WA1. Cycle Fullcourseware, September 2008

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Full version presentations of the 1st Cycle winner projects, September 2008- To be engaged with contemporary trends

Full version presentations of the 1st Cycle winner projects, September 2008- To be engaged with contemporary trends

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  • 1 Brain and Cognitive Science Center With a floor area of over 400,000 sq ft, MIT’s new centre for Brain and Cognitive Sciences is the largest such facilities in the world. The site at the Kendall Square area of the MIT campus is a difficult one, straggling two separate pieces of land separated by a railroad track. So also the program – the complex houses three major research institutes, the Picower Center for Learning and Memory, The McGovern Institute of Brain Research, and MIT’s Department of Brain and Cognitive Sciences. The brief stipulated that each of these institutes has its separate identity, and its own entrance from street level. Yet, once inside the complex, all three are melded into one continuous system, that maximizes the flexibility and the interaction between scientists, so essential to the culture of MIT, and to the cutting-edge research that will be done here in the decades ahead. Commenting on the project, MIT’s President Charles Vest said: “The facilities reflect the benefits of a special partnership: the extraordinary urban design sensibilities of the lead designer, Indian Architect Charles Correa, who has created limestone and glass forms of immense power and elegance, and the extensive experience of Goody Clancy and Associates in designing academic buildings and laboratories noted for their effectiveness and efficiency. Their combined efforts will constitute one of the finest facilities in the world measure on any dimension.” With its outer skin of glass and a beautiful beige Portuguese stone (that seems to reflect all the ambient light in the sky and in the surrounding streets), the BCSC succeeds not only as a piece of architecture, but as a seminal example of urban design that enhances the surrounding buildings of Kendal Square as well.
  • 2 CHICO MENDES ENVIRONMENTAL RESOURCES CENTER This building was selected by the Ministry of Public Works and the Architects Association Council of Spain to represent this country in the “Green Building Challenge” International Project in Tokyo 2005. The building is destined to exhibition rooms and training lecture rooms. It is located in a natural environment taking up the place of an abandoned construction. It adapts itself to the existing platforms, getting its tributary configuration from the sharp topography. The staggered section allows the northern light inside with no direct sun effect on the displayed objects; it also allows the positioning of the roofs towards the South in a suitable angle for the production of photovoltaic energy. The inside climate is obtained through a combination of soft and natural systems domotically controlled. The construction is done by means of a metallic structure covered with light sheets and a cavity wall of insulating material on both sides.
  • 3 Labu-tale Haus Sik 27 architecture students from Australia and Papua New Guinea spent 7 weeks working with the village community of Labu-tale, Morobe Province, Papua New Guinea, to design and construct a health centre and other associated works. We strove for an architecture of process: a process of learning and participation of both students and the community, and of valuing both local and foreign knowledge in finding creative solutions. We helped to masterplan a new inland village due to rising sea levels and frequent flooding, and constructed an aid post, a community training hall, a public laundry, ventilated pit toilets, safe drinking water collection facilities and a new main road. The project was organised and run entirely by students.
  • 4 Museum of Contemporary Art in Rome {with Burkhard Morass} SENSUOUS TERRITORIES Inserted into the complexity of an ancient industrial estate and confronted to a historical patrimony, the new Museum is resonating to the existing static condition of the site with dynamism, movement and evidence. In the architectural work the section reveals the non-visible. In the Museum the section is shown through the translation from horizontal to vertical, from inside to outside, from the foyer to the roof-landscape-garden. The old and the new, the exhibition spaces and the other activities connected with it are at the same time articulated and specifically distinct. In the system of transition in which the new contaminates all around, every part wins a complex clarity and becomes attractive. The roof surface is a landscape. It is a projection surface of the art trail below. It creates an abstract continuity. It’s an abstract art garden. This landscape terrace is offered to the visitors of the Museum and to the city. It offers multiples textures under the feet of the visitors: roughness, deepness, smooth, softness, density, brightness, matness…The central volume of running water is there for refreshing the air. Sand, gravels, smooth limestone, bright surface of water, gramineous… the landscape terrace becomes a place of calm, freshness and sensual textures. The exhibition room, by its nature and the courses and flux introduced inside is a landscape. The all Museum is as a running space, from the public space to the private space to the public space in a continuous fluidity. In opposition with the dynamism of the spaces around, the exhibition spaces are perceived as more neutral. They are developed in a non regular, but simple, space given to the artists, offered to multiple ways to exhibit: hanging, suspending, floating, on/in the floor…
  • 5 LEGO During the Marshall years when post war Denmark was being rebuilt, the state chose to favour prefabricated concrete over all other forms of construction. As a result the in-situ cast concrete industry has almost vanished, leaving the entire building industry based on prefabricated modules and concrete elements. Contemporary Denmark has become a country entirely made from LEGOs. When asked to do a dense mixed use development comprising parking, retail, offices and housing in to a single super dense development of a rather small but central site, we knew that the program wouldn’t fit in the generic perimeter block. We knew that we once again had to step in to the minefield of public tower - phobia. Once again comparing the popular spires to the modern monoliths, we attempted to diagnose the demise of the Copenhagen high-rise. It appeared that until the early 1900s architects had been capable of designing imaginative towers in the honour of the church or the king. But upon the arrival of functionalism, with all its good concerns for daylight, views, functionality and production technique, our imagination seemed to have been reduced to the repetition of identical rectangular slabs. Could we harness all the good intentions of functionalism and turn it into a platform of the creative process, rather than its straightjacket. Rather than starting by designing crazy shapes and then figuring out how to squeeze it in to the mould of prefabrication, we decided to turn the project in to a homage of the modular building industry. We decided to cover the entire site with the favourite module of the building industry: 3.60m x 3.60m. Rather than designing with a composition of built volumes, we considered the site an elastic mouldable substance, defined by zones of varying density. And like saving for the web, we then adjusted the soft topography of the urban massing, to a rough pixelated landscape of peaks and valleys. Like a Maya Lin sculpture the towers rise from a stepped planes into cliffs and ledges of human occupation. A modular wet dream. Seen from above the entire site is accessible, like a 3 dimensional field of a thousand plateaus of varying degrees of privacy. At the foot of the towers the plateaus merge forming flat plazas or gently stepping amphitheatres. Light and air seeps between the steps in to the parking and retail below. At higher levels the terraces become inaccessible to the general public and provide a wide range of balconies for the working population. Finally they turn in to private terraces for the residences, some of which have up to 3 or 4 in different directions. A frequent criticism of high-rises is that they fail to relate to the human scale. In this case the consistent module makes human proportions (and accommodation) omnipresent throughout the building envelope. When you ask an experienced functional architect to design apartments he will introduce a multitude of protrusions and recesses, to create corner windows and maximize daylight penetration. We get all that for free. When you talk to a real-estate agent he will tell you that the most attractive apartments are the corner apartments. In this house we only have corner apartments. Essentially designing homes, becomes the addition of modules, to reach the desired flat size and configuration. A bit like buying land on an urban hillside. Why even bother to design the flats? Why not leave it up to the users to configure their own domestic setup? Since Danish salaries are high, the amount of time you save will mean massive savings or increases in quality. As a consequence bathrooms come as preassembled sealed pods, complete with tiles and fittings. We decided to take that principle one step further and consolidate all utility: bathroom, toilet, kitchen, bedroom wall and closets in to one condensed super - pixel. Once you have chosen your territory all you need to do is place a super - pixel or two and you house is done. As a last act of persuasion we knew that even though private developers might be excitable by clear thinking and good looks, they are more occupied by the bottom line than the skyline. So to prove that this was really doable with standard techniques we decided that nothing would be more disarming than if you could build it in LEGO. It happened that on the 1:500 scalemodel of the building, the size of a single pixel was identical to the size of the smallest one-dot lego brick. It even turned out that Lego had a website where you can download a free software and built virtually with all the LEGO pieces available. When you are done, you click submit, get a price quote and 3 days later you receive a box from LEGOfactory with an image of your design on the cover and all the bricks to build it inside. So one of our architects spent 2 days of his life building it on-line, and another 2 to repeat the trick real-life. So at the end of the presentation we gave the client his own LEGO-project (preassembled). He passed it on to his son, and gave us the commission to do it. So with a little luck (and considerable speed) in three years the Copenhagen skyline will be populated by a new silhouette that combines the stepped figure of the traditional spire with the rationality and rigeur of a functional structure. Gaudi meets Herzberger - or blob meets LEGO.
  • 6 Trifurcation This residence for a couple and a dog locates in the typical satellite town, 30 minutes train traveling distance from the heart of Tokyo, Japan. The rapid expansion of Tokyo had already involved this area 20 years ago. But there are still some woods secured from the development. The site was a left piece at the edge of urbanization and very calm environment with the rich sun light on the southern slope of a small hill with the view to the green park. However this fragment was an irregularly shaped trapezoid. Escaping from the difficult condition of the site shape, the plan study was started from the center of the site looking for the gentle connection to those good environments. We placed three certain functions in ideal positions in relation both to the site orientation and to each other, connected those with the uncertain functioned space, and created one homogenous and trifurcated room. Although the space is continuous, the trifurcation system can softly divide functions and generously allow multiple usages. The root part is an ambiguous buffer space, gives free scope of activities among the branches, and works as distributing circulation. Three wings also create the three each characterized gardens in between which provide the situation of soft blending of inside and outside. The basement floor is an equal level with to the road. We assign the easiest accessible floor to the office space and each of three clusters becomes meeting, work, and archives. The entrance is shared and the stair leads above to the middle of the diverse programs; living, kitchen, dining, library, bath, and bedrooms. The first and second floor is connected through the void which each room faces. By sharing this unfixed and empty space, this entire envelopment can afford multiple activities.
  • 7 The Lightbox The Lightbox, the first museum and gallery in Woking, is a new kind of community cultural centre. The brief was to design an open and inviting space that would reflect the cultural diversity of the town and live up to Woking’s reputation as the UK’s greenest borough. It originated from the community in 1993 and had to capable of displaying both international exhibitions and local artist’s work alike, as well telling the story of Woking’s history. Since opening in Sept 2007, it has proved extremely popular with over 65,000 visitors, doubling its predicted annual figures in the first 6 months! The building concept is of a jewelry box containing all kinds of precious cultural treasures. Overlapping, shimmering, `snakeskin`-like anodized aluminum panels, in five shades of gold and silver, spiral up and around the building. The cladding pattern, inspired by the lateral line found on fish {for balance} and Byzantine gold mosaics, is designed to confound the rectilinear form of the building. Its site is a triangular sliver of land sandwiched between the Basingstoke canal and a 5 -lane highway diving it from the centre of Woking. One of the key objectives was to address the building to the canal while protecting it from the highway, yet connecting back into the town centre. A canal garden was created by locating the building as far as possible to the wider end of the site, forming a west facing water side garden. The building is linked to Woking`s energy-saving combined heat and power system. The entire building is naturally ventilated - drawing air in from the canal side of the building - except the galleries. Roof lights provide daylight as well as forming the extract ventilation air path to the loggia and generating energy with PVs.
  • 8 Yoga Studio The Main House and Studio are a second home for the owners. To minimize energy use while the Studio is unoccupied, the TSS is shut down and the space heating/cooling system maintains an "offset" temperature. The owners can remotely switch the systems to occupied mode, so space temperature will be comfortable and the TSS will be able to meet domestic hot water needs when they arrive. A remote internet based monitoring system allows the mechanical system to be observed and balanced or checked controlled by the owner or mechanical engineer. The system can be charged up just before weekend visits. Interior and exterior temperature sensors monitors and controls allow for reduced interior temperatures the most efficient settings without risk of freezing pipes when the house is unoccupied not in use. Temperature settings can be adjusted just before weekend visits. Because of the tightness of construction, a heat recovery ventilator (HRV) was installed for energy efficient fresh air ventilation. The HRVIn addition to recovering nearly 70% of the heat that would be lost during winter and or rejects nearly 70% of the heat gained during summer, versus aby direct ventilation system. In addition, the HRV exhaust air stream is used and exhausts used air into the to ventilate the sealed crawlspace below. This dry and tempered air mitigates potential for mold growth.
  • 9 Housing for Shipmakers As this is earth quake zone 5, the material is a critical element to choose. Rammed earth construction is in used here for local cheap construction. Till the plinth level, it is rammed earth construction. Till floor level there is cement stabilized earth block construction. Floor construction is a critical one as it is costlier than others. In the scaffolding of the ship - making, the workers are using bamboo. That one can be used in the floor as it is cheaper. Bamboo floor is in mesh structure, one longitudinal layer, than latitudinal and than again the longitudinal. Three layers to make it stronger. The sill beam runs along the whole house to tie the structure. There is no lintel. The concrete jali is provided at lintel height, on top of the window. To reduce the load from the first floor, the walls of first floor are made from bamboo itself and the tie bracings are provided. The pitch roof is also made from bamboo, as it is cheaper than the flat one. Such we see the hierarchy in the structure also. The process of the first floor can be turn into participatory process. The cost limit of one family house was counted 1, 80,000 Rs. from the given salary structure. Given system costs approx. 1, 18,000 Rs. (= 2950 $).
  • 10 CALETA DE PESCADORES EN PAN DE AZUCAR / CHILE Project name: Caleta de pescadores en Pan de Azúcar. function: Tourism and fishing station chief architect/office name: A-minimal studio project team: Luis Rolando Rojas & Cristian Reigada client: Corma industries. consultancy/collaboration partners (if any): design date: 2007 completion date: 2007 area: Pan de Azúcar, Chile.
  • 11 Kalagram Relating style to function, character of building and activity. As soon as one enters the site the Early Chalukyan style of architecture (the earliest style chronologically) exposes itself with its grandeur. The entrance employs the majestic double and triple height spaces and comprises of the main administration block and activities related to the visitors. This also includes a shopping complex for artifacts and handicrafts. This is followed in the next zone with the Late Chalukyan style of architecture. This zone has the restaurants, the food courts and the training studios. The restaurants and the food-courts are kept near the service road along the western wing and the training studios and guest rooms are kept on the eastern wing. This effectively separates the public areas from the private spaces of the campus. The third zone has the Vijayanagara Style of Architecture and has the performing arts centre and the museum spaces attached through a string of ambulatory spaces, corridors, open platforms and decks, punctuated with a water body. The best fit for the performing arts centre in built form occurs in the form of curvilinear nave shaped form of the Early Chalukyan architecture and has been accommodated in third zone hence.
  • 12 CARAPACE HOUSE The C.H. is meant to be a fully autonomous prototype house for a family of four to live in challenging natural environments. The building is raised on legs for lowest rates of footprint usage: the elevation of the body from the ground allows great adaptability to different site conditions and frees an unexpected amount of green space at ground level. The existing topography is left untouched thanks to three mechanical cranes acting as dynamic legs used to support a couple of shipping containers. These elements create the main basic structure of the house capable of pivoting over the legs themselves. Surface walls {blobs} interact with the lower steel structure {boxes} to create the spaces of the house and the partitions within. The blobs are made with composite pre-insulated panels covered with brightly colored glass-fiber layers for full protection. Outer special glass, which dynamically whiten up if exposed to direct sun for long hours, is combined with common glass to create a “thick active wall” used to stop the solar heating during the day and the cold in winter seasons, ensuring comfortable living conditions in any situation. The entrance door to the house is positioned at ground level. The middle level contains two bedrooms, a study/bedroom and a bathroom/sauna. The top floor is where a multipurpose space reveals its ability to transform itself from an open space into a specific space for living, dining, cooking, watching TV, meditating etc., thanks to a deployable system of devices containing the kitchen facilities, the fan/cooling and the LCD TV.
