promises and hides... like Venezia herself...almost impossibile. This "techno -baroc" building wants you to feel well and welcome as a guest or regular, appriciated, not just swept through the backdoor of this palace of a city, hopefully this gesture will make you conduct yourself as an honored guest, filled with respect for the city, its inhabitants and its story. The concept is based on the legend of the Angel {venetian; Anzolo } speaking to St. Mark (Pax Tibi Marce Evangelista Meus...on this spot there once will rise a city....), the Angel is reappearing..., flying through the structure of the slim, but solid building, blessing the city again, its inhabitants, its travelers, its believers of the venetian miracle, and leaving its shimmering path behind, its "wings" for shading against rain and sun. This non ordinary terminal is to contain restrooms, ticket office, a cafe, maybe a small ballroom, a roof terrace for free, rare in Venezia... I would also like it to contain a big model of the gilded ceremonial ship, the Bucintoro. Venezia is still the city of the angel and still married to the sea and she is still connecting with the rest of the world in her own and unmodest way.
  • One of the crucial issues in contemporary India is that rapid development has inadvertently embraced generic modernism and eccentric novelty. The real task that challenges architects today, is to infuse new forms with the legacy of the past and the spirit of place. Jaipur is a melting pot of Rajput, Mughal and several other cultures and is also the seat of a generous amount of vernacular tradition. The challenge to build a progressive design institute requires addressing the new generation, contemporary social condition and needs to be inspired by tradition, in order to be inspirational to the contemporary sensibility of the modern-day design student. The Pearl Academy of Fashion is located in a typical hot, dry, desert type climate on the outskirts of Jaipur in the soulless Kukas industrial area, about 20 kilometers from the famous walled city. The institute ranks third in the top 10 fashion design institutes in India, and its design needed to represent the seriousness of its academic orientation through its formal geometry. Architecture in Jaipur today, is a kitschy rendition of Rajasthani classicism and Mughal architecture remnants. The architecture of the academy needed to be a confluence of modern adaptations of traditional Indo-Islamic architectural elements and passive cooling strategies prevalent in the hot-dry desert climate of Rajasthan such as open courtyards, water body, a step-well or baoli and jaalis (perforated stone or latticed screen). All these elements have been derived from their historic usages, but will manifest themselves through the built form and become an intrinsic part of the daily life of the design student. Within this historic context and the vocabulary of the region, the intent was to create a low-cost, environmentally sensitive campus that would set a precedent for other institutions. The architects’ restraint is the result of a strict design brief: that the building must be constructed within a tight budget of about 29$ per square foot inclusive of the building, landscape, interiors, furniture etc. The only way by which this seemingly impossible figure could be achieved was to virtually eliminate HVAC by deploying passive and low energy strategies amongst other cost saving strategies such as the use of local materials, techniques etc. The design response was an introverted building, given the setting which was largely industrial. A long low-lying two-floored perimeter block pushes the building envelope to the mandatory setbacks, optimizing the exposed surface area to volume ratio of the form and almost seems to float above the land. As one moves into the building, this formality breaks out into fluid strips that are almost mobius in nature, bringing forth a sense of dynamism and drama within a static form. The site was excavated to a depth of four meters and two stories of classrooms, studios and offices on pilotis are raised above this void. Orthogonal perimeter offices frame a biomorphic configuration of classrooms and studios, drawing in natural light from all sides. Open and glass-walled walkways surround these undulating blocks, which define openings to the lower level. The second storey juts out above the first and both are clad in fretted panels attached to a metal frame. The traditional courtyards take on amorphous shapes within the regulated form of the cloister-like periphery. This curvilinear geometry is generated through a computerized shadow analysis that tracks the precise movement of the sun through the day and across the seasons. The self-shading sliver courtyards help to control the temperature of internal spaces and open step-wells, while allowing sufficient day lighting inside studios and classrooms. What results is a muted play of forms, the perimeter block acting as a background to the gentle glide of shadows and curves, accentuated by the rhythm of verticals: pillars, railing, ends, corners, and joints. The resultant scooped-out shaded underbelly forms a natural therm
  • A Boutique Hotel at the Aegean Coast. The design integrates exterior and interior spaces with a variety of intermediary transition areas. All rooms are differentiated through the niches, views. Rooms are thought of as `house away from house` instead of hotel rooms.
  • The clients, one of Costa Rica’s oldest and most prestigious construction companies, requested a new addition on a corner lot to their existing 30+ year old building and an integral redesign of the interiors. They wanted a building that expressed both solidity and novelty to symbolize their corporate structure formed by three original founders and five young junior partners. Thus, the building consists of two main volumes: the existing two-story building and the new one, both supported on a strong first floor clad in concrete tiles and dedicated to parking representing V&Js soundness, and to symbolize the new “young blood”, a lightweight second and third floors clad in prepatinated copper sheathing, a material that we use here for the first time in Costa Rica, thus quite innovative for our country. Prepatinated copper is an excellent material for our tropical climate as its continued patination or “rusting” process is accelerated by constant exposure to much rain and sun. The building also responds to much needed urban imagery in a city where sound cityscape is fast disappearing. This building hugs the street giving strong support to the urban “canyon.”
  • The sense of total openness allowed by the wide-ranging ban, led the project to a fantastic size and dream that gave substance to one`s own latent content struttura.Il serious and unwieldy subject arose, but never put into operation, for raise and develop the area as a full industrial development, after a long period of agony rise again, this time not for profit but merely to open a window of light towards the sea and rising to an authoritative symbol and emblem of the city. The sense of total openness allowed by the wide-ranging ban, led the project to a fantastic size and dream that gave body to one of their latent content of the structure. In this context it has developed the idea of a cultural center for the community universally accessible, with new pedestrian paths with a treadmill that is next to the road already. In order to make more accessible the rest and refreshment on the long stretch of dock you enter new spaces and panoramic view, organized and shaped like a rectangular hollow tubular fragments. Everything appears in a becoming a dynamic play of colors and shapes that cast the path and attention, as opposed to changes dell`Arenile under the influence of waves, towards the characteristic organic body that is visible on the horizon like a lantern on sea signaling capabilities and host the most characteristic social events international music. A music room in the middle of the sea that shows both isolated and closely linked to the territory, and a dream is a proposal for "new circumstances" in Lamezia Terme
  • HOUSE IN MARBELLA Marbella, V Region, Chile, 2003/2004. Architect: Cristián Olivos. Built area: 333 m2 Lot area: 1,584 m2 Predominant materials: concrete, glass, wood The house is located in a condominium that sets a styling standard. The idea is to avoid this imposed design by developing some "positive potentiality" elements: a simple and clear volumetric composition; the use of monochrome, blind façades and the leading character of intermediate spaces. The lot has an excellent view over a distant landscape to the north. The idea is to focus that view through a “big eye” (terrace) that is detached from the ground with the purpose of bringing to the foreground what is at a distance. This terrace gathers the public spaces and directs them towards the view and the light. To potentiate the above and guarantee more privacy, the house closes up its other façades, presenting an hermetic image towards the street and the neighbors. The house is a white and hermetic object from the outside, but well lit and warm from the inside. This is achieved by a combination of large glass planes to the north and specific light entry-points to the south, east and west. Along the same lines, there is a search for a balance between the white/luminous (walls and ceilings) and the wood/warm (floors, doors, louvers and built-in furniture). For weather protection, all the windows have concrete awnings which, as continuation of the slabs, contribute to extend the feeling of space. Finally, there is an emphasis in potentiating the public areas of the house, including the kitchen, by giving them a greater height (2.80 m) and interrelating them.