  • 13 TokyoMatsuya Unity Modern architecture aiming at rediscovering traditional techniques and decorative culture in the Edo period. This design rediscovers the traditional techniques and decorative use of Japanese paper from the Edo period. The thick paper, originally imported from China, is patterned with ground oyster shell and mica powders and is commonly used to cover sliding doors. 'Tokyo Matsuya' is a well-established company that has continued to hand-make traditional fusuma paper and Japanese traditional paper, using traditional methods. The company has also been engraving wooden blocks since the Edo period and have been involved in wholesale publishing since that time. At he lower level of the building, 'seeing, knowing, and buying' is communicated upon entering the show room, and at the higher level, 'living, using, and experiencing' is conveyed for multiple housing complexes. Japanese paper from the Edo period lined sliding doors and wall spiced up in modern taste. Sliding doors can be opened to refine to space. Shoji (paper sliding door) applied to each home. Natural light shines through. The above also relates to hanging gardens, lighting, and ventilation at the middle level. According to an old saying, 'a sense of homogeneity with nature is a characteristic of Japanese traditional buildings' where communal areas are linked and consolidated homogeneously through the architecture. Even in the interior it is possible to sense the light, wind, and natural scenery of the external spaces of this high-rise building. White wall is painted with the Japanese traditional color haijiro (ash white). Even though the appearance is modern, Japanese motifs such as louvers reminiscent of the sudare (reed screen) are adopt.
  • 14 EKOYapi EKOyapı is a research and education centre to be established as part of the Nature-Environment Science-Society Park Project at Istanbul Technical University Maslak Campus. The project was coordinated by the Construction-Industry Centre, and the design and application were prepared by HAS Architects. All project design and consultancy as well as most of the construction material and fixtures were provided by sponsors with volunteering principles. The program of EKOyapı is made up of a work room available to host meetings, a room where teachers can work and two laboratories connected to this, wet volumes and technical volumes. The centre to be an example in “Green design” will host an information bank on energy sources and renewable energy, and provide project and consultancy services.
  • 15 ORIGAMI HOUSE The method of designing the house in Poznan was taken from Japanese art of paper folding – origami. We noticed that it gives unlimited number of possibilities for defining three-dimensional shapes. In spite of different scale, matter and functional solutions, the rules we applied produced great results. We designed a one-storey house which is located on flat building plot. There is an inner atrium with the view of the surrounding fields. Its floor surface is 320 m² and it is meant for a family of four. The solid is mostly defined by the roof. Its inclination was supposed to meet certain conditions (25°-40°). The use of a natural graphite stone on the walls and the roof emphasizes a cohesion and minimalism of the solid. The closest surrounding of the building was designed as multi-textural mosaic which is a reference to Japanese gardens. Shallow water bodies are characteristic elements. Especially the one at the front of the building. Since there is no fence, it is a barrier between the street and the house.
  • 16 gbd, china beijing 2007 Given the program of creating a new and renewed area for cultural development, within the city of Beijing, the concept brings forward the idea of individualizing every kind of art and every kind of artist, whatever their craft. Thus, the buildings that are exactly 500 cubic metres in space are slightly separated between them. An objective approach to a bigger urban scheme is also the fact that this separation creates visual and light connections that allow the public to briefly interact with the dwelling of the artists and their work. More spaces are created beside the courtyards of the houses, for exhibitions that are more public, vaster. These can bring together several kinds of work in a single space. The houses, The concept of the individual is subverted in the interior of the houses. Each has the same arrangement of rooms, with small alterations on the length of the rooms themselves, always reflecting the size of the shell. They are presented in three different kinds of sizes, although maintaining the same cubic area. Each of the sizes also varies in three different ways. This is presented in both the size of the rooms and the layout and size of the windows. The ground floor, access level is a presentation room, accessible through a ramp; this is used as a showroom to each of the artist’s work. The ramp exists because the houses are one metre bellow, so they can use their terrace and maintain the 10-metre rule for the façade. The first floor, is a workshop, a place for the development of the art itself, where the person will be able to create freely, in an open space, and then quickly interact with the rest of the ground floor scheme, as well. This open space is only interrupted for the volume of the bathroom and the closet space. The second floor is a subtle arrangement of one volume that creates a room structure separated from the circulation and living room, by sliding panels. The rest of the second floor is an open space as well, that allows the artist to arrange his own personal objects. All the volumes have a private swimming pool on the rooftop. Someone for afar will look at this scenery as a big lake, interrupted here and there by the spaces between the houses and the concrete roof slabs. From the inside these swimming pools will provide lighting as well since their floor is partly transparent and someone inside the bedroom can enjoys the calming effect of waving water. Different arts, different artists, different houses.
  • 17 Meghna Residence :living in delta Due to lack of a proper master plan and construction rules Dhaka, one of the most densely populated cities in the world has become a city of urban mayhem. Having less than five percent green area for a city of more than 400 square miles with a growing population of disparity, Dhaka is fast losing its living ambiance. The Meghna Residence is a single extended family house located at Dhanmondi - a planned residential area of the early sixties. The house is located in a corner plot connecting northeast and northwest roads. The northwest road has a median with large mahoganies acting as a screen providing privacy for the house which is facing a large open play field and a swimming pool across the northeast road. On the southeast there is a six-storied apartment with a facade having 49 windows peeping over the plot and a two-story residence with potentials of high-rise construction in future stands on the southwest. Dhaka has summer winds from the east and southeast while the south shifts towards the southwest carrying monsoon rain approximately 60 inches yearly. The summer solstice does not seem to be critical but in winter, when the sun inclines further towards the south, careful intervention is needed. To create a screen on the southeast and to ensure winter solstice and summer cross ventilation for the living spaces was quite a challenge. The effort was further to achieve a traditional living ambience with layers of greeneries and water to achieve a deltaic condition. For this, a “U” shape configuration has been adopted. Also a “stacking” design in different floors has been adopted to provide much space on the ground and other levels. The part-semi basement along with most of the ground level has been allocated for service provisions, the second level for the formal spaces and the third level is especially for private family spaces. The forth level is used for the swimming pond tray and other electro mechanical support facilities. The fifth level contains sauna, gymnasium, partly covered swimming pond, deck along with traditional “ghat” and an adjacent large garden.
  • 18 Stair House This is a residential building designed for my parents and my uncle's family. The initial program called for two 120 Sq. m. apartments and a small studio for myself. The completed building is being used as planned. The low budget called for an inexpensive site. I encourage my family to buy the current 119 sq. m. site with 3.90 m. width and about 30 m. length because of special characteristics of being deep and narrow which made it available at half the price of comparable lots in the same area of town. I could also use the opportunity of experimenting with my ideas about architecture in our home. I had to sacrifice a few design details because of the limited budget and the low quality of construction work, but the general spirit of design has been kept intact. My early sketches were approved by my family but I had to adjust the construction drawings according to the strict Tehran municipality regulations concerning limitations in the height of the building, surface area and the number of stories. The project was scheduled to complete in 1'5 years but financial problems meant it took longer in reality. My brother designed the reinforced concrete structure and my father acted both the contractor and the mechanical engineer.
  • 19 vidyalankar institute of technology Vidyalankar Institute is committed to an agenda with progressive learning at its heart. They wanted a facility that focused first on the needs of the students , second on the educators and third the management . With decades of experience behind us they had developed a certain ‘academic culture’ that allowed students to imbibe learning in flexible environments & schedules, encouraged informal interactions between students and faculty, promoted holistic mental and physical development of students and encouraged the community at large to participate in the joy of learning. Unfortunately for them, none of their preexisting facilities enabled the culture to develop and foster to a satisfactory degree. It was felt, for instance that the students did not voluntarily spend the desired amount of time in the institution. The strict formality of the classrooms discouraged teaming exercises. The teachers sat at some distance from the learning spaces, disallowing spontaneous interactions with the taught. And the existing building presented an impenetrable edifice that distanced itself from the community. They always felt certain disconnect between the aspirations of the institution and the physical spaces that we inhabited. The new engineering college building project presented an opportunity to do a re-think. In spite of the willingness to do so, they presented a structured design program with clear floor wise requirements to us. It was born out of assumptions and modeled on other similar facilities known to them. However, they were open to an entirely fresh approach so long as the essential requirements were satisfied. We suggested involving students and educators in the program definition process. They loved the idea. The results of the exercise revealed a lot that they had not initially considered. It also refined our understanding of how the institute actually functioned at a social level. The mandate given to the architects was immediately expanded to discern the subtleties of relationship dynamics between faculties, resources, student groups and with the community. They also wanted the program to stay anchored to the realities of resources and time available. We as architects were required to suggest clever ideas to optimize on construction cost, allocate resources judiciously and manage with the materials & skill of workmen available in a developing country. The building had to minimize its impact on the environment, possess ample natural light and ventilation and use minimum electrical energy in view of the local power deficit. In fact, one of the key design criteria was that each classroom had to have minimum two sides light and ventilation. The design solution offered by us caught them by complete surprise. It managed to satisfy the program requirements and go much beyond that. The idea of bringing the campus inside the building was radical. The grouping of requirements into clusters was unusual. The interior promenade with ‘activity pockets’ and many locations for display of student work pushed the envelope. The first phase of the building has been in use for more than a year. This one building has invigorated the faculty and students alike. The odd shaped flexible learning spaces have induced them to experiment with newer teaching methodologies; students participate much more in informal group learning and impromptu events. There are no gates, the surrounding community have adopted the street with wi-fi enabled zones as their own and contribute to its upkeep! Our Narrative: This project needed ability to engage a complex design program in an urban, developing country context. The challenge was in articulating the requirements of four distinct engineering faculties within the same building and establishing network accesses to shared amenities. The design had to be simple and intuitive, of equitable use, have flexibility, involve low physical effort, work within context and constraint, communicate ideas visually, be experimentally satisfying, conform to restrictive building codes, demonstrate environmental sensitivity and importantly, to enable future-forward learning concepts. Eschewing monumental verticality, we chose instead to experiment with horizontal urbanism and hit on the idea of an ‘Educational Village’ built within a container. This literal minded village has various groupings of similar requirements in clearly definable structures with a main ‘Learning Street’ as the central organizing device as well as hospitable site for spontaneous student interactions. This complex of open public spaces, enclosed semi public spaces and private areas has the spatial connectivity of open plan interiors encouraging egalitarian, communal learning experience. Each programming requirement such as administration, library, several engineering faculties, canteen etc. are individual blocks situated on either side of the inner street. Each such block functions as a self contained facility with its own faculty, library, learning spaces and connected at various levels with adjacent structures. This street at six feet above ground level sits on a basement containing laboratories, a shared resource between different faculty blocks. Staircases in cutouts on the street lead to the basement below. The building container opens with forty foot wide main entrance and a smaller subsidiary opening to the road outside with no barriers for unrestricted entry. On the street, helpful signage guide you to your destination with the ease of intuitive logic. We have maintained the intimacy of the human scale and provided numerous activities to promote interaction. Tucked in the alcoves between the blocks, a man sized chess-board, a table tennis court, half a basketball court, a street side café with the canteen block, couple of phone-booths, a book kiosk and a graffiti wall, student work display areas, and a suspended amphitheatre. The act of appropriation of these public spaces by the students becomes a source of cultural energy. Clusters of classrooms with student interaction zones tucked in-between function as ‘Learning Suites’. Each asymmetrical classroom provides the opportunity to introduce soft seating, teaming zones. Many classrooms have ‘Spill-out Balconies’ that open into the inner street. Wherever required, flexibility to combine two classrooms to form one large space has been provided. Each such learning space has two side windows for natural light and ventilation. An oversized roof, raised fourteen feet above terrace level shields the inside from inclement weather, while allowing hot air to escape from the sides. The building’s public face is a deceptively quiet, porous polycarbonate skin evoking the metaphor of its industrial neighborhood. The skin is engineered to ease glare and yet allow the building to be naturally aerated. We designed a visually kinesthetic experience of walking through asymmetric spaces, an escape from orthogonal rigidity. Use of recycled materials such as packing material obtained from shipping containers and reengineered sleeper wood from railway tracks in raw form intensify the sense of space.
  • 20 HOMEmade-rural housing in cooperation with BASE - habitat Linz, BRAC University Bangladesh and DIPSHIKHA These three family houses are the results of a hands-on workshop for students and young architects conducted in a remote rural area of Bangladesh. Eight students of the BRAC University in Dhaka {Bangladesh} as well as five Students from the University of Art in Linz/ project studio BASE - habitat {Austria} came to a small and remote village in the North of Bangladesh, Rudrapur, to continue what has started with the Handmade METI-School: to work together with the local people on a model for a sustainable, modern architecture in a dynamic process. The goal of the HOME-made project is to improve the living conditions of the local population and to strengthen national identity while maintaining the current high level of sustainability with regard to home construction. This is accomplished by building three model houses for low-income village families designed by young local architects and built by local craftsmen who have been trained in the modern mud and bamboo building techniques. It is the expectation that the young architects will be able to carry their knowledge and skills to other regions of Bangladesh and the trained labor will be able to use their skills to build other modern mud homes in the region. Because the budget and available materials were limited, the planners were forced to concentrate on the basic needs of the clients {the villagers} and create intelligent designs that made the most of the existing resources, in some ways pushing them to new levels - both literally with two story mud buildings and figuratively with new design concepts that are accessible to the rural population. The resulting architecture reflects a pureness of form and material. In this way the mud buildings of Bangladesh might be a good metaphor for architecture as a whole, where the qualities of a great architect are not flash and fancy materials, but humility, sensitivity, and courage. Perhaps instead of focusing on creating “star architecture” and loud structures, we should endeavor to create buildings that harmonize with the environment and serve the needs of the people. The HOME - made project is sustainable for two main reasons: first, it is built with readily available, local, renewable resources – mud and bamboo. Second, it saves land for agriculture by building two-story buildings instead of single-story structures. Approximately 75% of the 147 million Bangladeshis live in villages – mainly in loam or bamboo houses. Although these traditional building materials are highly sustainable, villagers have an increasing desire to build homes out of bricks, concrete, and corrugated iron sheet {CI sheet}. This trend could have a serious impact on the environment; fabrication of these materials requires a lot of energy and produces noxious emissions. Bangladesh is one of the most densely populated countries in the world; approximately 1,045 people per square kilometer. Each year more and more agricultural land is lost to residential development. If Bangladeshis in the rural areas {about 110 million people} started living in two story structures, more land would be available for farming. This would help reduce some of the food shortage problems that the country is currently facing. What I hope is that we’ll be able to set a trend in a fresh and regional architectural style that motivates people to bring their traditional construction methods - without the touch of being rustic - into a contemporary modern architecture. I believe that architecture - if we use it wisely - has the potentials to contribute in a significant scale to the development of Bangladesh’s ecological balance as well as it‘s economic independence and I hope we can facilitate a process of self-discovery and identification in architecture and culture All three family houses conform to both the traditional and contemporary lifestyles of rural low-income families, but have incorporated design and construction features that improve comfort, safety, durability, and privacy. As in traditional vernacular Bangladeshi architecture, the kitchen and bathroom are still housed in separate structures. The new buildings have two stories, however, which double the family living area while maintaining the same building footprint. The land saved by adding the second story can be used as a small house garden. The second story provides a new experience of view and privacy while still being connected to the rest of the household. Roof thermal masses, coconut fiber insulation, glass windows, and openings designed for cross ventilation assure that the indoor temperature is comfortable year round. Most of the existing Bangladeshi mud houses are too cold in the winter because cold air comes in through the openings and hot air escapes through the roof. They are also too hot in the summer because the uninsulated CI sheet roofs quickly heat up the interior and poor ventilation does not allow the hot air to escape. The new building technologies also significantly increase the durability and lifespan of the mud homes. Local materials were used even more radical than the METI school in order to reduce costs: rammed earth foundations with a thin layer of Ferro-cement and a damp proof course prevent pests from burrowing into the buildings and moisture from seeping up from the ground into the walls. Small pieces of bamboo strategically placed on the exterior walls act as speed breakers to prevent rain erosion. And straw mixed in with the mud increases wall cohesion and strength. Instead of nylon ropes like in the METI-school, ropes made of coconut fibre were used and bamboo dowels instead of steel wherever it was possible. The research and planning has been carried out in the same pace as the buildings were growing - a continuous dynamic and flexible process. Architectural drawings and plannings in classical style didn’t exist. Details were developed on site, clay and sketchbook were the media of communication.