  • The site located in the high density ground in Osaka is only 5.5tsubo and which was cut out4.5mX4.9m by the corner end. The chief mourner lived in the place distant from the site, he asked the central part of the high city of convenience for the small second house. And since he does not always use, the room is lent to three persons` perfect stranger, and planed to be as a house of a share ring except a bedroom. It considers how the private space, a share space between four persons of a different life style,, and a bathroom are constituted in a minimum site. Although it is the site of 90% of building coverage, and 400% of floor area ratios, it does not dare secure internal space to the limit of plottage, but is considering as the form of the shape of tower of seven layers. 1F and 7Fare made into share spaces and 2F is made into a bathroom, and 3F-6F are made into the single room . The common stairs which connect the upper and lower sides are made it external stairs considering the marginal value of total floor. However, the space functions as a buffer belt which builds distance with internal space from city noise with the green screen currently planned to the road side. Moreover, this site is located in a business district, around, the old building of a low layer is pulled down and large-sized institutions, such as a condominium, are built. Although an adjoining building is a medium and high-rise old building now, it thinks not as the construction which leaves everlastingly but as temporary construction which can be transferred to the corner lot where the corner end of the city same in the future was carried out from the chief mourner having the uneasy feeling of not knowing when it is forced to part with land like a surrounding area.
  • DESIGN CONCEPT: A competition-winning project for an ambitious cultural developement has been chosen for the renovation/revitalisation of the existing building and designing an addition at the courtyardfaçade. The design solution is an architectural/landscape project with predominant museum and exhibition programme and associated service and technical facilities. The building consists of basement, ground floor, three floors and attic. Additional sqare meters have been created by putting a new element in front of the courtyardfaçade, which gives more flexibility in organising and changing the exhibition spaces. The new created addition includes exhibition spaces, shops, bookshop/information desk, ateliers for workshops and vertical communications. The exhibition spaces that extend across the upper levels, spread inside the original structure connecting it with the addition through flexible, open halls. Visitors are drawn through galleries of contrasting ambience and content, in a series of spaces that break down conventional hierarchies and give equal representation to both classical spaces, those with fixed walls, and those with freer open arrangements. The entrance in the building is achieved trough the extension from the courtyard. The new part is through all floors linked with the existing building, making the interior space visually continous. The existing parts (walls, façades, roofs) where in a poor condition and had to be renovated following the orders of the departement of natural and cultural heritage of Ljubljana. The new part is connected with the original building respecting and repeating its height but clearly marked as a separate architectural piece. The ground floor level has been designed as a public square – »forum«, with a rectangular opening in the floor (1:4 (18 m : 72 m)). This green atrium symbolizes with its slope a connecting element with the old town center of Ljubljana (all rivers flow into the Ljubljanica). Trees, planting and contemplative courtyard furniture further enrich the exterior realm. MATERIALS USED: The outer brick walls of the existing building are completely renovated and combined with new concrete walls. The new façade is designed as a double shell: the ortogonal geometry of the outer façade – a skin of glass and natural stone cezlakit, allows a mechanical connection between the panels and the aluminium frame, while the inner façade is made of the same Wood veneer (European Ash) as the flooring. SPECIAL DESIGN FEATURES: It was important to keep the original street façades respecting the restrictions of the departement of natural and cultural heritage. The façades of the courtyard where treated more freely: typologically they are divided in the curtain wall façade of the new building and the classical façade of the existing building. The central part of the old façade has been removed, to make way for the new additional part. This apparently violent act destroys parts of the existing structure, disrupting its historical continuity and spatial configuration. It is however, a positive liberating act, opening up new perspectives and adding a new layer of history. Hanging on powerful steel masses, rising above in front of the new façade, the addition with the collage-like wall glows lantern-like at night and provides the necessary transparency requested by the programme behind the façade. The pattern of the façade repeats on the entrance flooring and inner façades. The new double height entrance hall gives the building a sense of welcome and spatial continuity. Interiors are characterised by an engaging use of different materials, textures and colours. REALISATION CHALLENGES: Architecturaly the challenge was the restoration of the protected historic structure of the ex army barracks area built from 1886 – 1889, incorporating contemporary requirements and transform it into the ethnographic museum. The real achievements of the d
  • the can ricart council sports center is a building situated in a zone with a number of important developments in recent years with others pending. the complex is important for the revitalisation of the neighbourhood, which is historically a run-down area and also has to contribute to the integration of all social strata to the area through wellbeing and its use of sporting activities. the building completes the urban block bounded by two different public open spaces. architecturally the project strategy starts from the existing conditions that made it especially complex i.e. the integration of two buildings with strong identities, the sports pavilion (from the nineties) and the industrial building of the 19th century. the main effort of the architects was to arrive at a compact and coherent functional whole that volumetrically maintains the reading of the three bodies that form it: the two existing buildings and the new construction that contains the swimming pool, all formally autonomous. the industrial building that was in fairly poor condition has been refurbished in the spirit of the original and its defining characteristics. the main façade by was rehabilitated, recuperating the original colours of plaster, and a central double height space, where the owners had the sales hall, opened up. this space has been refurbished with sensitivity, maintaining the spirit of the original and recuperating a roof lantern that had covered the central space. on the other façades, in worse disrepair due to multiple interventions throughout the years, the work consisted of the recuperation of the order of the original openings, giving a unified patina that allows the injuries of the past to be seen in a subtle way. the new building is materially and formally austere. the façade is made from exposed in-situ concrete, giving a texture that is a homage to the start of the textile industry in catalonia in this area of the city. the texture has come from a specially combined formwork of timber planks of different characteristics.
  • The project suggests renovating the neglected market, which has become a nuisance in south Tel - Aviv. Contrary to the municipal plan that aims to erect a prestigious residential tower in its place, the project proposes a low-fabric multi-purpose structure, to act as an urban memory merging into its surroundings, socially and stylistically. The architectural proposal takes under consideration open and closed, culture and commercial spaces. In addition, the project includes an intensive development of public passage in ground level which connects two parallel streets and creates a new urban attractive quality for young population. The dwellings in the project are based on a social and ethical approach, allowing unique and different social connections between the neighbors. ARCH. ESTY ILGAEV, ARCH. MICHAEL PELED Final Project, Technion, Haifa, 2008 Tutors: Arch. Dan Eitan, Arch Gabi Shwartz.
  • Both the topography and the geometry of the site played a major role in determining the implantation of the building. It was impossible to locate it in the northern part of the plot, due to its scant 13-m width and the 5-m difference in ground level between its two parallel sides. The new school therefore stands on the corner of the avenue and the Ca n`Amat road, where the plot is wider and, despite the difference in level, there is a basic platform allowing the construction of the sports courts near the building. This location also facilitates the school’s relations with the single-family homes to the south and with the town centre. The building is laid out in an L-shape, with the classroom and office block aligned with the avenue, and the service nucleus, containing the gymnasium, changing rooms, catering bar and cafeteria, parallel to the Ca n`Amat road. The entrance is situated at a height above sea level of 155.50 m in Avinguda Josep Llobet, right in front of and slightly below the pedestrian crossing nearest to the roundabout. This entrance leads to a porch that joins the two blocks. The school’s L-shape concentrates access to the school, at the same time allowing independent use of its component parts. The sports facilities can be used outside school hours, independently of the main volume that houses the classrooms and offices. It is also possible to access the catering and installations areas during school hours without interfering with the spaces used by the school’s staff. Thanks to this spatial layout, the spaces containing meters and PTA meeting rooms are directly accessible from the outside. The classroom block comprises a linear volume parallel to the avenue and a series of perpendicular modules. The block houses both the multipurpose and the specialist classrooms (music and languages, and individual tuition), the latter being the same size or a subdivision of the former. The specialist spaces are all located on the first floor, and the general classrooms are distributed on the ground and first floors. The modules accommodate administration, departments, storage space and pupil toilets on the ground floor and computer rooms, library, laboratory, toilets and workshop on the first floor. The space bordered by the two perpendicular modules, the linear block and the avenue forms a courtyard with entrance from the building’s ground floor, overlooked by administration and the staff room, which are located in its two shorter sides. The gradient of Avinguda Josep Llobet allows direct access from the outside to the library, which may be extended in the future. The other block, housing the catering bar, cafeteria, changing rooms and gymnasium-cum-assembly hall, is laid out over two levels to adapt to the natural slope of the site. Next to the entrance porch and on the same level is the catering bar and cafeteria. The floor below accommodates the changing rooms and gymnasium-cum-assembly hall, which also open up to the exterior. The two levels are connected by a three-run ramp, which starts at the school’s main entrance. The playground is located in the space created by the two wings of the L-shaped building, and is also laid out on two levels. On the same level as the building’s ground floor is a platform with a line of deciduous trees that shade the classrooms from the morning sun in summer. Three metres below is another platform, holding the sports courts with their northwest-southeast layout and direct access from the changing rooms and gymnasium. The two levels are separated by tiered seating from which spectators can watch activities on the lower level.