  • 21 a couples working studio & their parents home What is an ideal space that allows for a working couple to share a life together with their elder suburban parents without losing a sense of privacy? Urban land prices are expensive. It is difficult enough to find an ideal location that is financially reasonable for a single family residence, let alone a double family residence. Two families living in one home seems exhausting due to the lack of personal boundaries and privacy. Having a work office in your own home seems to interfere with your own sense of "home privacy." The boundary between work and home start to meld, and this may not be desired. As an alternative, why not create a space which can house elder parents, but serve as a workspace to the younger couple. The interaction between the two generations would be daily without any sacrifice for either party at the end of the day. WORKING THERE The parents' wish was humble: Simple, light and continuous rooms for two. They wanted to keep active, yet felt intimidated to jump into the new environment. It seemed more natural for them to keep connected to society with their children indirectly. COSTOMIZING DISTANCE Architecturally, it was realized by designing LAYERS OF DISTANCES. The inner void brought three different places on the second floor, giving enough light and a variety of views on the first floor. ESSENCE OF URBANISM Having a place for social values in a residence made a big difference. Guests and production at the workspace contribute to create situations where the parents can find something stimulating. Seeing could be more than believing: living. A couple’s working studio and their parents’ home Kyoto, Japan
  • 22 Universidade Agostinho Neto This university masterplan for a 17,000 student, 2000 hectare campus is conceived around principles promoting low maintenance sustainable urbanism for the developing world. The first principle employed was to concentrate development to only a portion of the site, leaving existing vegetation and water courses in place and using the landscape to promote airflow. The main campus is defined by an oval roadway which sits between the watercourses and defines the limits of development. Within this ringroad is a hierarchy of spaces and routes organized in a pinwheel system of streets and shaded courtyard clusters centered about a library and plaza. The second principle uses building orientation and envelope to promote natural ventilation and cooling. Buildings are naturally ventilated through an optimally oriented design of single loaded classroom bars. An engineered roof shading system is calibrated to minimize solar gain and act as an airfoil to promote cross ventilation through the bars by maximizing pressure differentiation.
  • 23 Australian Venice Biennale Pavillion The two bodies work out the balance of their functions without mixing them. One serves the other, and the other serves the first. In one side, the hall, the receptionist, the administration, book store, staff facilities, access, bathrooms and storage rooms - the rational operative Yang if we want. On the other, the exhibit rooms, the black box for audiovisual exhibition - the sensitive dense Yin. A hard nickel shell around the volumes aims on the one hand, to administrate the inert vacuum of exhibit rooms, the fictional atmospheres of arts, which should always be, god knows why, protected from the real world. Turning to that inhabited sky however and to the controlled surroundings. On the other hand, to sensitively control the closeness to the trees and their reflexes, like a tamer in the circus, dominating the beast with concentric gestures and inciting with rehearsed, safe choreographies, behind the iron bars of the fence. The conscious attempt to domesticate the rupture, in favor of this search for a possible balance.
  • 24 New Australian Pavilion, Venice Biennale Terra Australis Incognita and the City of Water Australia was inscribed as ‘terra australis incognita’ which means ‘the unknown land of South’ in the Roman times. In my mind, it seems like this description still symbolizes Australia well as a metaphor for the mega-diverse nature. The Outback, the Great Barrier Reef, the Mount Augustus, and the Mount Kosciuszko on the Great Dividing Range are just few of the famous sites among the numerous places that you can feel and experience this diverse and unique nature of Australia. On the other hand Venice, which is nicknamed ‘city of water’, is a city built on an archipelago of 118 islands formed by around 150 canals. The city is full of rich culture and the charismatic built environment dominates over nature. Thus an architecture that is to be influenced by these contrasting contexts should inherent multiple logics and perceptions. The New Australian Pavilion This project aims to create the new Australian Pavilion that architecturally represents Australia’s nature and ‘sculpt’ it into the built environment of Venice. The form of the overall building is pushed and pulled to correlate with the surrounding context and an entry ramp is inserted through the building for direct connection with the adjacent canal. The façade of the building delineates the shapes and colors of Australia’s landscape and the operable exterior louvers will change colors as the wind blows. The interior space is designed to be a glowing space full of light with soft shadows created by layered shells, and the coherent use of materials will enable this space to become a neutral backdrop for the art that will be displayed.
  • 25 Krakow Congress and Concert Hall The building is located in Krakow near the Japanese Manggha Technology and Arts Museum on the Vistula riverside. Its form is an inherent part of the corner of the building plot at Grunwaldzkie Roundabout. Its modern image is determined by the organically shaped building with a large glazed foyer, which opens the perspective to the river, to the old city centre and The Wawel Castel. The building gets lower towards the river to reduce its scale in the embankments panorama. It will allow congress and concert participants to see the city from the multi-functional foyer and be very well seen at the same time. Foyer will be visible together with the “fifth elevation” of the building from the Wawel terrace. The view will cover the building together with the nearby building of The Manggha Museum with which architectural form corresponds well. The elevations will be mostly finished with glass and titanium-zinc, sheeting, complemented with individually designed ceramic and stone cladding (granite, limestone and sandstone). These elements refers to typical materials creating the history of architecture of the Wawel Hill. Combination of these various materials with the glazing creates a mosaic on the building elevations and determines its image. The building with 18 000 square meters of space (+10 000 m2 of underground parking), will have halls with capacity of 1800, 600 and 300 seats and a number of conference rooms sized about 500 square meters, stock rooms and technical back rooms and an underground parking garage with about 320 spots.
  • 26 The Great Egyptian Museum_Cairo The hard_bent_edge roof is floating over the dunal landscape: the thickness of the roof is flanked with double_layer etched glass and incorporates required Museum activities, in expression close to MEGA_TENT. :: The roof surface is provided with cascaded skylights, disposed as a hypertrophic mosaic pattern of the Tutankhamen's masc (with the only intention to be recognized far from the sky, just as a SPACE BILLBOARD). Upper roof surface is coated with granite slabs, in four steps different in tone and height. :: Deviation of the primordial surface from the terraine consequently results with introduction of a parallel stepped tracks (exhibition and communication spaces), someplace provided with dun e- like shaped ramps joining different track levels. :: Because of orientation in the Museum space, walls facing entrance direction are treated as outer facades, and walls facing exit direction are treated as interior walls. :: Vertical construction should be transparent, made as a metal grid excluded from orthogonal matrix. :: To be a user friendly and readable building, visitor's communication routes are based on the concept of a grid: the Museum's information grid intersections define virtual knots of the cultural carpet and are conceptually corresponding with those knots of a "real" MAGIC CARPET. :: That makes things the same, but different. :: The proposed Museum tends to be a discrete (but not anonymous) envelope for the extremely honored civilization treasure.
  • 27 hoverfront d Dublin, similar to most booming cities worldwide fueled by an economic upward spiral has to tackle a specific problem. The problem of rapid urban sprawl which now threatens to swamp the rural eastern half of Ireland. a recent academic paper warned of a city state with a greater area and lower population density than Los Angeles, twice the size of the London area within m25, the London orbital. the fear of a city state, swallowing small towns and villages in its patch and beyond. when it comes to a city extension it’s necessary to analyze growth and expansion of a city and to advance it with architectural methods, considering a stringent, logical affiliation to existing space; utopia needs to evoke, initiate thinking processes; felt, essential needs of human beings aren’t changing, the built environment is in motion though Hoverfront d opposes rampant land consumption and uniform development and unfolds into an utopian concept directly at the harbor, which is one of the most dynamic and lively areas in Dublin, synonymous for the boom of the whole county. a city expansion floating into the water, already grown urban space gets tied at new structures and opposes an utopia of an autarcic, closed city; directly at the focal point of movement, infrastructure + development. The concept is rooted in a thought experiment  starting point : the creation of a futuristic city extension under the exclusion of gravity  what is possible if this factor is blended out? all of these approaches are fueled by an acceleration of thought processes and an aim to break static systems, the annulation of gravity is the hypothesis and floats into an ideal and sustainable city development without land consumption. the structure is centered but democratically fanned in a laminar development the building density minimizes the land consumption on the structure. the development of a social, livable cosmos with a careful choice of resources the goal. improvisation - closeness - integration _ developed on the microstructure of the leaf 1 improvisation helps to keep all options open 2 creation of nearness, working + living tied together 3 offers integration _ young / old _ black / white _ female / male common utopia is pressed into skyscrapers + their extreme development into the vertical void it often fulfills purposes of power demonstration, a structure which denies communication, which is abrasive and needs massive development. this specific utopia gets grounded in a laminar, horizontal expansion – centred around communication, renewal and regeneration, exchange and resource-management. the structure is optimized for pedestrians; analogue to antique city planning which was characterized through natural evolution / growth  a return + an evolution at the same a division into small sections while preserving the highest possible freedom, rational radii, a minimization of traffic which completely gets covered by public transport, based on the philosophy of natural symbiosis of working + residing at the same place hoverfront d opposes worldwide evolution which increases the gap between them. hoverfront d clearly stands for a development of society where residing + services stand in perfect balance, catalyzing mutual reactions as services demand livable structures and vice versa. the colourful bloom of this project mirrors the democratical background - no cluster concentration but natural evolution as an utopian model for the future city. ecology : a continuous green lung. assimilation of the leaf as a medaphoar for the buildup from organical nutrients out of inorganic substances _ photosynthesis. the needed water is taken via the roots, self regulating natural purification processes, advantage of a hybrid structure on the edge of water/land/built environment in its perfekt microclimatical condition. greenery, buoyancy - cycle: permanent natural air exchange. taking advantage of all existing energy sources. energy exchange, energy cycles – potentials: tides, wind, sun, double leaf climate shell. natural cooling, circuit of water - symbiosis with nature; liveable environment, the greenery is not a coulisse but represents life-quality increasing value the ideology of city planning as part of an uniform-method which loves to present itself in an image of divergency and innovative approaches is nothing else but a given poor thinking and helplessness towards things that « are ». striking novelty of form can be traced back to rasters of identity. the method itself isn’t seeing that it’s function is nothing but a reprise. if this gets too obvious, the answer occurs in form of appeasement- and disposal authorities. mario rotter (1989)
  • Exclusion of gravity
  • 28 KOMEIL Winner of the first architectural festival-iran 1997.
  • 29 Sun House The sun regulates our life, in everything we do, day after day, season after season, it is in short the essence of our life and our existence as individuals. So, why not think of a house that is based on the variation in the rays in the various rooms? The person living in the house could change the configuration of it whenever he or she wanted, perhaps with the changing seasons or simply for fun. The natural resources are part of a strategy that aims towards real sustainability and from this point of view water and sunlight are integral parts of the building. Each apartment is in fact equipped with integrated photovoltaic panels capable of producing electricity in such a quantity as to make it self sufficient. Overall the building has a rainwater collection point in the core that is gathered in a tray and in a tank at the base of the tower, again with an eye to environmental resource self sufficiency. The building is seen as a series of prefabricated modules on top of each other where the central core is also a bearing element of the building. The assembly of the modules on top of each other is by means of a crane or helicopter thereby reducing site requirements. The final result is similar to a “flower” facing the sun.
  • Sunflower facing the Sun analogy.
  • 30 Marine Research Complex Graduation Project 2008 {rendered by 3ds max}
  • 31 House_Tj The site for House Tj is located in an old residential area. It once used to be a quality neighborhood with the local community watching out for each other, but as this general attitude gradually faded out, crime rates were rising and starting to become an issue. The essential theme for the residents of House Tj was to create a home where a family with a young child could feel safe and secure. The first feature of House Tj is its welcoming atmosphere, opening up its entire ground floor to the community. The patio can be entered freely from the outside and the main room is designed in the form of an open space. By developing an interaction of seeing and being seen, the concept attempts to enhance the security of the community by providing a sort of neighborhood watch situation. Glass partitions are used to separate all the rooms that face the patio and the design manages to avoid the use of ugly columns in this area by the use of a strong and solid beam. Private rooms such as bedrooms are situated on the upper floor. A high level of privacy is achieved by paving the foot of the staircase in the same manner as the patio and thus imposing a barrier* in order to climb up the stairs. The outgoing spirit of House Tj should be an acceptable style of neighborhood participation for modern Japanese who are now accustomed to sitting and eating at outdoor cafes, using their mobile phones, listening to music with portable music players, and enjoying videogames while out and about. (*People usually take their shoes off when entering a house in Japan, and need to be barefooted in the main room. To then go upstairs, they must first put their shoes on to reach the staircase and take them off again to climb up the steps. This process serves as a psychological barrier.)
  • 32 Musée des Confluences Crystal Cloud of Knowledge The future society will be a society of knowledge. However this knowledge can hardly be split into clearly defined fields. Innovations develop within interspaces, within indistinctness, within the overlapping and hybridising. Questions regarding the future will be decided within transitional fields situated between technology, biology and ethics that are the central themes of the Musée des Confluences. Mutations of form, penetrations, deformations, simultaneities, breakdowns and variability have an effect on architecture. The resulting architecture is characterised by the interactions, the fusion and mutation of different entities constituting a new shape. The Musée des Confluences does not consider itself as an exclusive temple for the intellectual bourgeoisie but as a public place providing access to the knowledge of our age. Stimulating a direct and active use, it is not only a museum site but also a venue in town. The architecture hybridises the typology of a museum with the typology of an urban leisure space. Hard Space – Soft Space The concept of two complexly connected architectural units are a result of the striking interface-like situation of the building site. The crystal rising towards the side of the town is conceived as an urban forum and entrance hall for visitors. Its shape that can be read clearly stands for the everyday world. In contrast to this the cloud hides the knowledge about the future; it is a soft space of hidden streams and countless transitions. Within the Musée des Confluences the present and the future, the known and the still unknown are conceived as a spatial arrangement trying to “spur public curiosity”. As an extension of the park located on the Southern top of the island a new urban space formulates itself; a landscape consisting of ramps and surfaces merging the inside and the outside and resulting in a dynamic sequence of spatial events. This movement is also followed by the alternating spatial structure of the exhibition halls. Closed Black Boxes and free exhibition areas alternate by exploiting the double room height of two levels. The architecture is as changeable as the content entrusted. The idea of the permanent reinvention of an urban event enables Lyon to perfectly position itself within a regional as well as within a global context.
  • 33 Gunma University - Tekkno Plaz
  • 34 Yokohama International Port Terminal, FOA RIBA Worldwide Award 2004 Eric Miralles Prize for Architecture 2004 Kanagawa Prize for Architecture 2003 The Yokohama International Port Terminal is a new type of transportation space integrated with urban facilities. Rather than conceiving of the building as an object on the pier, detached from its context, it is designed as an extension of the pier ground, simultaneously hosting the terminal functions and creating a very large urban park on the roof of the terminal. To ensure maximum urban life throughout the terminal, the building is organised around a circulation system which challenges both the linear structure characteristic of piers, and the directionality of the circulation, using a series of programmatically-specific interlocking circulation loops designed to produce an uninterrupted and multi-directional space, rather than a conventional gateway to flows of fixed orientation. The building is designed as an extension of the urban ground; constructed as a systematic transformation of the lines of the circulation diagram into a folded and bifurcated surface which hosts the alternative program. In order to maximise flexibility, a unique structural system is designed as an integral part of the folded surface, avoiding interruptions due to vertical structure. A hybrid structural system of steel trussed folded plate and concrete girders allows the structural system to be coincident with the diagonal folded surface, especially adequate in coping with the lateral forces generated by the seismic movements which characterise Japanese geography. The tectonic system of the folded surface maximises the cruise terminal’s flexibility - both hybridising the circulation, program and structural system and exploiting their differences to produce spatial variety.