  • Project conducted for the 2009 eVOLO skyscraper competition with the collaboration of Pedro Duschenes and Thiago Valério Zandona. Place: With a population estimated from 60.000 (according to Governmental Census) to 150.000 (according to local inhabitants) Rocinha is one of the largest slums in Brazil. It is located in the South Zone of Rio de Janeiro on steep hillsides overlooking the rest of the city and the sea. Limited by some of the most expensive living areas in the city, the impoverished settlement is yet another example of contrast between fortified houses and wall-less low income habitation. The Rocinha community originated in the 1930’s from the division of bigger farms in smaller lots for food production. In the 1940’s and 50’s illegal settlements started to grow due to the lack of control over the area. A new occupation boom took place in the 60’s and 70’s. The pressure came specially from people seeking for jobs in infrastructure construction taking place in other parts of developing Rio de Janeiro. During this continuous and still ongoing growth, environmentally fragile areas suffered the action of unplanned horizontal housing. The proposal located in this settlement is directly related to local space needs and the lack of inhabitable land. Concept: Poverty, hunger, discrimination, reality. Life experience. Constitutional law, but not a real statement of the living act, the dignity of a human being. In what way could we relate the lack of inhabitable space to the huge amount of underprivileged people in one of the largest Brazilian cities? How to create opportunities for enrichment and learning through architecture for those who still fight for a day of survival in the chaos? Differences between living space and designed space. Differences in the use of the space and the previous definitions and regulations for a supposed order. The organization in a slum is similar to a competition for survival, where the strength, be it political or physical, coupled with low budget creates huge spaces of both innocence and turbulence, human and inhuman spaces to the extreme, an example of vivid architecture, not about mistakes or successes, about the huge range of differences. Plurality. Experiences. Culture. Interstitial spaces are the living spaces of slums, this spaces are the consequence of the lack of private space and the high density, forcing the street meetings, so the boundary between public and private becomes invisible, almost non-existent, but it does not become a problem for the culture of miscegenation. The multi-space (the transition area) becomes the meeting place of the local community. Thus, this space is a consequence of the particular “illegal” processes, an area of difference, for difference, a condition in between. The building design aims to maintain the diversity of events generated by the “favela” in its interstitial spaces. Resulting from this, the skyscraper is shaped spontaneously in a rich mixture of sustainable spaces. The building’s spatial liveliness comes from the large number of functions and users, who may be able to quickly move in and relate to the space. The skyscraper will be built gradually, according to the demand and the transfer of the Rocinha’s residents. Within this act, the ground could be slowly freed and reverted once again to a preservation site for the Atlantic forest. Program: The building, more than 500 m (1640 ft) tall, will provide housing for thousands of people and also access to educational, cultural and leisure infrastructure to inhabitants and nearby communities. The plurality and mix found in the “favela” is applied to the programmatic needs of the skyscraper: Culture – theaters, cinemas, music halls, auditoriums, museums, places for samba rehearsals, libraries, places for expositions; Sports – gyms, pool, sport rooms, lockers, services; Green roofs; Health Unities; Schools, elementary schools and nursing houses; Small offices areas; Servi
  • The Sanctuary of Our Lady Arantzazu is located in an exceptional natural enclave at the foot of the Urbia open field, between ravines, rocky mountains and rivers. The legend says that the Virgin Mary appeared on a hawthorn to a shepherd, who spoke to her with astonishment “Arantzan zu?” (“You, at a hawthorn?”). The name of the Sanctuary comes from the words of this shepherd and the devotion to Our Lady Arantzazu from this apparition. In 1951, after a fire destroyed the small temple, the Franciscan Order decided to build a big Basilica through the language of Contemporary Art. Thus, the emblematic building with its pointed stones was put up. It was designed by Sáenz de Oiza and Laorga but also by artists such as Jorge Oteiza (sculptures on the façade), Eduardo Chillida (doors), Lucio Muñoz (the wood altarpiece), Néstor Basterretxea (paintings on the crypt) and Javier Eulate (glass windows). Built on a ravine at the foot of the Aizkorri Mountain, the Sanctuary of Arantzazu is unique in the whole world. It has been recognized abroad as the prime example of the Basque Avant-Garde movement and as a new vision of Religious Art. Although many experts have asked for it, the Sanctuary has not been considered as a cultural heritage yet. The renovation of Arantzazu includes interventions that have been developed during the last four years to recover the environment around the Basilica on the occasion of its fifth centenary. These interventions had, on the one hand, the aim of adapting the physical environment (through an Special Program of Landscape Protection and an urbanization project of the Basilica’s outer doors that includes a tourist office and a parking) and, on the other hand, the renovation of the Old Seminary and pelota courts to equip them as a new meeting place: the cultural centre “Gandiaga Topagunea”. The perception of a building structure made of planes and blocks parallel to the current natural incline has disappeared in order to present the whole as a group of stone blocks that are perforated by large holes, like an excavated void and horizontal cuts that open the building to the imposing natural landscape. In addition, a new place has been built next to the old chapel in order to host a sculpture donated by Jorge Oteiza. This building is known as “Misterio”; a small place that must not compete with the Basilica and must not be the religious protagonist. It must be a space of silence and light to whom as visitors or pilgrims are looking for something.
  • The new building will be at the boundary between nature and built, with the `artificial` in the city on one side and the "natural" in the hills surrounding the other. In a broader context, in fact, the area comes into visual relationship with the Park of Villa Giulia, Mount Fiascone to Conconello, in an ongoing confrontation between the "natural" and "artificial." The willingness of the project is to get connected with the residual "naturalness" of the place, creating a new "artificial". From this desire came the metaphor of "house on the tree", or "the tree", so the new building, within the limits imposed by small size of the lot (only 54 square meters) gives not up to the "natural", and then exacerbates it, becoming a kind of "artificial" tree. To emphasize this concept contributes the courtyard of the second floor, which is not visible from the road, allowing the building to have a more intimate and confidential area, in keeping with the introverted character that we wanted to give to the building.
  • Casa G (Vacation house in the countryside in Iceland). Casa G concept The concept of Casa G is based on reading and feedback to the landscape it exists on. The characteristic landscape situation and view differences distinctively in each direction. Towards south the view to the sea and islands, towards north the characteristic triangular mountain, towards east the glacier and towards west the river and canyon. Those elements are the creator of the project, the transitions between the landscape views giving the entrance from the north and the curved plan giving a vitalized focus towards the seaside in south. When turning back the north view towards the mountain is as well enhanced with the widening view due to the fan-shape of the tilting wooden wall, being a mediator between the northern and southern landscape characteristic. The tilting is an answer and an interpretation of the glacier towards east, they are communicating and the only and huge window in that wall is creating "a painting" of the glacier experienced from the interior. The guest-wing of the building stretches to the canyon and the river towards west. Thus the building concept is a composition and dialogue of views and experiences of the various nature at site. Architect Gudmundur Jonsson
  • Increasing public awareness space for patrimony and environnement
  • The oasis offers space to pause and dwell, it creates relationships to the enviroment, it offers a covered village square and creates a lively mood to the outside - there's "something going on". The oasis continues on the inside - fountains of light create "clearings" in the opening-area and at the turningpoints of the footpaths. Location: Liezen Client: SPAR Österr. Warenhandels AG Job: Super Market ca. 4.900m2 Size of the order: ca. 6.800.000 Euro Collaborators preliminary project: Michael Smoly, Karin Leitner, Giulia Decorti, Jörg Schneider, Züleyha Engin, Kirstin Rogge Collaborators execution: Astrid Jagerberger, Alexander Klose Fotos: Thomas Jantscher
  • The project concept is a proposal to conserve one of the five ruins sites discovered under the fortress hill in the coastal city of Kelibia, Tunisia ; and to insert the protective intervention in the urban dynamic of a rising district . The architectural structure that surrounds the antique Villa traces offers a material protection to the site which has been for years subject to climate effects, inhabitants` indifference and urban progression. It constitute a solution to better discover the archeological legacy (essentially made of mosaics) and a platform to the development of social life ( public place, leisure, meetings...) in the residential neighborhood as well. The introduction of cultural, social and touristic functions would make the attached building easily accepted by the population and integrated to the urban tissue. actually, in a half way between a museum and a public place, this urban intervention in such location is thought as a reconciliation between two states of the architecture :the recent one, always in evolutions and spreading, and the architecture that has already "made his time" but is still a timeless witness of the human genius . the used materials such as steel and glass were chosen for their reversible characteristics so they are easy to manipulate (installation and dismantlement) besides they don`t affect the authenticity of the protected site and assure a visual continuation of the site with the environment. As it was previously mentioned, the project is fulfilling a double function.At first, It works as a cultural area in which people get in touch with the concept of archeological site and which free accessibility encourages "the museal self control". Second, it participates to the dynamism of the urban area by providing social abilities and by working as a open place.