  • 35 Bursa Merinos Atatürk Culture Center The site of this project is the old Merinos textile factory grounds, one of the landmarks of Turkey’s industrialization process during the 20th century. Originally a public building built during Turkey’s Early Republican period and opened by M.K. Atatürk on 2 February 1938, the Merinos factory was abandoned after the year 2000 and given to the Bursa Metropolitan Municipality in 2005, to be developed for cultural and creative activities. With the financial support of the Bursa Chamber of Commerce and Industry, the Bursa Metropolitan Municipality has undertaken this project to give the building and its environs new functions that meet the contemporary social and cultural needs of the growing city. This urban renewal project consists of three main parts, the Merinos Park, the Merinos Culture Center, and the Atatürk Opera House and Concert Hall. Because of strict time constraints, the construction process started along with the design process. Specifically the infrastructural and landscape works started in 2006, as soon as the project was tendered. While the Merinos Culture Center and the Merinos Park have now come to completion, construction of the new Atatürk Opera House and Concert Hall continues as we speak. Merinos Park: Total Land: 270,000 m2 Total Landscape Area: 210,000 m2 (42,000 m2 hardscape, 168,000 m2 softscape) The Merinos Park serves the needs of the surrounding area as well as the larger urban area. With its thousands of new and old trees, artificial lake, jogging and cycling paths, seating areas, children's play areas, cafe, snack bars and other facilities, the Merinos Park is an important, centrally located recreational complex for the city of Bursa. This landscaping project started in June 2006 and will be completed June 15th, 2008. Merinos Culture Center: Total Construction Area: 61,800 m2 (includes the new 9,600 m2 parking garage) Ground Floor Area: 36,240 m2 The former Merinos Factory building, that had lost its practical and technical functionality, constitutes the main site of this re-use project. The newly transformed Merinos Culture Center houses the following cultural facilities: A music conservatory, art galleries, art studios, library, textile and silk museums. This renewal project started in June 2006 and will be completed June 15th, 2008. Atatürk Opera House and Concert Hall: Total Construction Area: 44,600 m2 Ground Floor Area: 5,750 m2 The Atatürk Opera House and Concert Hall has been designed to integrate both formally and functionally with the new Merinos Culture Center and Park. It will include a concert hall seating 1800 people and designed for opera, ballet and symphony orchestra performances, an auditorium seating 800 for conferences and concerts, a smaller concert hall seating 300 people, a ballroom with a capacity for 1000 people, galleries, a cafeteria and other facilities. When completed it will be a new cultural focal point for Bursa. Situated in front of the east façade of the Merinos Culture Center, the Atatürk Opera House and Concert Hall faces the pedestrian walkway that arrives from the east across the park. Volumetrically the building opens up at this point to create a public plaza underneath its broad metal roof that addresses the surrounding urban fabric and invites citizens to use the Merinos Culture Center and the new Opera House as a whole.
  • 36 Exhibition Center in Segovia, Spain Area in the town center (Covilhã). The challenge was to locate a students’ house in a place where the surrounding is historically old and in bad shape. In this site, there were ruins of an old house. The historical facade was kept and integrated in the new building, preserving so the memory of that place. In the lower plant, there is located a restaurant/bar, thought for young people. Facing Segovia, this center is situated in a nearby small town. Its location was purposely made according with the building`s conception. The general idea was of a rock emerging from the ground, or like an entrance to a cave, where the natural light fades when walking in. The light comes in only in certain places, in the ceilings, and the art pieces are illuminated with light focus for each one, forming a path. The exhibition rooms are very wide and open, this way we can exhibit very large or tall pieces. The rooms were arranged in the way that we can have the perception that we are in a great building and we always know were to make or continue our route. We can say that the interiors are like almost a sanctuary for the art. From the outside, we can see that the silhouette from the building was designed inspired in the own silhouette from the city, that we see from the site. We make way through the exhibition in two levels, passing by the artists work area and the main rooms. The visit in the two levels starts and ends in this same room. It was used only two materials in the rooms, the concrete rough, in the ceilings and walls; a very smooth in the floors. On the outside, the concrete is also rough and rocky. The transitions between the rooms are made trough a piece in corten steel, to accentuate the sensation that we are walking through the very different parts of the building. Seen from above and outside, we have that feeling that the building is made from this different but similar pieces.
  • 37 Le marionnettiste - Grenoble We are all actors… we are all dreamers This is a dream about reviving an old theater, creating a pole which captures all energies of its amazing site and redistributes them by its inner life… creating a building that connects to the landscape and glows on the St.André square AND in the city… creating a new heart that beats in the city center… The new theater would be the reason for the city to become spectator, stage and actor. It would be le marionnettiste, the puppet-master who pulls the strings of light and shadows and captures the eyes. The project follows many different intentions : creating a transparency and thus connecting the square to the river and the landscape the theater turns to the city, closing the square and creating an Italian style place opening the “box” – city, river, landscape become stage and scenery the theater opens to the square and landscape, reflects on water or goes up on the roof, under the stars and the moon. the scene is the torsion point, the patella for the interior dynamism, as, in a bigger scale, the theater would be the core of city’s life the direction of the theater would project the square to the big landscape bringing the theater to the to the square : reception and coffee-house will facilitate the relation with the local life and the cantilever of the hall will extend this 2 spaces to the exterior, creating a place for small scale representations (concerts, puppet shows, impro matches) or rehearsing, expositions… which would invade the urban like the medieval mysteries and secrets The duality of the site reflects itself in the duality on the building, 2 volumes that blend in tension: - one which is static, closed, containing the hall, the sitting spectators; a volume in a horizontal direction, continuing naturally the housing blocks to the Justice Palace - the second one is transparent, thin, it contains motion (access, circulations, foyer, backstage, coffee-house, restaurant) and it launches itself in a transversal connection to the river and a vertical one to the mountain, closing the square at the same time… The movement of the different levels, the play of textures, colors and lights will be itself a spectacle, inside like outside. The visitors become actors for themselves AND for the city. The sights on Grenoble from the foyer, coffee-house, restaurant and especially from the roof-terrace will be astonishing and spectacular, the night as well as by day. The city becomes actor itself. The scene opening towards the city will raise questions at an urban level, will force the city to think how it would present itself for the show. Also, the theater can go outside: open to the square, moving under the cantilever, reflect on the water or go up on the roof, under the stars and the moon. The square will be the stage, the city the scenery. The city becomes spectator, scene and actor. The theater is glowing. It is the new heart that beats in the city center. It became the puppet-master.
  • 38 plan{t}is RED.pdf proposes a housing project as an example of adaptive architectural environment. Based on ecology systems, the team investigates how an urban development can be explored as a simulation model of natural growth, negotiating and adapting to the existing urban fabric. Borrowing rules and functions of the natural world, such as growth, and phyllotaxis, the project is investigated as a proposal of parametric phasing development according to different urban needs. According to the phasing logic of the project and the housing capacity of the site, the proposed housing units range between 2.500-4.500. The plan{t}is project aims to the creation of an open urban parametric system capable of adjusting to different urban needs and conditions. It explores a way of producing architectural interventions based on understanding the nomadic way of living in London taking five different communities of people and creating an interactive housing environment through a nomadic habitation. Through reflexive systems the urban design is developed through generative computational processes as time-based phasing logic by collaborating the generative tool of agent based system with the distribution tool of phyllotaxis natural model. The project strategically located between the London City Airport, the Thames river, the Docklands and the Millennium Dome negotiates the different territorial boundaries and transportation networks by interweaving all synergic sources of the site. As London is one of the most Nomadic cities of the world this projects aims to fulfil the need of the temporary leaving of our days. As today’s rhythms of life have created the need for a new model of city, more flexible, ephemeral and more prepared for population’s changes and needs this project aims to fulfil this demands, seeking to create a new way of living , creating different lifestyles of habitation for different urban needs. Through this project, and taking the tower as a case study, RED.pdf will try to defy the logic of the present, formulate new questions, and perhaps will give a new type of building. A building for the next generation, for the new type of living that allows new potentials and perceptions.
  • 39 engraved perioscope A periscope is a device for people to see objects over physically blocked walls or in different standing levels and it puts to use two important elements, property of daylight and reflection. Daylight is an essential source which allows people to perceive objects, and conveys the atmosphere of spaces through revealing form, color, texture and emotion to them. It has a variety of characteristics at any given time, from the sunrise to the sunset; its altitude, angle, intensity, and color changes. In addition, it delivers different quality of atmospheres to people, when it touches various objects’ surfaces with different surface’s conditions and reflection ratios. This project basically starts from the function of a periscope, as an image deliver to visually connect with people in different levels of the ground by pulling a reflected city-scape on the ground into the underground. From a developed research on the daylight and reflection, it finally proposes an urban scale-periscope which creates a newly composed city-scape, such a color palette composed of clear, sometimes blurry and fractured reflections of people’s behaviors, trees, building facades, and sky. Through deep understanding of relationship between daylight and reflection, it provides mutual response between people in different space, further more between people and a cityscape. EXPERIMENTS From five constraints, daylight’s luminance, sun paths and angles, specular surface conditions, its reflection-ratios, a set of experiments explores the various options for the composition of each constraint to deliver newly generated city images. In addition it decides wall section profiles which make designed reflection properly work, and reflecting plates’ positions avoid glaring daylight. For instance, when the sun plays as a backlight for this periscope, specular surfaces show a full spectrum from 0% to 100% reflected images, gathering people, thick trees, streets and buildings on the ground. On the other hand, when it plays as a fore light, specula surfaces with 100% are blocked by trees and buildings. At this moment specula surfaces reflect silhouette of the images by illuminating the outer edges of them. SCENARIO The transition of time in this project has a lot of important implications, such as not only the change of intensity, altitude, color, and amount of the secondary bounce of day lighting but also artificial lighting. It means people can feel the smooth, sometimes sudden transition of the lighting qualities from the material texture to fractured, reflected cityscape’s texture during their journeys. People are able to see the mixture of reflected images with different qualities, and also from narrow chasm of the top in the middle they can meet a sacred and pure daylight purely revealing the material’s texture during their journeys. In addition, they can recognize the contrast between natural lighting and artificial lighting from the sunset. Visitors can enjoy the full spectrum of the collapsed images for information on the ground, day lighting, and artificial lighting qualities in this engraved urban periscope.
  • 40 Qazvin Market Collection Skeleton – Spaces Regeneration University- College: Imam Khomeini International University/Architecture and Urban Planning Faculty Awards: A cash-prize winning thesis praised and elected by the Ministry of Science & Technology as one of the finest dissertations. Selected to the National Architecture and Urbanism Students Design Festival; Iranian Art Academy and Tehran University, 2002. Abstract: This Thesis emphasizes on a structural approach to the subject of Architecture and Urbanism by taking steps to explain fundamental concepts and to define the very root of architecture as an ancient art-teaching. Afterward, effort has been made to take a look at the basis of this theoretical subject so reality and thought can combine into one and its results can be found in operational areas. Eventually, the influential concepts in theoretical fields together with the design of different aspects of this project have become reality. The main points of this Thesis are: Many of the low-quality spaces are located next to valuable space elements that have to be removed. The rest of the elements, in regards to space, must exist based on the needs of the city. This space-relation which is based on city-density and the need for open urban environments is a "square". Qazvin Bazaar is still the beating heart of the economic life of the city. When coming across historical elements, usually effort is given to change the purpose or application to a cultural or entertainment project to give it a certain prestige. In regards to a bazaar this is meaningless. This Thesis proposes the development of the bazaar and the use of economic and commercial practices for old and traditional architecture structures. Emphasis of this project: Creating space should depend more on generating a spatial plan rather than the construction of structures. Practices are applied in a manner that they create advancement-paths, urban spaces, and the degree of extra construction will be kept to a minimum. In this dissertation, detailed accounts of the key words and main themes of our discussion (architecture) can be found such as: -The theoretical foundations and practical approaches for restoration -Maintenance and its related theories -Ancient urbanism and an abundance of different points of views -New shopping center -Updating yesterday's bazaar to today's market, and etc... This immense concept of the overall structure of the project contains the following objectives: 1. Promote city identity and city development. 2. Restore low-density and deteriorated fabrics to a usable state. 3. Space restoration for the distribution of merchandise. 4. Change the current situation into a more desirable one. 5. Solve the problems of one city region. 6. Make better use of existing constructed spaces that have historical and physical values. 7. Architecture for the purpose of architecture. 8. Yesterday's market, the same as today's market.
  • 41 Urban Wall - Fremantle LIC This was a proposal for a real research project organized by the city of Fremantle (in Australia) to his own historical centre, the name of this research project was “Fremantle: Local Identity Code”. The principal objective of this research project was to develop an information system that will allow architects from all over the world to work in this historical centre. These projects shall reveal lots of sensibility in what is the identity code, and then answer the question “how can contemporary architecture protect the identity of Fremantle – his urban and architectonic atmosphere? We had to use all the LIC information that was given to us, we couldn’t select only the best information or the easier to work. The primary objectives were: act as a catalyst for the next re-developments and renewal of this area; attract more people to this location (visitors, workers and residents) to attribute more life (movement) and safety to these public spaces; give more support to the existing commerce; develop a standard project with “ecological bases” that works as an example for this part of the city; at last, make sure that the city will have economical profits. We also had to accommodate different functions in the same building, this happens vertically (stores on the level floor, and offices on top of it) and horizontally (different functions next to each others); Implement a certain dynamism that will give more life time to the building, and this will be reached with the distribution of the functions related to education, community, entertainment, offices, commerce and habitation; All the apartments must be of the type T0 and T1, with different dimensions and different finishing’s, but with a low price; On this proposal we have on the ground floor functions like small shops, small offices, and other public services (kindergarten, cinema); the level 1 is destined to high quality offices with commercial and educational purposes; the rest of the superior floors will be for habitation but with the possibility to be converted to offices; people can have access to the garden roof, and all the parking spaces are underground. Once that we couldn’t visit the local, because it is in Australia (and we are from Portugal), it was given to was documents about the Fremantle historical centre, and also certain suggestions (the heights of the urban wall, the length and also were to create the access to the underground parking area. It
  • 42 Milhundos House The ground places in the outskirts of the city of Penafiel, in the valley of the river Cavalum and is inserted in an allotment near the park of Quinta das Lages. The proposal modifies the implementation anticipated in the original allotment and resumes the duplication rule, not observed in the buildings of the lots L8 and L9, seeking a more articulated solution with the nearest volumes and simultaneously taking the vast ambiguities and disarrangements between the allotment and the lot drawings into account. As for the house itself, it is organised in two functional, though complementary, autonomous groups, to which correspond two distinct volumes. Each one of these volumes has different relations towards the exterior space: one white and plastered seeks the most distant landscape; the other one, made with dark stone has a more direct contact with its interior ground.
  • 43 Iberia Center for Contemporary Art Iberia Center for Contemporary Art is a re-development project located in the 798 art district, Beijing. The original site was composed by a group of industrial buildings, The largest one is around 1000 square meters area with 8 to 11 meters ceiling height. The concept of the re-development is to convert these separated buildings into an integrated art exhibition space while keeping the industrial appearance as much as possible. A 50-meter-long brick wall was introduced to the street interface in order to join the 3 old individual buildings into one single continuing façade . The new façade, however, is not completely replacing the old façades, rather, interacting with the old one by its shape and tectonic concepts. The interior wall was preserved while a few new function boxes were inserted into the lofty space. Besides the exhibition space, it has offices, library, auditorium, café, art shop, etc.