  • Popular tourist destination in Karkonosze mountains. Leisure, sport, relaxation and contemplation of nature. Smooth slope, where a new hotel will rise for guest expecting unusual aesthetic feelings and discreet comfort. This hotel, designed in Szklarska Poreba by recognized Wroclaw architects - Kabarowski Misiura Architects - is an opposition against large vacation resorts, often roughly interfering natural landscape. On a smooth slope rocky blocks were laid out to create irregular Y shape. These sharp rocks, completely clad with horizontal strips of natural grey slate, are segments comprising 17 apartments, connected with an underground and on ground system of tunnels. Slate applied on facades and roofs, free composition and single level and double level apartments, green surroundings and water, make it look like rocks are growing out of the slope, are natural part of mountain landscape. They do not spoil it - they make more attractive and complete. Seen from north - the highest point - whole composition seems like collection of 4 micro-complexes. First and the main is a double storey entrance segment, accessible to everyone, housing entry hall, restaurant, swimming pool with SPA. Through fully glazed vestibule, one can get to private areas. Labyrinth of corridors effectively isolates each apartment with large panoramic windows opening toward English garden and staggering views of polish mountains. The longest corridor, dematerialized by fully glazed walls, leads to third zone - the most to the south private area. So called presidential suite consists of three blocks raised on columns, levitating above water pond. Therefore nature is not only outside the window - a pond and mountain creek become a part of the building, its visual foundation. Rocky blocks, hiding intimate luxurious apartments. Coherent composition and its main elements - slate, glass, greenery and water. Thanks to omnipresent glass wall there is never a question who should stay in room with a view...
  • h/2 commercial office complex h/2 shaping is a product of “rigid” urbanistic parameters and conditions as well as the defined project programme which demands from architects to reach the highest level of total floor area. The starting point in creating the building was to analyse and define irregular shaped volume within the office tower which should fit in with other following facilities. Fictive volume represents a sort of barrier in creating architectural design, but thanks to its crystalloid form, that task was successfully accomplished. Maximal surface which was possible to achieve was actually larger than maximal allowed – therefore the difference between these two elements was the only manipulative space for design intervention which would fully respond to the programme (achieved by “volume cutting”). The complex is composed of three segments which create a coherent composition and clearly visible differentiation between the initial volume and later intervention on that very volume (“volume cutting”). Façade represents the high-light of this intervention: initial volume was firstly covered by meshed coat which lies on ventilated glassed façade. By “volume cutting”, which is desired architectural intervention, meshed coat is being removed and pure glass façade is left as the only visible element. The purpose of the building is organised in order to provide an ease functioning of all various facilities. Access to the building base is very easy for final users and therefore it is used as a shopping area on 3 floors. Shopping area is consisting of many smaller and bigger shop units. The floors are connected with openings which allow daylight to break through roof illumination. The roof area on level +3 – partly covered and partly opened - also represents a square terrace. It is also called “food court” of the shopping mall and other catering facilities. All of them are connected with square terrace which is eventually being extended as indoor space of the lobby - entrance hall - of office area itself. Geometry divides office area in two directions on two different elements – lower elongated and the higher element. The vertical segment offers open-space office area on which goes approximately 75% of requested office area; other 25% is a part of lower horizontal volume. h/2 is urban rule which represents minimal building distance from the boundary line
  • ‘ Structure’ implies the flow of forces, and forces affect to the movement of people and vice versa. The helix shape of structure keeps the continuity of flow of space where people occupy. The combined loop with gentle-slope art gallery and stairway allows two-way flows of access. The building has several duplicated moments where the movement could ‘intersect’ and ‘intervene’ in order to give the opportunity to transfer directions both in physical movement and programmatic configuration. The basic assignment of program is based on the helix structure, which is docking on the core of the helix in accordance with the viewers circulation, likewise the splitting gesture of blending solid and void, program extends from the basic structure of helix. Moreover the interior net structure which supports the cantilever helix provides the flexibility in floor usage, moreover in intersection between spaces. The basic response to the urban context is initiated from the concept of direction of force. The each flank of the building has the direct contact to the street, so helical shape provides the open space periodically towards both orientations to the streets. The second thing what this drawing center has relationship with the context is ‘platform’ between the gallery loops, this complex points of crossing passages are obviously extended to the city, also two intersections are heading to the main and second approaches. The situation of the site that is squeezed in regular urban blocks which affects to shape the relation with the existing building on north side, so that the new emerging building with extending manner that deals with the existing wall and the ground prevents from being remained the building either isolated or alienated in the urban fabric, rather encourages the cultural building to be intertwined and correlated in the urban context through both programmatic allocation and formal intervention to the city.
  • MEMORIES - REHABILITATION CASA GARCIA MORENO AS THE CULTURAL CENTER OF SPAIN IN QUITO CULTURAL SYNCRETISM SPAIN IN QUITO. A contemporary arts center in a house in the historic center. The project started from a dual two cultures, two eras, two countries. In Potosí, for three centuries, two cultures, the Spanish and the indigenous religion, they find a common ground. The Virgin in the table of the Hill is representing the Virgin and at the same time, in its conical mantle is also represented Cerro Rico, the Pacha Mama sacred. The two apparently incompatible signifiers are unified, they become a single object syncretic, mestizo, with the overlay icons. Contamination, translate, without relinquishing their individual essence. At the Center of Contemporary Culture of Barcelona, a glass building reflects the faculty in which inserts and duplicates, reflecting both its facade covered in a high slopes. The result is a single perceptual experience, but the buildings give up their home or their time. LIGHT intertwined in Quito, the new building should not be in front, separated from the historic building. Rehabilitation on the one hand, a new building on the other. Wanted overlap, mutual respect, embrace. The vacuum as a meeting place, time and time again the cloister to the landscape. The new building is an envelope filter that connects to the light, with nature and the city. It extends on the round, leaves the water or sun light screened on the day and projected into the night. The roof unifies the project, gives us a level of general facilities, oversees the light and the weather allows hanging objects (chairs, art, screens, floors, mobile) is both unifying and support diversity and versatility. METHOD The four scales in a single formal element and a fixed relationship between two equals four filter scales: the smaller screened the view to reduce external stimuli in the exhibition, the second person, light, sky views are screened on Three options for closure. The biggest allows the passage of persons and mark entrances and connections. Four levels of structure, according to load requirements or light off. Four scales from the urban, residence, building, city. Timeless Timeless reversible: archetypal form, emptiness, space and light (porches, Mediterranean vineyards) function does not specify a single formal system (Donald Judd) Three scales, three-dimensional (person, building, city) 4 pers scales, bay, buildings, city) musical scale, sounding board, light and rhythm, light body (xenaquis, Spilberg) filter light, rain and users: permeability (Kengo Kuma) Reversible: Prefabrication, assembly, disassembly (Alberto Mozo) Flexibility and changing roles one building system in a single detail, a single environment related material to fill and empty original building windows / wall = 1 / 2 contemporary building empty / full = 2 / 1 reduction in square meters by the flexible use of space (great hall museum black box on multiple uses) (receipt can be faculty or black box) museum in bays of the original building to provide public presence at the new entrance from the round of massive program (infrastructure into the neighborhood) filter light, water, people is a primitive order classical architecture, rhythm, scale, repetition (trellises Mediterranean)
  • The client. Miles Young, {Mount Cinnamon, an estate bungalow} is keen to provide better living conditions to the workers. Two cinnamon peeler cottages have been built, where the workspace for peeling cinnamon is downstairs; along with three agricultural worker quarters, all which perhaps will set a standard for others to follow. {Please see building pages of Mount Cinnamon, and also visitor center}