  • 44 Tsunami memorial BOATS The memorial is built around the exceptional natural environment of the site. Nature has suffered, but will survive. The memorial gives people a chance to learn and participate, it is not designed to concretize the disaster, but to symbolize rebuilding and hope. People make a personal act and create the memorial together. This ritual, similar to the traditions of the Mokan people, is a way to express sympathy and at the same time thank, respect and feed the sea. First thing you see approaching the site is a corner of the bamboo covered building peeping out through bamboo groves. The site is entered through a memorial building. Already crossing the bridge surrounded by slender bamboo trunks you here purl of the small brook flowing through the site. The water symbolizes the flow of life. You enter an open wooden veranda as in the traditional Thai architecture. At the entrance you can make offerings at a broken spirit house found on the catastrophe area. The two wings of the building crop a beautiful view to the brook valley. As you descend a ramp leading to the memorial path you can pick a leaf of bamboo and fold it into a memorial boat, a symbolic ephemeral object. The instructions for folding the boat are carved discreetly top of the handrails of all bridges and ramps. The path follows the height curves and meanders by the river. The wood covered pathway is narrow to ensure you enough privacy. It is elevated from the ground to protect the fragile ground from excess traffic. You can turn off the path to contemplate in a sala, traditional open sided pavilion, with a long view down the valley. The bridges crossing the brook provide a place for rest and contemplation and have benches to sit on. You can leave your memorial boat in the stream already here and follow its journey to the sea. The last bridge entering the beach is dramatic place as the dense rainforest that feels like an interior space turns suddenly into bright open space. You can rest on benches on the beach and watch as the boats sail from the brook to the open sea. Or you can pick your boat from the groves surrounding the beach and wade in the sea to leave your boat and watch it slowly sail away and disappear in the horizon. You can choose your way back from a direct easy access route suitable for the disabled or a scenic route passing by giant trees, picturesque rock outcrops and a viewpoint top of the cliff. The views to Khao Lak disaster areas are ensured by discreetly cutting some trees. The architecture is inspired by the location: its form follows the brook valley and its narrow section the steep slopes of the hills. Bamboo as building material connects the architecture to the memorial act. As in traditional Thai spatial structure, separate pavilion like building masses linked by an open terrace are under an all embracing roof. Following the examples of vernacular architecture the pitched roof has long eaves to protect the building from sunshine and rain. Bridges and ramps are used to enter the elevated building. Semi outdoor areas act as intermediary spaces between inside and outside. There is a sharp contrast between dimly lit interiors and bright sunlight outside. The building layout is clear. The two wings of the building are connected by an open semi outdoor timber veranda that is always open to the public. The dimly lit entrance area has a spirit house and a simple café. The outdoor amphitheatre descends to the brook valley natural landscape acting as a stage setting. The south wing houses gallery spaces and serving areas for the museum. The roof of the gallery is semitransparent providing diffused illumination that is best possible for exhibition purposes. The large space is divided into smaller entities by outdoor exhibition spaces with views to surrounding landscape. The exhibition walls stand on wheels to allow the maximum flexibility. They can even form small dimmable boxes where audiovisual material may be presented. The north wing houses meeting and conference areas as well as the learning centre. The library, the national disaster warning centre and the cinema are located near the entrance hall for easy access. The conference areas can function independently the corridor serving as a comfortable outdoor reception area. The constructions are light as in the tropical architecture. The load bearing frame is of steel. The façade is glass covered by prefabricated bamboo elements acting as sunshade. All materials used are environmentally friendly and analogous to traditional building materials. The ecological aspects have been paid special attention to. The building stands on pillars and hardly touches the ground. The structures are joined without fixed joints so that the building components can be demounted and reused at the end of building’s lifetime. Structures are simple and easy to maintain. The air conditioned areas are kept in minimum and the air can be pre-cooled in the underground channels. The concrete flooring on the air con areas is used to balance the change in temperature between daytime and night time. Rainwater from the roof is collected and is used to strengthen the brook flow during the dry season. In the night time the building is lit by using dimmed interior light. The semi outdoor wooden veranda is lit by big custom made pendant luminaries made of rice paper. There are simple bollards for lighting along the pathways. The ramps and the outdoor amphitheatre are lit by fluorescent lamps hidden in the handrail structure. Bamboo groves are lit by in-ground floodlight luminaries with light directed to the bamboo foliage. The lit bamboos glimmering in the dark night signal the presence of the memorial for the passers by.
  • 45 Enginee´s House When beginning to design a house, we believe an architect should consider new ways of thinking about dwelling.This recent project, a house for a single engineer, is an example of this experimentation. FACTORIA Design attempted a process of synthesis in which we had to rethink every question about designing a space for dwelling.The client is a food engineer and industrial production manager of a fish canning plant. He is constantly involved with machines and production chains. On one hand, he wanted his new home to provide an escape from the plant; on the other hand, he wanted the house to reflect concepts of efficiency, which he works with and values. As the house’s single inhabitant, our client does not fit the typical profile of “family.” He interacts with his domestic space, its surroundings, and its views in a very different way than if he had a traditional family with children. We tried to express a paradoxical relationship between dwelling and land: the dwelling as an object contrasting with nature but giving equal value to the site and the architecture.
  • 46 Hotel Hospes Granada This is the extension for a hotel constructed in a palace. An extension that passes unnoticed during the day, so as not to detract attention from the palace, its much older sibling. At night it turns into a source of light which illuminates the palace. The value of its presence is grounded in its anonymity.
  • 47 The Portland Art Museum Ann Beha Architects completed a major expansion and restoration project for the Portland Art Museum. Formerly a closed, windowless structure, this historic Masonic Temple provides over 140,000 SF of new space for contemporary and modern collections, and serves as the centerpiece for Museum programs and administration. The design challenge was to transform a dark, massive landmark into an accessible and dynamic center for art and community. At the building base, high cast stone walls were removed, and replaced with terraced plinths for sculpture and plantings. This new pedestrian level opens the building to the public, and extends the vocabulary of the new sculpture court. Below the sculpture court, the Mark Building joins the original Museum via underground galleries. A new 60 foot tall glass “pleat” is cut into the south elevation, offering expansive views to the city from five levels of galleries. Two new glass penthouses are used for special exhibitions, and meeting and work spaces, with abundant light and views. The Museum wing provides 30,000 SF for contemporary art galleries, 25,000 SF for administrative offices, and restored monumental spaces for museum programs and gatherings.
  • 48 Rossignol Global Headquarters The image of Rossignol, a longstanding leader in ski equipment, is closely linked to mountains and snow. The design of its international headquarters is a world away from the typical office building, and instead pays homage to nature and peaks, as well as technology, inseparable from high-level sports. A landscaped roof The building has been specially designed for Rossignol and is inspired by the fluidity of movement in snow sports, as well as the snowy peaks and glaciers sculpted by the elements. The topography of the roof, which wraps around the building, merges with the natural landscape, its organic wood-clad form reflecting the shapes of the surrounding mountains. The roof covers three different types of area: - The production and technical spaces which line the motorway side of the site - The street, which cuts through the building: welcoming, spectacular and filled with light - Offices On the motorway site, the façade creates a kinetic and dynamic vision, reinforced by the repetition of the logo, which emerges gradually. The curved façade becomes the roof over the production units, before rising up to its ridge and descending on the other side across the offices. At this point it is pierced by patio courtyards planted with birch trees which appear to perforate the roof. The irregular outline of the roof and the office façades allows the possibility of adding extensions as needs arise, without disrupting the harmony and identity of the building. Right from the start, the architecture generates a process of growth. The roof ridge sits above the street, flanked by a glass façade and the high altitude restaurant, the highest point of the building, which echoes the buildings found at the top of ski slopes: with its panoramic outlook, the terrace extends across the roof for al fresco dining, with magnificent views of the mountains, hidden away from the noise of the motorway. The Rossignol “family” The Rossignol Group will bring different entities together on this site; these are currently split in different locations but they all contribute to the identity of the Rossignol “family”. Inside, the building functions like a hive, enabling different areas of activity to cross paths, making them accessible and allowing people to enjoy working and socialising together. The originality of the project is the way it brings in other activities alongside the administrative departments: - The racing skis production unit, to act as a technological showcase for the brand - The R&D and Design departments, located at the heart of the building - Two showrooms to present Rossignol and Quiksilver products The purpose of bringing these different aspects together is to create an overall synergy and prevent dislocation between design, administration and technology. Each different role—engineering, design, technical, secretarial, sales, etc—will cross paths with the others. To encourage this internal communication, social spaces are dotted throughout the building. The restaurant, situated at the top, right over the street, has been designed as a special place to enjoy the life of the Group, with two large glass façades framing panoramic views of the sky and mountains, one overlooking Vercors, the other Chartreuse. Either on the terrace or beside a log fire, this space turns lunch breaks into a unique experience. Respect for the environment The design of the structure aims for minimal environmental impact. The technical choices made have produced an efficient building with a low energy requirement and good insulation. It is protected from the summer sun by an untreated wooden roofover. Installations will be optimised and the heat given off by the workshop machines will be recovered and passed back through the heating system. Particular attention has been paid to water management: rainwater is collected, and industrial water and water recovered from the roads is depolluted.
  • 49 Szentendre-new cemetery,catafalque and graveyard Szentendre-new Cemetery, graveyard and mortuary Architectural conception: We divided the task into two parts: 1 st- landscaped graveyard, park, cemetery 2nd- the buildings of cemetery Our plan is, that the first part will be a gradation between a builded garden and a natural parklanded wood. The graveyard, as a green surface of the city, must function as a park too. As the city has enough green surfaces, the graveyard is proper to give a place for valuable and rare plant-associations. As a botanical garden, orchard, it fits for specie conservation. The patches and furniture of the graveyard are park-styled too. We had many requirements for the buildings. It must be up to date, buti t cannot be ostentatious. It must slick into the gentle slopes of the area . Enduring, sign-like masses with hard sentimental-sacral filling. The meeting of physical and emotional planes is completed at the building of mortuary. We accentuated two main functions of the cemetery: farewell to our loved ones, the funeral ceremony the visitors of the tombs The funeral is a process with more parts. We paired these parts with built objects: Upset, pain- bier table, inner mortuary Rememberance- mortuary building Honours- cemetery, main road Final farewell, resignation- grave On the emphasised stages we would like to create elements that, near the physical appearance manages an emotional-sacral surplus. Let the graveyard dare to be more than plain cemetery, the buildings and the main road have to suggest power. The cemetery has always been more than a physical set of parks, building materials, trees and plants. The art was always present. It helped the expression of feeloings, the cultural-social life of society. The buildings and the furniture of the garden are used for representation of handicraft, applied arts certified by the cultural past of the city of Szentendre.
  • 50 BAD {bath} BAD (bath) is located in the surroundings of Stuttgart at Schloss Solitude. Due to the undulating topography, the conurbation of Stuttgart is highly fragmented. A dense web of well-equipped roads and technical infrastructure connects a multitude of widely dispersed villages with each other. The landscape in-between hosts mainly leisure activities: here the landscape has become a function of the urban. Due to the way in which Stuttgart’s city fragments, infrastructure, and leisure areas are intertwined, the agglomeration is nick-named the ‘German Los Angeles’. Bath intervenes in the existing infrastructure of Schloss Solitude, a baroque palace of cultural heritage and destination of many day-trippers. The castle’s gardens and former hunting grounds have become the ‘outdoor fitness centre’ for the bikers, walkers, and joggers of Stuttgart. The castle’s gardens and former hunting grounds have become the ‘outdoor fitness centre’ for the bikers, walkers, and joggers of Stuttgart. The site, as romantic and natural it may seem, is highly infra - structured itself. It is an example location of today’s urban condition based on infrastructural realities and leisure conventions. BAD (bath) intervenes here, and in doing so it offers alternative prospects on interpreting and inhabiting the urbanized landscape. Concept. BAD (BATH) plugs into the hidden existing infrastructure network via a hydrant. It is based on a 1,000-meter garden hose, which, connected to a hydrant, can carry enough water to fill a bathtub. Arranged in countless loops, the elastic hose forms the surface of a screen that catches the sun, thus heating the water in the hose. It fills a tub for up to two persons to take a bath. Afterwards the water is released to irrigate the surroundings. Design. BAD (bath) is an integrative machine of practices, materials and technique producing an unusual equipment to engage passers-by bodily and intellectually. Its design is based on cross-overs and integration at various levels: Everyday knowledge and engineering. BAD (bath) draws on childhood experiences - like warming up water in a garden hose. Pushed to an extreme, the simple summery practice is brought into the public, architecturalized and elaborated to a high degree of functionality. Usage and infrastructure - integrative form. BAD (bath) fuses a sequence of actions – accessing, changing, view-protecting, bathing, lounging – and the routes of the required infrastructure – water distribution and channeling, sun-orientation – into one continuous sculpted ribbon. Lines and loops - material integration. The rigid and elastic qualities of the two materials used – wooden slats and hose – are explored. Their differences are played out against each other while the hose weaves and bends supported by timber frames. Both elements are reintegrated when the hose seals the wooden topography of the bathtub. Within this broad range of interplay ornament genuinely sneaks back into architectural expression. Dependency and autarky. BAD (bath) opportunistically joins for a brief spatial moment the circuits that have become antipodes of the contemporary environment: infrastructure and nature. In adapting both infrastructural and natural resources it acts between dependency and autarky. It takes bioclimatic principles beyond those of efficiency and pragmatism, creating an excessive architecture that surfaces the hidden systems that service our environments. Material properties -tectonics. BATH is an elaborated experiment in material integration. While the hose is the basic infrastructural element, the use of wood draws from traditional bathing architectures: bath houses, public river baths, boardwalks, saunas, hot tubs, etc. All surfaces touched by the user are composed of wood. The wooden slats and the hose are similar in terms of their linearity. However, regarding their elasticity they are fundamentally different. By playing out these property differences, the rigid slats function mainly as structural members while the hose is able to bend and weave into a variety of functions: curled changing area, smooth surface of solar energy collector and sealant. Where wood and hose are the most tightly interwoven, the tub is formed. A number (61 to be precise) of topographical sections form an ergonomic bathing landscape. The hose is wedged between the sections and works as the sealant to make the tub watertight. The course of the water is organized in a system of splits, parallelities, loops and joins. The one hose coming from the hydrant divides into a cold and a warm water circuit. While the cold water runs through the bathtub in a continuous tube, the other route is spread out to form the extensive surface of the sun collector. The multiple ends are knotted together to fuse in two warm water outlets. Following the bathtubs discharge the tubing system splits again to broadly irrigate the surroundings. Instructions . 1. Change. Please enter the bath without shoes and bring your towel. No dogs allowed! 2. Water fill-in. Open all jets to fill in sun-warm water. Warming up of water can take up to two hours. Cold water can be added with jet. 4. When tub is filled close all outlets. 3. Release. Open lever-operated ball valve, water will drain through hoses. 4. Clean the tub! Use shower rose to flush out the tub. 5. Irrigate the surroundings! To avoid emerging puddles reposition the ends of the hoses. Keywords. 1km of garden hose = a bath tub filling Everyday knowledge and engineering. Usage and infrastructure - integrative form. Lines and loops - material integration.
  • 51 Ynja and Jeff`s Russell Island House This is a vacation house built for my daughter and son-in-law. It was simultaneously a second test building for the use of the UBS building system. It took one builder 3 months to build the house, with an occasional helper and other tradesmen called in to install electricity and plumbing at the appropriate time during the process. The house is located on Russell Island in Morton Bay about an hour outside of the Brisbane CBD. Two trees were removed to accommodate the house within the cypress grove which dominates the site. The house is designed to take full advantage of the views and pleasant outdoor climate. Most windows are in the form of sliding glass doors, which allow whole wall sections to be opened up, creating the feel of a “veranda living” both outside and inside. Energy and Water Considerations: Eaves extend 900 mm over the walls to provide shade from the summer sun. During winter, temperatures drop - especially after sunset, and hence the roof is insulated to a value of R=7 and walls to a value of R=4.5 while only curtains reduce heat loss through the glass. The floor is built as a heat-store being 75 mm thick aerated concrete panels insulated underneath and tiled with stone-gray sintered tiles to accumulate the lower winter sun’s heat during daylight hours. Most of the lighting is provided with indirect lighting from energy-saving fluorescent tubes with alternative spotlights recessed in the ceiling to provide light for work areas, dining table and lounge area. Solar heaters on the roof provide hot water to the premises. The local shire demands town water intake to all premises for health reasons, but encourages rainwater collection for garden irrigation and toilet flushing. It further demands "in ground trench disposal of treated effluent" on the Morton Bay Islands, which are not sewered.