  • Site: A hilly land lies on the intersection point of Marka, Tareq and Basman districts at the end of Al-Jaish highway and Al-Shaheed highway, Amman. Program: Interpretation center, resource center, archeological sheltering, multi-purpose halls, (LRT) sub-terminal, restaurants, retail shops, cinemas. How to make a new beginning in Eastern Amman? Ain Ghazal is a strategic location that has so far kept East of Amman intact, an expansion zone that enables the city - even the country - to modernize itself constantly, to make the tactical adjustments neces- ary boundaries and nodes had to be identified. It is a theatre of progress that cradles diverse elements and most importantly archeological ruins. The existing is an ambiguous condition. Because Ain Ghazal is the Old World, the "Cradle of history”, there is an unspoken assumption that all its substance - even the most - mediocre - is historic, and therefore has a right to eternal life. We have used this project to generate a critical mass of urban renewal, to imagine an anti-utopian strategy that would transform and interpret the archeology of Ain Ghazal as the gradual, progressive transformation of this chaotic "beyond” into a new urban system. We propose to project a set of slices across the entire field of the project’s area - over all that exists including the present enclave of the Water Treatment Plant- and to expose progressively this new system as play of solid and void.The chosen slice here is at the same time conceptual and operational; it will not subject everything in its way to its discipline but will act as a filter to absorb those entities whose right to survive is not contested. Along its entire perimeter it will generate a string of hybrids. To achieve its ultimate coherence, it will invest the so far isolated fragments with a premonition of identity. The theoretical omnipresence of the slice does not imply homogeneous density: it will organize the coexistence of solid and void, density and emptiness. Around certain injections, the slice will allow different intensification where the highway will become almost incidental. Ain Ghazal as we know it will be liberated from its condition of enclave will dissolve over time to become simply part of the system. Moreover the project will mainly be concentrated on the banks becoming irrevocable linear, with a mass of program distributed along a 500m long link perpendicular to thebstream, the impact would be diluted -literally. Therefore our research concentrated on the areas where the combination of infrastructure and locations would form a critical mass. Because the largest potential concentrates are the spots with most pinching shortage of space - the Western side- being the sheltering where the entire zone should be interpreted as a sequence of {four equivalent situations}, with two enclosed (buildings) and three opennair sections in between.While the Eastern side is the most suitable location for concentration. Team: Rasem Kamal, Heba Najada, Yousef Zaki
  • In association with Grimshaw NY Restoration of Blast Furnace to be converted in a History and Science Museum
  • The task to design a new administration building, reorganize the power station compound and create a new noise protection barrier gave us the chance to dissolve the dichotomy of landscape and building to realize the deconstruction of those categories into one designed environment, to be experienced in adynamic and curious fashion: Built Landscape 450m long and up to 13m high, the central part of a noise protection wall with a 45 degree incline simultaneously constitutes our new administration building for over 140 m. The superimposition of building and earth wall allows us to explore and experience the landscape of this entire ensemble on various levels. An auditorium with a visitor center unfolds from this landscape and opens up towards the power station compound. It separates from the earth wall on the upper level, resting on two radial supporting walls and cantilevers up to 20 m over the landscape. A long panoramic glass façade leans towards the power station. The administration building underneath is sculpted into the earth wall. Meeting rooms and common areas penetrate through the wall to establish a relationship with the bordering village of Dachlhofen. The grass covered roofs of the power station workshops in south form the extension of our landscape.
  • Competition winning project for the enhancing of an important raised highway in Québec City.
  • Hub-T is a theoretical project dealing with "Dead Zones" problem, and suggesting a new attitude to make use of such wasted areas. the idea is to create a mixed use towers relying on the infrastructure of highways , in order to help stopping the congestion of modern cities. the Hub-T is a new Skyscraper typology that emphasis the need of thinking out of the box in order to solve the typical issues of circulation, structure and usage of skyscrapers. The relocation of such typology creates a catalysis toward finding new solutions. Awards, articles , exhibitions - 1st prize at the David Azrieli competition for young architects AI magazine prize at the young architects category. Technion award at the final project category. perspectiva magazine 2008 . ZeZeZe gallery, Tel Aviv, 2009. Young arab architect exhibition , Nazareth, 2009.
  • The concept for the Taj Exotica Resort on the Doha Golf Course has been developed as a stepping, terraced 3-storey hotel of 150 rooms, based on a concept done previously for a sloping site elsewhere on the Golf Course. This particular site is flat; therefore the terraced section was achieved by placing fill and artificially creating the effect of a sloping site. The resort comprises of a central building accommodating 3 restaurants, a small function facility, 2 cocktail bars, lobby lounge, business center and all the back of house facilities.
  • PUBLIC COMPETITION Disign: Bassico. Gabriel Martinez, Jose David Rodas, Jorge Gaviria. + Mario Rodriguez (www.bassicoarq.blogspot.com) Team: Luis Gaviria, Paola Alvarez, David Martinez. City: Neiva, Huila, Colombia Year: 2009 Distinction: Second place "Any understanding of the natural environment is enhanced by early experience as a multitude of living forces" M. Heiddegger The rapid growth taking place in urban settings today and the concentration of rural population in the cities make these increasingly denser and sometimes more are losing their reserves and connecting spaces with the natural environment. Our proposal to develop islands of adventure parks in the city of Neiva is a tribute to the understanding of the natural environment as a multitude of living forces and the form of settlement of indigenous communities that once converged old and lived in the area of low, medium and high Magdalene. Exalt the narrow bond of communion that established those communities, between the physical earth plane and the astral plane, manifested by signs and marks on the ground that seemed constellations or charts, and the building of sculptural monuments in strategic locations sought to reach heaven. The park is an extension of urban water systems and cross-town, its nature, parks and institutions. It complements the urban life, an encounter with the water and sky. The malecon, as the boundary of the city`s public space is the first contact with the park, a visual screening approach for natural dense vegetation of the islands, where above it is suggested the project. Access is generated as a projection of the cra 7, cultural and institutional axis ends in the square of meeting, multi-functional public space that is part of the city. Respect for the landscape and character of the project to restore the link with nature and the sky of the cultures that inhabited the river basin in its entire course, makes the intervention is grouped in the flooding areas, while respecting the natural ecosystem of the river and its natural feature of the landscape modifier. The park is a changing experience.
  • Northeast Georgia’s remarkable pottery tradition has many parallels in folk traditions of the southern United States. Potters, blacksmiths, weavers, basket makers, carpenters and others trades were historically involved in producing utilitarian objects and structures, many of superb craftsmanship and transcendental beauty. In this tradition, through a marriage of southern vernacular concepts and contemporary design, the Folk Pottery Museum represents a building form with true meaning for the extraordinary collection housed within. This gable end shed structure is directly connected to the simplicity and functionality of the ware produced by Northeast Georgia potters. The building utilizes a variety of sustainable building products and design techniques. The exhibition area is long and linear and its axis oriented east and west for reduction of solar loads and thus reduction of the size, expense and life cycle costs of air conditioning systems. Similarly the extensive overhangs and awnings of the building shield the interior from direct sun in summer, but allow sun to penetrate in winter to assist in heating. The museum utilizes heavy timbers and wood-products harvested from sustainable forests in the region as well as many other locally or regionally produced products. The site features and courtyard rain garden are designed to infuse runoff from the structures back into natural aquifers. Pottery, unlike many museum objects, is not light sensitive so natural light and views of the surrounding stunningly beautiful Sautee Valley are allowed to anchor the museums’ interior to its surroundings and visually expand virtually every space.
  • The Shell & Elementary cottages. The object is designed or for the deserted and not populated districts of the Earth, which now are not used and is located in lifeless district. The projected structure consists of an Shell covered with innovation adsorbing combs. The Shell is necessary for protection of a cottage settlement against influences of the aggressive atmospheric phenomena. Except for an Shell the Elementary cottages appear in the project which fasten to an Shell, basically, in its internal space, but probably seasonal attachment outside of an Shell. The Elementary cottages have a metal design with an opportunity of the given deformation and a covering of different types which are carrying out vitally necessary functions: 1. Covering processing a solar energy in electrical. 2. Covering heat-sink thermal (infra-red) energy. 3. Covering filtering water. 4. Covering utilizes organic waste. 5. Covering with chlorophyll elements, generating oxygen and water. In whole all system the Shell - trunk, and Elementary cottages - leaves is possible to compare to a tree, where. This comparison not the forms but functions. Inside a Shell any atmospheric phenomena - rain, snow, wind and light effects - morning, day, evening, night can be created. They do not coincide that occurs outside of an Shell, and are created at the request of the inhabitants. Elementary cottages - as apartments, which can be moved to transfer on any floor, to take outside or to hold inside an Shell. The Elementary cottage is designed for residing of one family. The form of an Elementary cottage can be deformed for an attachment to different sites of an Shell. Besides each Elementary cottage has coupling unit for an attachment to other cottage or to an Shell. Co-author: Alexey Magay. More details (in Russian): http://cih.ru/gh/k1.html
  • This thesis is on Death and Real Estate and the discourse is succinctly understood in the following terms. Death is understood as the diminishing deathscape of local cemeteries which are loaded with social, cultural and architectural elements. Real estate is defined as land plus anything permanently fixed to it, including buildings, sheds, and other items attached to the structure. Unlike other investments, real estate is dramatically affected by the condition of the immediate area where the property is located. With the exception of a global recession, real estate is affected primarily by local factors. The pursue of the thesis topic of Death and Real Estate begins with the understanding of local deathscape straddling between three eras of colonial Singapore, 1980s and the present Singapore. Through the research, an acute erasure of cemeteries is observed. More then 500,000 graves have been exhumed and cremated or disposed. The relationship between local deathscape and real estate of the three eras is being examined. It is concluded through research and analysis that the local authorities view the relationship of death and real estate as an inverse one. The next term of discussion is to challenge the existing relationship between death and real estate. A discussion is set up to challenge the repercussion of the current inverse relationship and the authority’s strategy of reduction and erasure impact on our social fabric. The authority’s vision of keeping deathscape hidden, sanitised and orderly have result in the reducing and erasing of space, ground, culture, awareness and importance of death. The strategy that this thesis has choosen to adopt is one of addition and compensation in addressing death and real estate. As the fundamental of high-rise is to compensate real estate, this thesis will design a high-rise deathscape. And as the fundamental of deathscape is a place for the dead to go back to the ground, a high-rise deathscape will have to compensate both ground and real estate. Thus, the reinvention of ground and burial. This thesis will design a rammed earth tower to house the dead in ground that allows them to go through the process of decomposition and returned to ground. Given time, this new building typology will evolved and morphed into the natural landscape. Death tower will be made entirely out of earth Rammed Earth. Live Earth. Baked Earth New Ground, New Burial, New Structure. Tower of Death
  • Dıspersed memorıal: a space to reflect, a space to honor, a space to remember, a solıtary space, a communal space, a space for hope, a space to embrace. In an ınterest to look both backwards and forwards, to embody both honor and hope, p-ar sought an alternatıve to the conventıonal form and sıngularıty of hıstorıc memorıals. We propose to break up the memorıal. Dıspersıng ıt across the sıte we create a memorıal garden for contemplatıon and dıscovery. Thıs contınuous gardenscape has no true begınnıng or end, no dıstınct entrance or exıt. It’s mazelıke qualıty and spatıal varıatıon creates an envıronment of ınfınıte experıence. A memorial to return to again and again, each visit offering a new perspective, each visit differing from another.
  • There is a light - A lighthouse is watching over the city, a living and breathing organism, structured and re-structured again and again by its inhabitants in an open cycle. It is an orientation point, a visible sign, arising above the milling mass filling out the narrow streets. The head high up, peering up here and there as a direction sign at daytime, it is gleaming at night, sending out luminous rays, showing the way. Within all physical constrictions, residents can refer to it as an identification landmark. It is a built balance point, loosening itself like a ball of wool with arms like octupus tentacles, which blaze their trail through the dense urban fabric, collecting people from the streets. Once above, people follow the dynamics of urban changes, having a look at their own rooftops. The alleys below are alive with the humming of the marketers voices within the urban swirl, the throb of machinery, the clacking of tiles, while up on the roofs, the laundry is drying and children are playing after school. It is a lookout platform and a meeting point. Tea is served. Business deals are made. Festivities are celebrated. Tourists come and go. Lokal people return to see their city quarter and compare it to its former nature. The delicate and complex system of interfering lifstyles and urban transformation processes let the city appear in an almost liquid state. The panoramic view is telling about diversity and cultural richness. From above, the city’s anatomy becomes more and more tangible and can nearly be imagined in its entireness - whereas the changing city keeps on sizzling. Illustrated example: Jaipur, Rajasthan, India. © nora lau
  • "earth drifts" purchase prize - larvik inner harbour - international competition There’s the North, there’s the far North, and there’s the southern part of the North. The southern part of the North is not the North. The North reasons and proceeds. The North contemplates itself and tells its own tale: its South, always rough but far away from zero, forms an open door, letting in a milder climate, creating a breeding ground for new inspirations. Reclaim the sea Our ‘Earth drifts’ design is influenced by the already existing movements of Larvik and the Inner Harbour with its moles and jetties. A network of visual connections, bridges and paths generates a dynamic interface with the adjacent areas, the town centre and its main square, articulating a transition between the town and the waterfront. As a result we propose symbolic and functional gateways and public crossings over the barrier of the railway tracks which presently divide the town centre and the seaside. Two new citizen’s bridges – one lined with shops and the other one attached to a new public library – span the tracks connecting the northern part of the town with the fjord. These new bridges, further intersections and walkways are directed towards the sea and towards new horizons, opening up the town centre to future perspectives. The Water Park The main idea in our concept is a Water Park offering a direct contact to the sea: Recreational and intellectual activities, such as taking a walk, swimming, thinking and learning, drinking and eating will take place in front of the open horizon while smelling a fresh sea breeze. Enclosed by rows of trees - forming a barrier to the railway tracks - our landscape carpet is picking up loose ends, edges and corners of the surrounding buildings, streets and ‘landmarks’, interweaving them with the different movement directions across and along the site. This texture of lines emphasizes the architecture and typical shape of the small allotments and little Larvik town houses in the surroundings: the resulting pattern of linear and transversal axes forms a green lawn, characterized by slight alterations in height and divided by small pedestrian and cycle paths. One of the seaside promenades, however, will not be – as usual – located next to the sea, but cross the sea directly, making it possible to feel, smell, taste and touch the wind, the weather and the water. A rotating lookout-platform will confirm the role of the seafront and turn its head into different directions according to the season, the time of day, the sight or the weather. ‘Floating’ pools as bridges to the sea Following the natural desire of bathing in the sea, we suggest a number of ‘bathing ships’ - apparently floating in the sea. The pools will be filled with preheated water, allow an unobstructed view across the sea when swimming, and be complemented with wooden bridges. The adjoining western mole will take the function of an additional sun terrace. During the winter a two-layered membrane attached on a framework running on a rail-system will be spanned over the bathing zones maintaining a combination of translucent and transparent surfaces. The space between the membranes will be filled with air to optimise insulation and guarantee a comfortable interior temperature even when it is extremely cold outside. This membrane structure will divide the ‘bathing ships’ into three separate indoor pool areas. These areas will be connected via additional boxes containing technical and service functions. Simple joints, standard materials and easy manual assembly will allow for the membrane structure to be dismantled and re-erected without additional use of a crane. New public library - Café - Space for changing exhibitions – Lookout-Platform As already described, our project is offering a large amount of recreational and intellectual activities, some<
  • CONTADOR-WELLER HOUSE Riesco + Rivera Arquitectos Tunquén, Casablanca, Chile. The order is the habitual program of second house in the beach. The place is a desolated landscape, on the brink of the pacific coast. The surroundings are dominated by the rustic and dry climate colours of a Chilean Central Coast that has still not been transformed by the man. The purpose was to divide the house in 3 defined individual units, as much in space as in program, but with a unitary reading; each one able to be used separately and that each one gave account of its use space. First: a public one, second: a children unit and third: the main dormitory. For this matter, we studied the conventional inventory of space-programs and constructive system {Wood-Canadian system}. That delimited the use of standard dimensions for each unit in a house of 140 m2, as well as the definitions of the materials. Through this exercise the basic rules of design were defined. The variations to the "standard" and the articulation between spaces, defined the character and qualities of the space. Minimum modifications in order to reduce the costs to the limit, the manipulation of materials and the different treatment of the spaces, forced to project with the standard dimensions of the different panels. Almost every piece was reused and the structural panels were indeed the inner completion. In order to increase the spacing between each unit we created horizontal and vertical spacing through a small patio of light-access and little breaks, voids and displacements that opens and closes perspectives, light and spaces. Francisca Rivera and Jose riesco
  • Inspiration ... sea, shell, sail. Combining all of these together gives an opportunity to create something original and symbolic for Docklands area. An exciting place for people from Dublin, and for visitors to the city as well. It is a simple symbolic sign suggesting a connection between human beings and nature. Its light organic form composed with the river and surrounding buildings is like an invitation for people to come and admire the views to the Custom House and Dublin Port. The idea was to give to the person a route which will be like a play between clear, open spaces and mysterious closed spaces which one could discover many times. The visitor may choose from a number of levels to experience the surrounding space. The building has four interconnected functions: venue, restaurant, café and gallery. A succession of spaces draws the visitor through the building. The venue is placed in the middle of the first floor which allows the guest to enjoy views over the Liffey again. From the same level one can enter to the restaurant and the gallery. At the top of the restaurant there is a terrace with a garden where one can sit and enjoy a meal. The form is a light, transparent expanded spiral hung on the steel frame hidden under its surface. This innovative solution gives to this from a light and dynamic appearance, reduces the amount of columns in the building and gives design flexibility.