  • 52 Italian Pavillion for Expo Shanghai 2010 “ Better city for better Life”: Shanghai Expo 2010: Italian Pavilion International Contest, 3rd prize winner “ Better city for better Life”. The projects presents the italian style thru a design inspired by the authentic expression of the Italian City: “the historical stratified city”. While big metropolis of the 21st century are having a crisis of sustainability because of wrong growth and environmental alienation, the Italian urban system, which is based on continuity with the historical and the geographical background, is still working well and produces high quality lifestyle. “ The Italian stratified city” keeps resisting to the modern processes of alienation of inhabitants. It still represents a strong human spatial entity that can be perceived psy c hologically by people. It is connected to the past. Its tissue was built up during the centuries and thru several generations so that life of its inhabitants is strictly related to it. The Italia Piazza is the center of this entity. It is the core that cannot be replaced. It is the place of “being” and “staying”, very important case study, where Art also is expressed. It is a unique “spatial circumstance”. The Italian Pavilion for Shanghai is the representation of this “spatial circumstance which still produces and give the birth to the excellence; It is a prototipe that espresses the stratification of the social and urban italian soul and gives the idea of historical continuity. This continuity is the right approach to the Progress and to the new technologies that in this way can become “sustainable”. The guide line to the project is a volume divided into several planes which represent a timeline as metaphor of the rise of the Italian urban tissue. Twenty planes, as many as the Italian departments, are separated by three window planes where the Made in Italy products are shown. They are the main structure of the pavilion in floor plan. The interior exposition spaces are influeced by this spatial scan and are organized between the planes as different themes streams. Walking inside the building is like going thru the history. The building grow around a plaza. Visitors discover this plaza just by walking in as the planes hide it to the exterior. This gives the same feeling you would get by exploring an old Italian city or town. Inside the building everything is material and light. It is a materia that protects and creates a “local psychological space”. All side are open to the environment. The planes represent a visual and solar shading. The inner Piazza is finally a space that helps visitors to relax and meet each other. BiCuadro Architects is a young award winning, Rome based firm of Massimiliano Brugia, Valerio Campi and Francesco Bezzi. BiCuadro Architects provides architectural design, interior design, feasibility and master planning, programming/space analysis, and project management services to public and private clients. Since 2006 the office focuses its research in experimenting new ideas of contemporary Architecture related with an historic and natural environment and highlights the "Philosophy of Quality" that belongs to the concept of the "Made in Italy".
  • 53 USEK Student Housing The architects have considered the chaotic urban environment of the site as a challenge and confronted it with the elegant modernism of their work, investing to the utmost the potential of a difficult plot of land. Isolated, the building directly conveys its message and converses with the scenery, offering selective views on its environment. The edifice, that cannot be broken through in view of its introspective character, acoustically and visually protects the internal spaces against the unpredictable aggressions coming from outside. This project gathers too, through bits and pieces, numerous architectural themes of USEK campus. The style of the 1950s of the latter has been attenuated by successive additions. However, the edifice maintains a formal autonomy and originality within the context. Despite a contemporary aesthetics and a spirit of independence, this building is well-rooted in its milieu and reflects a certain relationship with the functional architecture of the overall campus. This project, that audaciously provokes its environment, perfectly and smoothly integrating into it, adds to the identity of the place and to the urban context at the same time. Its implantation on a tight plot of land undoubtedly enhances its visual presence and grants it an amplified scale. Loaded with vigour, its colourful presence adds beauty to the street, perfectly merging with its site, like a furtive objective. Therefore, the edifice astutely responds to the challenges of scale, context and function, with an effect of contrasts, coupling monumentality and refined details, mass and lightness, compactness and openings. Comparable to curved leaves, with two close protecting hands, the remarkable walls are divided into two butterfly wings that are extended from both sides and tend towards the back, on the verge of flying. The edifice, which symbolically borrows some conceptual patterns, incarnated, through some aspects, a nautical metaphor. The aesthetic envelop stemming for that of the boats refers to the nearby yachts and sails of the marina. An urban arch with a serene and dynamic look, the building undeniably expresses a boost of generosity towards the campus and withdraws the city far to the sea. This residential building, a singular engine that carries you into another world that is free of daily worries, illustrates a gateway to freedom, a true dreamlike journey.
  • 54 Brest City`s Limits On a plateau overlooking the cliffs, Brest is not visited without reasons. Military port when Vauban’s fortifications were protecting it, the city stays proud despite the hard scars of war. During its reconstruction at the end of the twentieth century, Brest was representing modern style. But quickly its urbanism was disparaged and because of that Brest’s image gets tarnished. More over, the gap of the upper and lower town breaks the connection between commercial, maritime, tourism and rail areas. How we can reconcile the city with its difficult history and its refractory site? The project of the Cultural international Pole is located in the heart of this stake. The development of such a program in that place aims to stage the new “vitrine” of Brest with the mixity of its functions and the monumentalism of its size. Place of exhibition and creation, the Pole is a vertical and horizontal landmark. In the desire to break loose with the geographical ground, the cantilever slab, real communication way, is incised along its five hundred meters long to preserve a view to the sky and to create an air ballad. It’s a new horizon to the city, a walk that reminds us our link with the ocean. On an over-compacted ground, Brest’s “vitrine” receives exhibitions, cultural events and shows in a box of glass. The hall of one hundred and sixty meters long and thirty meters wide, reaches twenty five meters high and the structure of porticos gives it a freedom in modularity to show the future discoveries of tomorrow. To dare build at the Brest city’s scale, giving a new dimension to its limits, this is the first step towards a harmonious communication.
  • 55 Pilot project for a modern trial detention center for 1.000 people Concept is principally based on the development of two different paths, each taking advantage of its own relationship-world ( physical and conceptual), but inseparably convergent. One is the formal and functional aspect: reality (the “outside” world) jumps into prison with formal “functional voids” and appropriate dosage of borders’ transparency (density): infecting and permeating all the trail detention. The other is the introduction and emphasize of a “premium strategy” inside development of trail detention: as the detention positively develops (transition), a wider and quality improved “exposure” to “external world” is guaranteed through different solutions. To these concepts is also linked the functional “glove” alike configuration, which fits into its palm all the services’ structures and among its “fingers” all the penalty sections. A continuous external embankment surrounds three of the four sides of the squared plan: inside this “natural barrier” stand all the offices (relationship, organization, managing and police&security premises and residences) and the one and only check-point to and from outside world. The main building develops on three over ground floors and one partially underground floor. Each modern jail “cell” faces onto inner voids (big and bigger), which functions as visual connections and outdoors spaces for leisure and sport activities. The number and dimensions of these voids increase proceeding from entrance (south) to northern boundary. It’s also possible to maximize cells’ surface and also join two adjacent cells, in order to host 4 persons in 56 sqm (with toilet and services like a basic kitchenette and wardrobe). Plants functioning is enhanced by thermal mass studies, optimized porosity configuration of the building and by renewable energy fonts like geo-thermal and solar panels. So comfort and energy saving attitude are both provided in a general “green-building” approach.
  • 56 Water_Form_Park ONLY PARK AND ROAD MAP BRIDGE_CONNECTION HOTEL –FLOW 1. URBAN GREENERY AND BIODIVERSITY PROTECTION 2. SUSTAINABLE MOBILITY 3. URBAN SUSTAINABLE DEVELOPMENT 4. WATER CYCLE, WASTE 5. ENERGY RESOURCES 6. INFORMATION, PARTICIPATION, INNOVATION ROUTE BETWEEN LAND AND WATER TOURIST PORT WET DOCK THE PARK OF SAIL GAMES PLANNED ACTIVITIES OF CERTAIN CATEGORIES: AQUARIUM AND MUSEUM OF WATER THERMAL PARK AND MUSEUM OF WATER SPORTING ACTIVITY, DOCK AND PARK LANDSCAPES AND CONSTRUCTION VEGETATIVA. NEW GEOGRAPHIES MICRO-LANDSCAPES: THE URBAN FOREST GREEN FILTERING SYSTEM AND MECHANICS LOCK CONNECTING THE RIVER HAN AND CONTROL SYSTEM OF WATER LEVEL SYSTEMS FOR THE QUALITY CONTROL OF WATER. DINING AND SHOPPING CONFERENCE AND CONFERENCE THE INVASO CITY: LANDMARK ELEMENTI ARBOREI ED ESSENZE. LIGHT AND PATHS THE PARK BETWEEN LIGHT AND GLIMMER PLACES, DREAMS AND ATTRACTIONS WOOD IN BAMBOO
  • 57 Centre for Nanoscience Starting with the entrance, the whole Nanoscience Centre building can be divided into five zones according to the levels of admission. Zone 1 (open admission for students and guests) – main entrance and exhibition space; Zone 2 (which has a secondary entrance on the ground floor) – educational area; Zone 3 (accessible both for students, guests and researches) – media library, main auditorium; Zone 4 (which has a separate entrance on the ground floor; restricted admission) – research offices, labs, workshops; Zone 5 (accessible only from zone 4 via a lock) – cleanroom ISO 1 with technical floors below and above. Main cleanroom and zone 1 have visual connection, which meets all safety and cleanness requirements and at the same time serves to increase Centre’s attractiveness for students, professionals and visitors. In terms of spatial correlation with surroundings, these zones are orientated correspondingly: educational – to the University, research offices – face the street, and the public space is directed towards the Moscow River, Sparrow Hills and the Olympic Stadium. Zone 4 is hosted in a higher part of the building, which is north to the other parts and has an inner courtyard space from south. Together with multiple skylights this allows quality illumination. The general shape of the Centre, which fits all the premises and the composed program, possesses characteristics of non-orientable surface, known as Klein bottle. Where an “exterior” length of the surface turns into an “interior”, there is the main entrance to the Centre, there’s the place of visual connection between Zone 1 and Zone 5. The Klein bottle, proper, doesn’t self intersect. But for this, it needs one extra dimension. Metaphorically, this fifth dimension reminds us of new perspectives, which might be revealed in front of humanity via the development of nanoscience. Hexagonal lattice, quite widespread in nanoworld, e.g. organic molecules, serves as a basis for the design of buildings site and exoskeleton. The site development includes, first, pathways, which are expressed by condensation of hexagonal grid and which “pierce” the Centre building through archways, and secondly, the structure of “extruded” volumes for street furniture and engineering. The building’s exoskeleton geometrically is the vertical honeycomb hexagonal structure, which fills a volume of the aforementioned Klein surface as if a surface could be solid and have some thickness (which is changing according to constructive and functional requirements, e.g. insolation correction). This concrete honeycomb with nano-dispersed reinforcement constitutes a loadbearing and covering three-dimensional structure, which occasionally pierces the inner volume to perform better constructive rigidity and spacial planning integrity. The size of hexagonal cells AND the tilting of virtual Klein surface, which “cuts”/bounds the lattice, vary accordingly to the function and requirements of inner spaces they refer to. For instance, the biggest openings can be found around the public zone, smaller and more regular – around the offices. Shape of the cutting birecurvate surface forms the slanting auditorium, and in the cleanroom zone the exoskeleton lets lights inside and prevents looks from outside at the ground level. On the other hand, this consecutive scaling of the cells allows the new Centre to answer the surrounding on multiple scale levels, starting with the buildings, landscape objects, up to the scale of human tactile perception (e.g. at the main entrance). Besides, withdrawn from environment, the Centre building can be seen as an object of any size, just like any nanosize object examined without scale affixment. And, finally, the series of cell sizes metaphorically represents the infinite sequence of fractal scaling of all objects in universe, starting with the mega-scale of galaxies and solar systems through macro-scale and micro-scale, which till recently seemed to mark the boundary of human capacity for miniaturization, concluding (for now) with the nano-world, which is still to be studied.
  • 58 Pabellon Itinerante Itinerant Pavilion: Device apable to generate elastics, sistematics and mutable substructures, of an extreme distribution and interaction with the space consenting the capability to adapt the new human behaviours as soon as transform temporarily the formers
  • 59 the rainbow tower We read the competition scheme as a classical zoning by putting different functions in different sites. We found it a bit rigid. Rather, we introduced the concept of an Intertwined system linking each other different functions within the Poljan territory. We planned an open and liquid system with fuzzy borders. Our aim is to accumulate density of functions getting free spaces for public uses. We see Poljan as an advanced district of services (tertiary, cultural, dwelling) immerse in a large green area, a real model of eco-friendly neighbourhood. In the Watergate and corner city areas this system bring us to carefully mapping the zones and their possible interactions through geo-urban connectors, peatonals, infrastructures and complex “green” corridors synonymous of multidimensional fluidity. This appears to be a complex system that tries to keep in touch with every parts. An open, auto regenerating and auto recalibrating system. This system is condensed into the RAINBOW TOWER, a new magnify landmark, a symbol of the laws of nature, a living symbol, full of life in its interior and perceived from the exterior as the new hopeful skyline of Ljubljana. It is called RAIN-BOW, for different reasons: first of all, the rainbow as event driven by nature which we must learn from. Its Ephemeral, Light and Prismatic aspect reminds us to the sense of the solar energy and how is possible to take advantage of, and what kind of relation exist with sight and chromatics. Then we have The Bow, like an architectural stereotype linked to a symbolism that over the time has changed. Starting From representative, celebrative, contemplative, anti functionalist (like arcs the trionphe , obelisques) ,to a functionalist structural system; This bow has been recalled here as a new concept of condenser in terms of social, political, functional and ENERGY. It is an accumulator, a store and an attractor. In this new concept, all the old symbolism are mixed together and are turned into a new one. It is a Unique and singular Element but at the same time is horizontally and vertically multiplied.. The new concept of the tower as a container goes toward a richer concept of alive structural element which is now attractor and distributor of energy at the same time.A new eco-symbol for Slovenian democracy in which with more FRESHNESS ,it will be possible to start the holistic mechanisms , proper of the diversify and complex Contemporary era.
  • 60 ernest, the concrete building above all, an experience. an experience of architecture and design. a personal way of communicating a project.
  • 61 NAUTILUS Building designed for residential and commercial use. "Nautilus is a concept of Ecological and Sustainable Contemporary Architecture." The Nautilus building as well as its environment will be like a second skin for those who live there. A project fully dedicated to environmental concerns, offering appropriate and feasible solutions. The new consciousness of the modern man that will be living in the NAUTILUS BUILDING will be: "By caring for the environment, we are taking care of ourselves.” And what can we do so the contemporary world can be aware that we have these concerns and try to deal with them in our project? - Capture, filtering and use of rainwater; - Green roof top for leisure, landscaping and permeability; - Solar energy; - Wind energy with vertical axis; - Ecological bricks; - Double glass for better comfort and acoustic insulation; - Mini station for sewage treatment; - Organic waste composting; - Selective waste; - Small manufacture of soap, detergent and disinfectant with recycled cooking oil collected by the residents of the building, for their own condominium use; - Domes for better use of sunlight in the garages and in the basement of shops. 1. Description Inserted in a block defined by four roadways, the Nautilus building has its main volume defined by a large nautiluses section with four axles, located on a platform. To streamline the circulation, the main volume was divided into three contiguous blocks of flats with independent vertical circulations and three water tanks. These towers are grouped in a single volume. Up to the 5th floor, the apartments’ floor plan are the same, from the 5th to the 27th floors the apartments staggered to meet some goals of conception: permeability on the terraces; the final shape allowing free flow of dominant east-west wind barrier or without offering resistance, resulting in a great movement of cross air, all apartments filled with views of the two facades, front and rear. This staggering also broke up the noise that could generate turbulence in the area of coexistence on the foundation pavement, and excellent light was given in all apartments. Platform: - 1st subsoil: Stores’ garages. - Ground floor: Shops, some geared to the level of the tracks, up the front facade of the building in the lower level area. - Higher floor: Covered garages for residential units. Residential Tower: - Foundation, with direct access to the roadway, in the region of highest level. - 1st to the 5th floor – Standard type apartments. - 6th to the 27th floor - Duplex apartments with terraces. Number of apartments = 59 units of one to six bedrooms. Number of residential garages = 120 Number of stores = 16 units Number of commercial garages = 120 2. Concept and Geometric Design The concept of the project and its geometric design was inspired by the geometric shape and structure of the Nautilus, mollusks which begin their lives in microscopic sizes and are wrapped in a calcified shell. As they continue to develop, they leave the old shell and calcify a new shell on its back and so on up to major proportions. The Nautilus always occupies the last chamber so the others may be filled of air, making it floats. It is said that, by presenting the targeted body in a spirally shape, the nautilus is one of the living kinds that remarkably shows the golden ratio in their development, so called Spiral of Gold. Those successive shells that will be calcified around the Nautilus to their new home, establish between themselves this gold relation or gold ratio that is 1,618. The same relation that will be adopted between the apartments of the building. It is frequently used in Renaissances paintings compositions, such as the master’s Giotto Leonardo da Vinci and others. This gold number is involved with the nature of growth. It can be found in the proportion of shells (the nautilus, for example), humans (the size of the phalanges and finger bones, for example), even in the relation of males and females of any beehive in the world. Because it’s so involved in the growth, this number becomes so frequent. And because this frequency exists, the gold number won a status of "almost magical" and is subject to researchers, artists, antiquity architects and writers. Despite this status, the gold number is only what is due to the contexts in which it is inserted. The fact that it’s found through mathematical development is that makes it fascinating. That is why we adopted as the tonic resonance in the “NAUTILUS” project.