  • T-18 House it was designed and built, using the minimum possible of project resources, materials and constructive elements, looking for the polyvalence of spaces and proposing new ways to understand the own spaces, the relationship among these same spaces, and between the house and the landscape. It has been looked for to project simplifying and ordering, this effort is appreciable in the outlines of distribution plants, and in the simplicity of the volume. The natural light is an extremely important element: the level of natural illumination is so high that during the day that it is not necessary to use the artificial light, even with a majority of the closed blinds. The light that penetrates through the wooden blinds and it causes light situations that change constantly, minute to minute along the day, and during the whole of year. The mobility of the wooden blinds, produces an infinity of readings of the facades, that they change in function of the hour of the day, well for the necessity of solar protection, or the level of privacy that is wanted. The property says that they reflect its own state of encourage, sometimes looking for to open up or to close, an effect that without having looked for it explicitly, it is without a doubt very interesting, since a relationship cause-effect is believed by the psychological relationship that settles down between the housing and its user. The structure of the house is integrated in the composition of facades (tensile in form of X) and interior spaces, because the roofs and concrete walls are also seen inside the housing, as well as pillars and metallic beams. The housing is practically opaque in the lateral facades (concrete walls) and reveal in the longitudinal facades that are protected by a skin wooden blinds that you/they sift the light and they protect of the views.
  • From box to hypercube. This brand new commercial building {surface: 2.500 m2} is a part of a wider urban district planned from Spacelab Architecture since 2006 in the city of Porto Sant`Elpidio - middle Italy, in the course of completion {soon on this site}. The client brief was to realize the maximum formal impact in the limits of precast construction and basic tipology dictated by the medium-commercial function. We intended this limits as an occasion to conduct the modular precast construction to new formal results. Mixing two structural systems {precast concrete grid + metal reticular truss}, the box resulting from urban plan parameters {maximum surface and height} is made more complicated in the entrance side by a tridimensional prismatic intrusion in the original volume, distinguished by using glass and other traslucent materials in comparison to other opaque fronts. The result is a distorsion of perception near the main facade overlooking the public space, inside a more basic/stereometric frame. The other sides are charaterized by a precast custom-made concrete envelope, which module is denied by a continue abstract texture visually connecting each panel to the contiguous. Windows are obtaided by subtracting material inside the texture pattern. ©Spacelab Architects {Arch. Luca Silenzi, arch. Roberto Sargo, arch. Zoè Chantall Monterubbiano, ing. Giampiero Luzi}, 2007-2008.
  • Preserve integrity within its context, reuse the existing spaces and reorganize according to the new needs by maximizing the architetural virtues and asthetic qualities of materials, clean lines, and extraordinary materials. The project maintained one of its greatest space virtues of the old homes, “introverted life, Wide interior-exterior relationship and a rich culture integration and respect to the past.” The result is a space created about one century ago, completely renovated, that utilizes its rich space and asthetic that adds value with its cultural heritage.
  • One of the biggest problems of modern cities is rapid urbanization, which puts natural green space into further distance. For humans to function properly, their everyday surroundings must include the green parts. The ideas of Idyll Tower suggest to change the standard, usual perception of today`s skyscrapers. Imagine, a settlement structure that grows up to form a tower, where every storey is a different garden- a green space. Communication determines the form of the tower- the various levels diffuse and it`s possible to move freely between them. It is like hiking road in the mountains, which is a big inspiration for this project. The openings in structure of the tower facilitate the process of photosynthesis- rainwater gathering and storing systems irrigate all of the gardens. Plants that filter contaminated air should occupy every storey, assisting natural ventilation. Wind-twisted form improves the stability of the building structure. For strong wind protection, it is possible to cover the highest stories with transparent, "breathable" membrane.
  • The house of Sheikh Jumaa Bin Maktoum Bin Hashir is located in the area of Shindagha of Old Dubai. Historically, Old Dubai was divided into three main areas: Shindagha, Bur Dubai, and Deira. Shindagha, on the western bank of the Creek, is separated from Deira by a sand stretch called Ghubaiba. The establishment of the area dates back to circa 1862. It has quickly acquired a historical importance late 19th Century when the city’s population started to increase significantly and later became the residence area of the royal family. The house is considered to be one of the most sophisticated houses in Shindagha. The building is important for the history of Dubai because of its artistic and architectural aspect and its strategic location overlooking Dubai’s commercial centre at the Creek. The house has two floors with an approximate area of 1037 square meters. It has three entrances. The main entrance is located at the Eastern side facing the creek and mostly used by men and guests, while the other tow are more private and is mainly used by women. An open court centered in the middle of the house planted with an Almond tree considered the main focal point, where everything is either leads to it or access from it. There are many rooms in the ground floor than in the upper floor. The house is highly decorated with different shapes and forms of vegetal and geometric patterns using either black and white techniques of charcoal or only white hollow or solid form. In the ground floor two elevated liwans serves as outdoor living area located at the eastern and northern end where members of the family can sit in shaded area during the hot season of the summer. There are two stairs leading to the upper floors. One is straight facing the main entrance and the other is more hidden in the western side. In this house like in most cases of the emirate house the second floor do not occupy the whole are. Some of the space is left open as terrace to be used by the family during the summer. In 2000 , The Architectural Heritage Department at Dubai Municipality has resorted the building to be the museum of the House Traditional Architecture. The restoration work was implemented respecting the international ethics and standard of conservation using with local building techniques and traditional materials. Minimum intervention was applied in the design proposal to allow for proper use of the buildings.
  • WA 5. Cycle Fullcourseware, September 2009

    1. 1. 20+10+X Architecture Awards 5th Cycle, September 2009 www.worldarchitecture.org
    3. 3. New urban cemetery enlargement in Todi (Perugia) Italy, -2008, SIGNORINI ASSOCIATI (1987)
    4. 6. Central Monument of the 1956 Hungarian Revolution and War of Independence Hungary, 2005-2006, i-ypszilon office page (1967)
    5. 9. Gateway Art Tower (Under Construction) United States, 2003-2009, Eric Owen Moss Architects office page (1943)
    6. 11. Spaladium Center Croatia, 2007-2008, 3LHD architects office page (1967)
    7. 14. Gooseberry Hill Alterations and Additions Australia, 2005-2007, Iredale Pedersen Hook Architects office page (1969)
    8. 16. villas Jonc Switzerland, 2006-2009, Christian von Düring (1974)
    9. 18. Architecture Center Turkey, 2001, Buket Demirel (1979)
    10. 21. Eco_Wall (by Geotectura, NCArchitects and Axelrod-Grobman Architects) Israel, 2008, GEOTECTURA office page (1971)
    11. 23. Chalkidos Street Residence in Larnaca Cyprus, 2000-2007, ARMON Choros Architektonikis office page (1965)
    12. 26. Golf Tower Peru, 2008, Hackenbroich Architekten office page (1965)
    13. 28. House_Sz – an open residence inwards and out – Japan, 2007-2009, Miyahara Architect Office office page (1966)
    14. 31. Self.Urb Netherlands, 2007-2007, Erno Langenberg (1974)
    15. 33. Chapel of water Taiwan, 2009-2009, WU- Tien yu (1985)
    16. 36. Museum Of Natural History Of Salt Range, Pakistan, 2008-2008, Fayaz Ahmed (1983)
    17. 38. Masna‘at Ba Surrah in Wadi Daw‘an Yemen, 2006, SALMA SAMAR DAMLUJI (1954)
    18. 39. School cum Cyclone Shelter Bangladesh, 2009 , S harif A hammed (1976)
    19. 41. PARRON-ORTIZ HOUSE Spain, 2005-2007, francisco parron ortiz (1973)
    20. 44. Cultural Centre in Siwa Oasis, Egypt, 2008-2008, Khaled Taalab (1986)
    21. 47. Bangladesh Chancery Complex, Pakistan, 2008, Rafiq Azam (1963)
    22. 50. Parc in south Peloponnese, Greece, 2008-2009, stelios pantazopoulos (1973)
    23. 53. Cited by Honorary Members (+ 43 projects) The constituency of WA has decided to cite those projects that have received the admiration of many Honorary Members
    24. 54. Tokinokura lavatories Japan, 2008-2009, shuichiro yoshida (1968)
    25. 57. REAL MADRID FOOTBALL ACADEMY, CANGGU - BALI Indonesia, 2007-2007, julio julianto (1969)
    26. 60. Teahouse II Saudi Arabia, 2009-2009, Hadi Baghlaf (1965)
    27. 63. Desert House United States, 2007-2008, Circle West Architects, P.C. office page (1964)
    28. 65. Building for Bowkunde Netherlands, 2008, Romi Khosla Design Studios office page (1975)
    29. 68. Connecting Bridges Santa Fe Mexico, 2006-2006, hector coss (1976)
    30. 72. TT-VIlla Thailand, 2009, WeArchtiecture office page (1980)
    31. 75. Cattaneo Switzerland, 2003-2008, Holzer Kobler Architekturen office page (1966)
    32. 78. One South Dearborn, Chicago, Illinois USA United States, 2003-2005, DeStefano Partners office page (1955)
    33. 81. Ribbee Guitar Store, Thailand, 2009-2009, M.L.Varudh Varavarn (1973)
    34. 84. Multi-Functional Administrative City Open Space Competition Korea, South, 2007, Studio Shift office page (1973)
    35. 87. Terminal de L`Anzolo Italy, 2000 Asgeir Damman (1969)
    36. 90. Pearl Academy of Fashion, Jaipur India, 2006-2008, Morphogenesis office page (1981)
    37. 93. Tekfen Yalikavak Hotel, Turkey, 2007-2009, TRafo-mimarlar office page (1967)
    38. 96. Van der Laat & Jiménez Headquarters Costa Rica, 2005-2007, Alvaro Rojas (1949)
    39. 99. UNA LANTERNA MUSICALE Italy, 2007-2007, Carlo Fantacci (1964)
    40. 102. casa en marbella Chile, 2003-2004, cristian olivos (1970)
    41. 105. SHARED HOUSE Japan, 2006-2007, Ryuichi Ashizawa (1971)
    42. 108. The Slovene Ethnographic Museum - SEM Slovenia, 2003-2006, Groleger Arhitekti office page (1966)
    43. 111. Church in Colonia, Uruguay Uruguay, 2002-2007, Pablo Lambrechts (1966)
    44. 114. Can Ricart sports center Spain, 2000-2006, vora arquitectura office page (1973)
    45. 117. "LIFE in the BACKYARD", Ha`aliya Market / ESTY ILGAEV & MICHAEL PELED Israel, 2008-2008, Esty Ilgaev (1986)
    46. 120. Secondary school in Sant Esteve Sesrovires Spain, 2003-2007, Jordi Farrando (1956)
    47. 123. convection slum, Brazil, 2009, Atelier Utrabo Monteiro office page (1984)
    48. 126. Renovation of Arantzazu 2001 Spain, 2001-2005, AH Asociados office page (1956)
    49. 129. t(H)ree house Italy, 2006-2007, i(r)Raum office page (1963)
    50. 132. Casa G Iceland, 2007-2009, Gudmundur Jonsson (1953)
    51. 135. le jardin du regard - the glance garden, Tunisia, 2009-2009, hamza seddik (1987)
    52. 138. Oase Liezen Austria, 2004-2009, peter lorenz (1950)
    53. 141. A future for the past : Tha Villa of the Two Huntings valorization building. Tunisia, 2009-2009, mey skander (1984)
    54. 144. Mountain Hotel, Poland, 2009, Lukasz Kabarowski (1979)
    55. 147. H/2_CRODUX TOWER, Croatia, 2009-2009, UPI2M office page (1969)
    56. 149. Gyratory Urban Agency, United States, 2008-2008,Hyunchang Cho (1980)
    57. 152. CENTRO CULTURAL ESPAÑOL, Ecuador, 2009-2009, JMS - Jose Maria Saez office page (1984)
    58. 155. Cinnamon Peeler’s House, Sri Lanka, -2009, C. Anjalendran (1951)
    59. 157. Ain Ghazal Interpretation Park (Macro scale), Jordan, 2008-2009, Rasem Kamal (1986)
    60. 160. Museo del Acero, Horno 3, Mexico, 2007, Rodrigo Maisterrena  (1972)
    61. 162. ZMS Schwandorf Administration Building and Master Plan Germany, 2005-2009, Bernd lederle (1964)
    62. 165. Éclosions Canada, -2009, Côté Leahy Cardas, architectes office page (1960)
    63. 168. Hub-T , new hi-rise typology dealing with the "Dead Zones" problem, Israel, 2005-2006, Farah Farah (1980)
    64. 170. Taj Exotica - Golf Resort & Spa, Qatar, 2008, GHD Global Pty Ltd office page (1980)
    65. 172. ISLANDS OF ADVENTURE PARK, Colombia, 2009-2009, Jorge Gaviria (1982)
    66. 175. Folk Pottery Museum of Northeast Georgia United States, 2006-2008, Robert Cain (1947)
    67. 178. Selected through the rating of all visitors (10 projects)
    68. 179. Green oasis, Russia, 2005-2007, Simon Rastorguev (1981)
    69. 182. Death Tower, Singapore, 2008, kit lee (1980)
    70. 185. WTCM United States, 2003, Platform for Architecture + Research office page (1973)
    71. 187. There is a light, India, 2009, Nora Lau (1980)
    72. 189. "earth drifts“ Norway, 2008-2008, michelangelo acciaro (1960)
    73. 192. Contador-Weller House Chile, 2005-2005, riesco + rivera arquitectos asociados office page (1977)
    74. 195. Dublin Venue, Ireland, 2007, Mirek Siebiesiuk (1976)
    75. 198. T-18 House, Spain, 2006-2008, Xavier Alba (1960)
    76. 201. Food_Container_remixed: from box to hypercube Italy, 2006-2008, Spacelab architects office page (1972)
    77. 204. Casa CL 53, Mexico, 2006-2007, Atahualpa Hernandez (1981)
    78. 206. "Most thought-provoking +X" (2 projects)
    79. 207. Idyll Tower, Poland, 2008-2009, Ryszard Rychlicki (1985)
    80. 210. The House of Sheikh Jumaa Bin Maktoum, United Arab Emirates, 2000-2001, Architectural Heritage Department - Dubai Municipality office page (1958)
    81. 212. www.worldarchitecture.org [email_address]
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