  • 62 Tschapit Bridge Untreated larch as an economically sound building material in a nature park: this sensible basic decision was an element of the design. The expressive form comprised of circular section timbers and the combination with steel cables that form the horizontal wind bracing, followed as further form-generating contributions. “Another” form of minimalist aesthetic – not the delicate geometry that we all know, but an archaic-raw aesthetic. One that appears to transport a kind of work ethic of a more solid form, however without foregoing high-tech details. To avoid the repeated flood damage that the old bridge had suffered, the new structure was designed to span the entire gully with a width of 28 meters. The bridge is constructed of round, weather-resistant larch stems and steel connectors. The structure, designed to resist compression and shearing stresses, consists of two parallel arches connected by crossbeams. The wood stems forming the parabolic arches are set out tangentially. Each member functions as a single-span beam cantilevered at one end. The cantilever reduces the maximum moment and, together with the cable stays, creates a balustrade in the middle. Tension cables on the underside provide wind bracing. The wood pedestrian ramps are simply bolted on top of the timber structure.
  • 63 Alley Pond Link up to delight in the proposed project ALLEY POND PARK which features an 18-hole miniature golf course, a nine-hole kiddie course {both designed by Harris Miniature Golf Courses Inc.} and an 88 tee-stall driving range as well as a pro shop and snack bar housed in an inviting 2,300-square-foot clubhouse. In harmony with the land and designed to maximize sunlight, the low-slung, flat-roofed clubhouse is both inviting and energy efficient. A central glass atrium captures sunlight all day long. A particularly striking feature is the high, raking ceiling in the snack bar, flooded with sunlight by the atrium, and, when the sun goes down, studded with energy-efficient Halogen up lights which create evening drama. Clad in cool, grey concrete and warm, cedar wood accented with bold geometric windows echoing the building’s shape, the clean-cut clubhouse is designed with environmentally sensitive materials such as recycled glass terrazzo countertops and sustainably harvested woods. The stylish, sunny clubhouse includes an outdoor patio where patrons can sit enjoy scenic views of the garden and kiddie course. Architect Paul Athineos swung into action after the client, Bogopa Service Corporation, asked for an eco-friendly “green” clubhouse. Athineos designed a clubhouse that appeals to families, young people on a date as well as weekend warriors and senior citizens. The clubhouse is a place for golfers to putter around and have fun. The children can play while their parents sit on the patio and enjoy the view. The proposed plan calls for demolishing the existing clubhouse and relocating the new and improved clubhouse north of its previous location within a few feet of the existing tee stalls. Why demolish the current building? It’s a well-known fact that there is now an onsite traffic flow hazard which the proposed new location eliminates by requiring all drivers to safely exit the parking lot at the traffic light. While the proposed plan will cost the lease holder, Bogopa, more to implement, the extra investment insures patrons a safer, more enjoyable driving experience both on and off the course. The steel-frame clubhouse is clad in cool grey concrete and warm cedar wood with geometric windows piercing the façade which allows natural light to flood the interior space. Of course, the windows {both on the façade and in the atrium} open to allow cross winds to circulate and help minimize the amount of energy used for heating and cooling. The smooth concrete finish is durable, fire and insect-resistant {may be crushed and used for sub-base material or fill if removed}. Cedar wood weathers well in the Northeast. The interior space includes stylish polished concrete floors, light, bright bamboo floors {bamboo is a fast-growing hallow grass} and ceramic tile in the restrooms. Countertops for the snack bar, restrooms and cashier counter consist of recycled glass {see cut sheets in the presentation booklet}. The rectangle-shaped clubhouse consists of a snack bar/lounge, kitchen, restroom, pro shop and staff office all of which is contained with a 2,312-square-foot space. The building consists of two volumes bisected by a gracious entryway flooded with light through an glass atrium that runs the entire length {south to north}. The snack bar/lounge is conveniently located to the right where patrons enter the building. It contains a seating which can be easily rearranged to accommodate patrons. An early morning coffee and pastry may be the perfect way to start the day before hitting a bucket of balls. Alternatively, it makes for a great place to have a light lunch and cold drinks when golfers are finished. Adjacent to the snack bar is the outdoor patio with a glass covered aluminum trellis faced with wood along its exterior perimeter. This canopy will allow visitor to enjoy the outdoors even if it rains. The floor surface is gravel base several inches deep with concrete pavers spaced an inch apart to assist in the overall drainage and water run off. The restroom facilities have a generous amount of space which more than adequately satisfies ADA requirements and additionally provides for a make-up counter in the women’s room. For easy, convenient access, the restrooms are centrally located in the building yet the entrances are screened by a banquette {high-back bench} and raised planter for privacy. The pro shop is situated on the northwest corner of the building and has adequate display area for patrons in search of golf gear. Above the pro shop entrance is a skylight that allows natural light to flood the space. There is a generous view to the north overlooking the driving range. The repair shop is nestled in the south-west corner of the building and provides for direct access from the pro shop as well from an outdoor pass through. If patrons need to use the repair service, they can drop off clubs on the way in and fetch them on the way out after they pay at the cashier’s counter. This conveniently located repair shop is another amenity for the patron. Additionally, the awning, which appears as part of the wall when the repair shop is closed for business, serves to protect patrons from the sun. As for the golf driving range, all tee stalls will now be covered with standing seam metal roofing. There will be additional covered tee stalls constructed on the east side of the property {please see sectional site plan in presentation book}. The color of the metal roof will be green to blend in with surrounding scenery. Ball machines will be located one third of the way in from either end of the tee stalls {not indicated on site plan} and will be more accessible to patrons than currently existing. Paul Athineos, NCARB Architect

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  • 1. Architecture for ONE World WA Awards Winners 1st Cycle Dr. Suha Ozkan, Hon F AIA Roger Williams University Bristol, Rhode Island February 17, 2009
  • 2. 20+10+X Architecture Awards 1st Cycle, September 2008 www.worldarchitecture.org
  • 3. www.worldarchitecture.org ● Selected by the votes of Honorary Members (20 projects) ● Cited by Honorary Members (+ 30 projects) The constituency of WA has decided to cite those projects that have received the admiration of many Honorary Members ● Selected through the rating of all visitors (10 projects) ● "Most thought-provoking +X" projects (3 projects) WINNERS /1. Cycle
  • 4. 20 Projects Awarded by The Honorary Members Awards
  • 5. www.worldarchitecture.org Charles Correa Brain and Cognitive Science Center United States SELECTED BY THE VOTES OF HONORARY MEMBERS
  • 6. www.worldarchitecture.org Charles Correa | Brain and Cognitive Science Center | United States
  • 7. www.worldarchitecture.org Charles Correa | Brain and Cognitive Science Center | United States
  • 8. www.worldarchitecture.org Charles Correa | Brain and Cognitive Science Center | United States
  • 9. www.worldarchitecture.org Beirak Y Ulanosky Arquitectos   Chico Mendes Environmental Resources Center  |  Spain SELECTED BY THE VOTES OF HONORARY MEMBERS
  • 10. www.worldarchitecture.org Beirak Y Ulanosky Arquitectos  Chico Mendes Environmental Resources Center  |  Spain
  • 11. www.worldarchitecture.org Beirak Y Ulanosky Arquitectos  Chico Mendes Environmental Resources Center  |  Spain
  • 12. www.worldarchitecture.org DesignBuild PNG  Labu-tale Haus Sik   Papua New Guinea SELECTED BY THE VOTES OF HONORARY MEMBERS
  • 13. www.worldarchitecture.org DesignBuild PNG  |  Labu-tale Haus Sik  |  Papua New Guinea
  • 14. www.worldarchitecture.org DesignBuild PNG  |  Labu-tale Haus Sik  |  Papua New Guinea
  • 15. www.worldarchitecture.org Odile Decq   |  Museum of Contemporary Art in Rome {with Burkhard Morass}  |  Italy SELECTED BY THE VOTES OF HONORARY MEMBERS
  • 16. www.worldarchitecture.org Odile Decq  |  Museum of Contemporary Art in Rome {with Burkhard Morass}  |  Italy
  • 17. www.worldarchitecture.org Odile Decq  |  Museum of Contemporary Art in Rome {with Burkhard Morass}  |  Italy
  • 18. www.worldarchitecture.org Bjarke Ingels   LEGO   Concept    Denmark SELECTED BY THE VOTES OF HONORARY MEMBERS
  • 19. www.worldarchitecture.org Bjarke Ingels  |  LEGO  |  concept  |  Denmark
  • 20. www.worldarchitecture.org Bjarke Ingels  |  LEGO  |  concept  |  Denmark
  • 21. www.worldarchitecture.org Bjarke Ingels  |  LEGO  |  concept  |  Denmark
  • 22. www.worldarchitecture.org Shigeru Kuwahara   trifurcation Japan SELECTED BY THE VOTES OF HONORARY MEMBERS
  • 23. www.worldarchitecture.org Shigeru Kuwahara  |  trifurcation  |  Japan
  • 24. www.worldarchitecture.org Shigeru Kuwahara  |  trifurcation  |  Japan
  • 25. www.worldarchitecture.org Marks Barfield Architects  |  The Lightbox  |  United Kingdom SELECTED BY THE VOTES OF HONORARY MEMBERS
  • 26. www.worldarchitecture.org Marks Barfield Architects  |  The Lightbox  |  United Kingdom
  • 27. www.worldarchitecture.org Marks Barfield Architects  |  The Lightbox  |  United Kingdom
  • 28. www.worldarchitecture.org JIM BURTON  |   Yoga Studio  |  United States SELECTED BY THE VOTES OF HONORARY MEMBERS
  • 29. www.worldarchitecture.org JIM BURTON  |  Yoga Studio  |  United States
  • 30. www.worldarchitecture.org JIM BURTON  |  Yoga Studio  |  United States
  • 31. www.worldarchitecture.org Anand Mata  |  Housing for Shipmakers  |  concept  |  India SELECTED BY THE VOTES OF HONORARY MEMBERS
  • 32. www.worldarchitecture.org Anand Mata  |  Housing for Shipmakers  |  concept |  India
  • 33. www.worldarchitecture.org Anand Mata  |  Housing for Shipmakers  |  concept |  India
  • 34. www.worldarchitecture.org Anand Mata  |  Housing for Shipmakers  |  concept  |  India
  • 35. www.worldarchitecture.org rolando rojas  CALETA DE PESCADORES EN PAN DE AZUCAR   Concept Chile SELECTED BY THE VOTES OF HONORARY MEMBERS
  • 36. www.worldarchitecture.org rolando rojas  |  CALETA DE PESCADORES EN PAN DE AZUCAR concept  |  Chile
  • 37. www.worldarchitecture.org rolando rojas  |  CALETA DE PESCADORES EN PAN DE AZUCAR concept  |  Chile
  • 38. www.worldarchitecture.org rolando rojas  |  CALETA DE PESCADORES EN PAN DE AZUCAR concept  |  Chile
  • 39. www.worldarchitecture.org rolando rojas  |  CALETA DE PESCADORES EN PAN DE AZUCAR concept  |  Chile
  • 40. www.worldarchitecture.org Dennis Sam Shaju   |  Kalagram  |  concept  |  India SELECTED BY THE VOTES OF HONORARY MEMBERS
  • 41. www.worldarchitecture.org Dennis Sam Shaju  |  Kalagram  |  concept  |  India
  • 42. www.worldarchitecture.org Dennis Sam Shaju  |  Kalagram  |  concept  |  India
  • 43. www.worldarchitecture.org LAB ZERO   CARAPACE HOUSE concept France SELECTED BY THE VOTES OF HONORARY MEMBERS
  • 44. www.worldarchitecture.org LAB ZERO  |  CARAPACE HOUSE  |  concept  |  France
  • 45. www.worldarchitecture.org LAB ZERO  |  CARAPACE HOUSE  |  concept  |  France
  • 46. www.worldarchitecture.org LAB ZERO  |  CARAPACE HOUSE  |  concept |  France
  • 47. www.worldarchitecture.org Hugo Kohno  TokyoMatsuya Unity Japan SELECTED BY THE VOTES OF HONORARY MEMBERS
  • 48. www.worldarchitecture.org Hugo Kohno   |  TokyoMatsuya Unity  |  Japan
  • 49. www.worldarchitecture.org HAS ARCHITECTURE  EKOYapi  |  concept Turkey SELECTED BY THE VOTES OF HONORARY MEMBERS
  • 50. www.worldarchitecture.org HAS ARCHITECTURE   |  EKOYapi  |  concept  |  Turkey
  • 51. www.worldarchitecture.org HAS ARCHITECTURE   |  EKOYapi  |  concept  |  Turkey
  • 52. www.worldarchitecture.org PRZEMEK OLCZYK   |  ORIGAMI HOUSE  |  concept  |  Poland SELECTED BY THE VOTES OF HONORARY MEMBERS
  • 53. www.worldarchitecture.org PRZEMEK OLCZYK  |  ORIGAMI HOUSE  |  concept  |  Poland
  • 54. www.worldarchitecture.org PRZEMEK OLCZYK  |  ORIGAMI HOUSE  |  concept  |  Poland
  • 55. www.worldarchitecture.org A2G arquitectura  |  gbd, china beijing 2007  |  concept |  China SELECTED BY THE VOTES OF HONORARY MEMBERS
  • 56. www.worldarchitecture.org A2G arquitectura  |  gbd, china beijing 2007  |  concept  |  China
  • 57. www.worldarchitecture.org A2G arquitectura  |  gbd, china beijing 2007  |  concept  |  China
  • 58. www.worldarchitecture.org Rafiq Azam  |  Meghna Residence :living in delta  |  Bangladesh SELECTED BY THE VOTES OF HONORARY MEMBERS
  • 59. www.worldarchitecture.org Rafiq Azam  |  Meghna Residence :living in delta  |  Bangladesh
  • 60. www.worldarchitecture.org Rafiq Azam  |  Meghna Residence :living in delta  |  Bangladesh
  • 61. www.worldarchitecture.org Ramin Mehdizadeh   |  Stair House  |  Iran SELECTED BY THE VOTES OF HONORARY MEMBERS
  • 62. www.worldarchitecture.org Ramin Mehdizadeh  |  Stair House  |  Iran
  • 63. www.worldarchitecture.org Ramin Mehdizadeh  |  Stair House  |  Iran
  • 64. www.worldarchitecture.org planet 3 studios architecture pvt. ltd.  vidyalankar institute of technology  India SELECTED BY THE VOTES OF HONORARY MEMBERS
  • 65. www.worldarchitecture.org planet 3 studios architecture pvt. ltd.  vidyalankar institute of technology  |  India
  • 66. www.worldarchitecture.org planet 3 studios architecture pvt. ltd.  vidyalankar institute of technology  |  India
  • 67. www.worldarchitecture.org planet 3 studios architecture pvt. ltd.  vidyalankar institute of technology  |  India
  • 68. www.worldarchitecture.org Anna Heringer HOMEmade-rural housing Bangladesh   SELECTED BY THE VOTES OF HONORARY MEMBERS
  • 69. www.worldarchitecture.org Anna Heringer  |  HOMEmade-rural housing  |  Bangladesh
  • 70. www.worldarchitecture.org Anna Heringer  |  HOMEmade-rural housing  |  Bangladesh
  • 71. www.worldarchitecture.org Anna Heringer  |  HOMEmade-rural housing  |  Bangladesh
  • 72. www.worldarchitecture.org Anna Heringer  |  HOMEmade-rural housing  |  Bangladesh
  • 73. 30 Projects cited by The Honorary Members as Honorable Citations
  • 74. www.worldarchitecture.org Hiroe Yoshida  |   a couples working studio & their parents home  |  Japan CITED BY HONORARY MEMBERS + 30 PROJECTS
  • 75. www.worldarchitecture.org Hiroe Yoshida  |  a couples working studio & their parents home  |  Japan
  • 76. www.worldarchitecture.org Ralph Johnson   |  Universidade Agostinho Neto  |  Angola CITED BY HONORARY MEMBERS + 30 PROJECTS
  • 77. www.worldarchitecture.org Ralph Johnson  |  Universidade Agostinho Neto  |  Angola
  • 78. www.worldarchitecture.org Ralph Johnson  |  Universidade Agostinho Neto  |  Angola
  • 79. www.worldarchitecture.org Brimet Silva   |  Australian Venice Biennale Pavillion I concept  |  Italy CITED BY HONORARY MEMBERS + 30 PROJECTS
  • 80. www.worldarchitecture.org Brimet Silva  |  Australian Venice Biennale Pavillion concept  |  Italy
  • 81. www.worldarchitecture.org Brimet Silva  |  Australian Venice Biennale Pavillion concept |  Italy
  • 82. www.worldarchitecture.org Daekwon Park   |  New Australian Pavilion, Venice Biennale  |  concept  |  Italy CITED BY HONORARY MEMBERS + 30 PROJECTS
  • 83. www.worldarchitecture.org Daekwon Park  |  New Australian Pavilion, Venice Biennale  |  concept  |  Italy
  • 84. www.worldarchitecture.org Ingarden & Ewy Architects      Krakow Congress and Concert Hall | concept |  Poland CITED BY HONORARY MEMBERS (+ 30 PROJECTS)
  • 85. www.worldarchitecture.org Ingarden & Ewy Architects | Krakow Congress and Concert Hall | concept |  Poland
  • 86. www.worldarchitecture.org Emil Sverko   |  The Great Egyptian Museum_Cairo  |  concept  |  Egypt CITED BY HONORARY MEMBERS + 30 PROJECTS
  • 87. www.worldarchitecture.org Emil Sverko  |  The Great Egyptian Museum_Cairo  |  concept  |  Egypt
  • 88. www.worldarchitecture.org Georg Driendl   |  hoverfront d  |  concept  |  Ireland CITED BY HONORARY MEMBERS + 30 PROJECTS
  • 89. www.worldarchitecture.org Georg Driendl  |  hoverfront d  |  concept |  Ireland
  • 90. www.worldarchitecture.org Seyed Hamid Nourkeyhani   |  KOMEIL  |  Iran CITED BY HONORARY MEMBERS + 30 PROJECTS
  • 91. www.worldarchitecture.org Seyed Hamid Nourkeyhani  |  KOMEIL  |  Iran
  • 92. www.worldarchitecture.org Seyed Hamid Nourkeyhani  |  KOMEIL  |  Iran
  • 93. www.worldarchitecture.org Luca Donner   Sun House  Concept Korea, South CITED BY HONORARY MEMBERS + 30 PROJECTS
  • 94. www.worldarchitecture.org Luca Donner  |  Sun House  |  concept  |  Korea, South
  • 95. www.worldarchitecture.org Luca Donner  |  Sun House  |  concept  |  Korea, South
  • 96. www.worldarchitecture.org CITED BY HONORARY MEMBERS + 30 PROJECTS Shahira Hammad   |  Marine Research Complex  |  concept  |  Egypt
  • 97. www.worldarchitecture.org Shahira Hammad  |  Marine Research Complex  |  concept  |  Egypt
  • 98. www.worldarchitecture.org CITED BY HONORARY MEMBERS (+ 30 PROJECTS) Teruo Miyahara House_Tj  Japan
  • 99. www.worldarchitecture.org Teruo Miyahara  |  House_Tj  |  Japan
  • 100. www.worldarchitecture.org CITED BY HONORARY MEMBERS + 30 PROJECTS Wolf D. Prix  Musée des Confluences France
  • 101. www.worldarchitecture.org Wolf D. Prix  |  Musée des Confluences  |  France
  • 102. www.worldarchitecture.org CITED BY HONORARY MEMBERS +30 PROJECTS Itsuko Hasegawa   Gunma University Tekkno Plaz Japan
  • 103. www.worldarchitecture.org Itsuko Hasegawa  |  Gunma University - Tekkno Plaz  |  Japan
  • 104. www.worldarchitecture.org CITED BY HONORARY MEMBERS + 30 PROJECTS Foreign Office Architects {FOA}  |  Yokohama International Port Terminal, FOA  |  Japan
  • 105. www.worldarchitecture.org Foreign Office Architects {FOA} Yokohama International Port Terminal, FOA  |  Japan
  • 106. www.worldarchitecture.org Foreign Office Architects {FOA} Yokohama International Port Terminal, FOA  |  Japan
  • 107. www.worldarchitecture.org CITED BY HONORARY MEMBERS +30 PROJECTS Cafer Bozkurt Architecture Bursa Merinos Atatürk Culture Center Turkey
  • 108. www.worldarchitecture.org Cafer Bozkurt Architecture  |  Bursa Merinos Atatürk Culture Center  |  Turkey
  • 109. www.worldarchitecture.org Cafer Bozkurt Architecture  |  Bursa Merinos Atatürk Culture Center  |  Turkey
  • 110. www.worldarchitecture.org CITED BY HONORARY MEMBERS +30 PROJECTS alba duarte    Exhibition Center in Segovia  concept Spain
  • 111. www.worldarchitecture.org alba duarte  |  Exhibition Center in Segovia, Spain  |  concept  |  Spain
  • 112. www.worldarchitecture.org CITED BY HONORARY MEMBERS + 30 PROJECTS Adela Ciurea  |  Le marionnettiste -Grenoble  concept  |  France
  • 113. www.worldarchitecture.org Adela Ciurea  |  Le marionnettiste - Grenoble  |  concept  |  France
  • 114. www.worldarchitecture.org Adela Ciurea  |  Le marionnettiste - Grenoble  |  concept  |  France
  • 115. www.worldarchitecture.org CITED BY HONORARY MEMBERS + 30 PROJECTS eleni pavlidou  |  plan{t}is  |  concept  |  United Kingdom
  • 116. www.worldarchitecture.org eleni pavlidou  |  plan{t}is  |  concept |  United Kingdom
  • 117. www.worldarchitecture.org eleni pavlidou  |  plan{t}is  |  concept  |  United Kingdom
  • 118. www.worldarchitecture.org eleni pavlidou  |  plan{t}is  |  concept  |  United Kingdom
  • 119. www.worldarchitecture.org CITED BY HONORARY MEMBERS + 30 PROJECTS seungteak lee  |  engraved perioscope  |  concept  |  United States
  • 120. www.worldarchitecture.org seungteak lee  |  engraved perioscope  |  concept  |  United States
  • 121. www.worldarchitecture.org seungteak lee  |  engraved perioscope  |  concept  |  United States
  • 122. www.worldarchitecture.org CITED BY HONORARY MEMBERS +30 PROJECTS Peyman Khalaj  |  Qazvin Market Collection Skeleton – Spaces Regeneration  |  concept  |  Iran
  • 123. www.worldarchitecture.org Peyman Khalaj  |  Qazvin Market Collection Skeleton Spaces Regeneration  |  concept  |  Iran
  • 124. www.worldarchitecture.org Peyman Khalaj  |  Qazvin Market Collection Skeleton Spaces Regeneration  |  concept  |  Iran
  • 125. www.worldarchitecture.org CITED BY HONORARY MEMBERS + 30 PROJECTS Luis Vale Urban Wall – Fremantle LIC concept Australia
  • 126. www.worldarchitecture.org Luis Vale  |  Urban Wall - Fremantle LIC  |  concept  |  Australia
  • 127. www.worldarchitecture.org Luis Vale  |  Urban Wall - Fremantle LIC  |  concept  |  Australia
  • 128. www.worldarchitecture.org CITED BY HONORARY MEMBERS + 30 PROJECTS francisco portugal  |   Milhundos House  |  Portugal
  • 129. www.worldarchitecture.org francisco portugal  |  Milhundos House  |  Portugal
  • 130. www.worldarchitecture.org francisco portugal  |  Milhundos House  |  Portugal
  • 131. www.worldarchitecture.org CITED BY HONORARY MEMBERS + 30 PROJECTS Jingyu Liang  |  Iberia Center for Contemporary Art  in Beijing  |  China
  • 132. www.worldarchitecture.org Jingyu Liang  |  Iberia Center for Contemporary Art  |  China
  • 133. www.worldarchitecture.org Jingyu Liang  |  Iberia Center for Contemporary Art  |  China
  • 134. www.worldarchitecture.org CITED BY HONORARY MEMBERS + 30 PROJECTS Avanto Architects  |  Tsunami memorial  |  concept  |  Thailand
  • 135. www.worldarchitecture.org Avanto Architects  |  Tsunami memorial  |  concept  |  Thailand
  • 136. www.worldarchitecture.org Avanto Architects  |  Tsunami memorial  |  concept  |  Thailand
  • 137. www.worldarchitecture.org CITED BY HONORARY MEMBERS + 30 PROJECTS Susana Herrera Engineer´s House  |  Chile
  • 138. www.worldarchitecture.org Susana Herrera  |  Engineer´s House  |  Chile
  • 139. www.worldarchitecture.org CITED BY HONORARY MEMBERS +30 PROJECTS EQUIP Xavier Claramunt  Hotel Hospes Granada Spain
  • 140. www.worldarchitecture.org EQUIP Xavier Claramunt  |  Hotel Hospes Granada  |  Spain
  • 141. www.worldarchitecture.org EQUIP Xavier Claramunt  |  Hotel Hospes Granada  |  Spain
  • 142. www.worldarchitecture.org CITED BY HONORARY MEMBERS (+ 30 PROJECTS) ann beha  |  The Portland Art Museum  |  United States
  • 143. www.worldarchitecture.org ann beha  |  The Portland Art Museum  |  United States
  • 144. www.worldarchitecture.org CITED BY HONORARY MEMBERS + 30 PROJECTS Hérault Arnod Architectes   Rossignol Global Headquarters  |  France
  • 145. www.worldarchitecture.org Hérault Arnod Architectes Rossignol Global Headquarters  |  France
  • 146. www.worldarchitecture.org CITED BY HONORARY MEMBERS + 30 PROJECTS Géza Kendik   |  Szentendre-new cemetery,catafalque and graveyard concept  |  Hungary
  • 147. www.worldarchitecture.org Géza Kendik  |  Szentendre-new cemetery,catafalque and graveyard concept  |  Hungary
  • 148. www.worldarchitecture.org Géza Kendik  |  Szentendre-new cemetery,catafalque and graveyard concept  |  Hungary
  • 149. www.worldarchitecture.org CITED BY HONORARY MEMBERS +30 PROJECTS SMAQ - architecture urbanism research BAD {bath} Germany
  • 150. www.worldarchitecture.org SMAQ - architecture urbanism research  BAD {bath}  |  Germany
  • 151. www.worldarchitecture.org SMAQ - architecture urbanism research  BAD {bath}  |  Germany
  • 152. 10 Projects selected by visitors Maximum Rating
  • 153. www.worldarchitecture.org SELECTED THROUGH THE RATING OF ALL VISITORS +10 PROJECTS Magnus G. Bjornsson   |  Ynja and Jeff`s Russell Island House  |  Australia
  • 154. www.worldarchitecture.org Magnus G. Bjornsson  |  Ynja and Jeff`s Russell Island House  |  Australia
  • 155. www.worldarchitecture.org SELECTED THROUGH THE RATING OF ALL VISITORS +10 PROJECTS massimiliano brugia   Italian Pavillion for Expo Shanghai 2010 concept  |  China
  • 156. www.worldarchitecture.org massimiliano brugia  |  Italian Pavillion for Expo Shanghai 2010 concept  |  China
  • 157. www.worldarchitecture.org massimiliano brugia  |  Italian Pavillion for Expo Shanghai 2010 concept  |  China
  • 158. www.worldarchitecture.org SELECTED THROUGH THE RATING OF ALL VISITORS +10 PROJECTS Samer EID   USEK Student Housing   Lebanon
  • 159. www.worldarchitecture.org Samer EID  |  USEK Student Housing  |  Lebanon
  • 160. www.worldarchitecture.org Samer EID  |  USEK Student Housing  |  Lebanon
  • 161. www.worldarchitecture.org SELECTED THROUGH THE RATING OF ALL VISITORS +10 PROJECTS Emmanuel Sitbon  Brest City`s Limits Concept, France
  • 162. www.worldarchitecture.org Emmanuel Sitbon  |  Brest City`s Limits  |  concept  |  France
  • 163. www.worldarchitecture.org Emmanuel Sitbon  |  Brest City`s Limits  |  concept  |  France
  • 164. www.worldarchitecture.org SELECTED THROUGH THE RATING OF ALL VISITORS +10 PROJECTS Stefano Dosi   |  Pilot project for a modern trial detention center for 1.000 people  |  concept  |  Italy
  • 165. www.worldarchitecture.org Stefano Dosi  |  Pilot project for a modern trial detention center for 1.000 people  |  concept  |  Italy
  • 166. www.worldarchitecture.org SELECTED THROUGH THE RATING OF ALL VISITORS +10 PROJECTS Ilario Tassone   |  Water_Form_Park  |  concept  |  Korea, South
  • 167. www.worldarchitecture.org Ilario Tassone  |  Water_Form_Park  |  concept I Korea, South
  • 168. www.worldarchitecture.org Ilario Tassone  |  Water_Form_Park  |  concept  Korea, South
  • 169. www.worldarchitecture.org SELECTED THROUGH THE RATING OF ALL VISITORS +10 PROJECTS Olga Banchikova   |  Centre for Nanoscience  |  concept  |  Russia
  • 170. www.worldarchitecture.org Olga Banchikova  |  Centre for Nanoscience  |  concept |  Russia
  • 171. www.worldarchitecture.org Olga Banchikova  |  Centre for Nanoscience  |  concept  |  Russia
  • 172. www.worldarchitecture.org SELECTED THROUGH THE RATING OF ALL VISITORS +10 PROJECTS Mauricio Aguilar Solari   |  Pabellon Itinerante  |  concept  |  Uruguay
  • 173. www.worldarchitecture.org Mauricio Aguilar Solari  |  Pabellon Itinerante  |  concept  |  Uruguay
  • 174. www.worldarchitecture.org SELECTED THROUGH THE RATING OF ALL VISITORS +10 PROJECTS NABITO ARQUITECTURA S.C.P   |  the rainbow tower  |  concept  |  Slovenia
  • 175. www.worldarchitecture.org NABITO ARQUITECTURA S.C.P  |  the rainbow tower  |  concept  |  Slovenia
  • 176. www.worldarchitecture.org NABITO ARQUITECTURA S.C.P  |  the rainbow tower  |  concept  |  Slovenia
  • 177. www.worldarchitecture.org SELECTED THROUGH THE RATING OF ALL VISITORS (+10 PROJECTS) Filipe Magalhães   |  ernest, the concrete building  |  concept  |  Portugal
  • 178. www.worldarchitecture.org Filipe Magalhães  |  ernest, the concrete building  |  concept  |  Portugal
  • 179. www.worldarchitecture.org Filipe Magalhães  |  ernest, the concrete building  |  concept  |  Portugal
  • 180. 3 The Most Commented Projects by V isitors
  • 181. www.worldarchitecture.org "MOST THOUGHT-PROVOKING +X" PROJECTS wellington costa lima   |  NAUTILUS  |  concept  |  Brazil
  • 182. www.worldarchitecture.org wellington costa lima  |  NAUTILUS  |  concept  |  Brazil
  • 183. www.worldarchitecture.org wellington costa lima  |  NAUTILUS  |  concept  |  Brazil
  • 184. www.worldarchitecture.org "MOST THOUGHT-PROVOKING +X" PROJECTS monovolume   |  Tschapit Bridge  |  Italy
  • 185. www.worldarchitecture.org monovolume  |  Tschapit Bridge  |  Italy
  • 186. www.worldarchitecture.org "MOST THOUGHT-PROVOKING +X" PROJECTS Paul Athineos   |  Alley Pond  |  concept  |  United States
  • 187. www.worldarchitecture.org Paul Athineos  |  Alley Pond  |  concept  |  United States
  • 188. Please visit www.worldarchitecture.org It is o pen , f ree and it is y ours . Thank you