WA 6. Cycle Fullcourseware, January 2010


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Full version presentations of the 6th Cycle Winner projects, January 2010- To be engaged with contemporary trends

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  • Factory and Offices, Noida   The DS Office complex takes a holistic approach to architectural design by integrating energy conservation, occupant participation and economic performance as part of the building life-cycle to make it truly sustainable. The proactive approach to sustainable design demonstrated in this project is radical in the modern Indian context especially in the way it blurs time-honoured distinctions between design and the post-design phase.  A green roofscape composed of staggered undulating berms dominates the site - nothing is more welcoming than lush greenery in the harsh climate of the plains of north Indian.   The DS Office complex uses environmental design to temper extreme climate changes prevalent in the region.  The low built-up requirement resulted in a built form and landscape shaped by laminar flow. The design of the complex is a marriage of traditional berming techniques and contemporary technology to achieve sustainability. The design transcends the established program by looking at how environmental design can be demonstrative in terms of performance, production, and community building.   The built volume will extract high standards of commitment towards ethical practice from all shareholders whether they are the client, the investors or the end user not just on paper but in practice too. Departing from the typical hierarchical structure of ownership where the built volume is top-down, the design cuts across social strata to engage the occupants to not only fully enjoy the physical site but also gain a stake in the built environment. The democratic distribution of built mass across the site reflects a more socially equitable approach to apportioning valuable open spaces.   Design and construction nodes draw from both traditional techniques and latest energy conscious technologies. Building orientation, wind tunneling effect, solar radiation; self-shading devices- all contribute to a cohesive attempt to minimize dependence on external, artificial sources of energy. Bio-walls are a source of generating captive oxygen and berming the structure provides insulation and thermal efficiency. It is an active step towards achieving a carbon neutral footprint for the environment. The outcome of the efficient sustainable practices incorporated in the design and use of traditional space-organizing methods (courtyards) with insulated shell techniques results in lower mechanical and electrical loads and subsequently in lower operational costs. The resultant savings enable the initial investments to pay for themselves over a shorter time frame.   The design takes cues from the geomorphic folds of the Aravallis, a vast ridge that reaches the region in broken outcrops. The combination of sustainable design features and the built form transforms the program brief into architecture that attempts to touch the earth lightly while almost disappearing in the earth. The slivers of built and unbuilt earth lend a unique character to the complex, where the act of building is in service to the larger and pressing goals of sustainable development.
  • Beijing South Station Function: Railway Station Chief architect/office name: TFP Farrells Ltd in collaboration with Third Railway Survey and Design Institute Group Corporation (TSDI), PRC Client: Ministry of Railways (MOR), PRC Consultancy/collaboration partners (if any): Design Architect: TFP Farrells Ltd in collaboration with TSDI Structural Engineer: Third Railway Survey and Design Institute Group Corporation (TSDI), PRC and Ove Arup & Partners HK Services Engineer: Third Railway Survey and Design Institute Group Corporation (TSDI), PRC and Ove Arup & Partners HK Acoustic Engineer: Third Railway Survey and Design Institute Group Corporation (TSDI), PRC and Ove Arup & Partners HK Station Pedestrian / Traffic Engineer: Third Railway Survey and Design Institute Group Corporation (TSDI), PRC and Atkins China Main Contractor: China Railway Construction Engineering Group, PRC Design date: October 2005 Completion date: 1 August 2008 Area: Building Area: 226,000 m2 (252,000 m2 including Metro) Site area: 940,000 m2 Total Station Floor Area – GFA: 144,190 m2 Station Covered Roof Area: 125,012 m2 (Canopy Footprint 71,000 m2) The Beijing South Station is not only a key rail link for China’s new high-speed intercity network but it is also a major urban building and master plan. Situated on a 31 hectare site the Station creates an urban link with the surrounding cityscape and acts as a “Gateway to the City” whilst the station itself is designed for a passenger turnover of 105 million passengers annually by the year 2030, with a peak hour flow of 33,280 passengers per hour, and a total of 286,500 passenger movements per day. This integrated design encompasses a multi-modal transport interchange facility with a vertical separation strategy designed so that the passenger traffic flows are direct, convenient and highly efficient. Completed in 2008 the new station is one of four major rail stations for the new high-speed rail implemented within China and was a core Olympic project endorsed by the Beijing Government and a critical part of Beijing South Railway Station upgrading and extension project. Situated half a kilometre from the city's old station in Fengtai district between the second and third ring roads, the new Beijing Station will serve as a high-speed intercity rail link which connects Beijing with the Yangtze River Delta cities of Tianjin and Shanghai, with a catchment area of 270 million people. As the station is immense in scale, the architectural form and structure are clear, simple and people oriented and take into consideration the different operational and management of the various rail lines, station entrances, exits, waiting areas and interchange zones taking place within – the station takes a simple ellipse form that accommodates 3 principle floor levels with two basement floor levels for Metro and two ancillary gateway office buildings. With such large volumes of passengers it is essential to separate the incoming and departing passengers. One of the main design objectives was to have the passengers board and alight trains with the shortest distance and time possible. The design strategy also incorporates separate zones catering for seamless integration and transition to different types of vehicular traffic including 909 underground basement car-parking spaces, 28 taxi drop-off bays, 24 taxi pick-up bays with 138 queuing spaces and 38 bus spaces (12 drop-off spaces and 26 pick-up bays with 48 queuing spaces) as a comprehensive transport hub. The elliptical plan form is effective in providing an innovative solution to the station’s vehicular traffic flow. The overhead road network can adjust to the traffic flows to and from the station area in all directions and assist in relieving the congestion of the surrounding urban arterial roads. There are a total of 11 island platforms and 2 side platforms with 24 platform edges for High-speed trains (450 metres long), Express trains (500 metres long) and Intercity trains (450 metres long); with 2 island platforms with 4 platform edges for the Metro trains(120 metres long). As the station is located on existing railway land, the geometry of the site juxtaposes the diagonal fan of the railway tracks to Beijing’s cardinal urban grid. The station scheme creates an urban link with the surrounding cityscape and acts as a “Gateway to the City” with the incorporation of an urban response that unites the railway fan and city grid by inserting a landscaped pedestrian spine in the formal north-south axis that maximizes the sense of approach and creates enhanced public amenity spaces with the public parks and the wider city context.
  • House in Lumino Located in the Swiss Alpine village of Lumino, just north of Bellinzona, this house stands as a monolithic element, quietly complementing and echoing its context. The surrounding area is characterised by traditional stone built houses, many of which date back centuries and are marked by their use of this single construction material. The new house is intended as a relevant response to and contemporary interpretation of the vernacular; its exposed reinforced concrete form recalls the revered strength and resonates the presence of these old stone houses. Sitting on the edge of the old village, the house acts as a sort of bastion between the old core and the modern residential expansion. In addition to the local scale references and material cues siphoned from the physical context, the concept and approach to the project was further influenced by the clients’ expressed desire for a minimalist aesthetic, both internally and externally. As such, the quality of the spaces in the house would be defined explicitly by the architecture and not by objects placed within it. The idea of the ‘minimalist monolith’ was adopted as the conceptual generator of the project and became a principle applied to all elements of the both the functional and construction programme, from the foundations up to the smallest finishing details. The geometry of the plan is generated by two shifted parallelepipeds and follows the fall of the site. The typology created by this staggered geometry underlies both the peculiarities of the landscape while also offering each of the levels a direct relationship with the surrounding gardens. The double system of vertical connections, one internal and one external, relates all the spaces of the house in a spiral movement and is in a constant play with its new inhabitants’ perception of time and scale. What is interesting about the house is the ability of the spaces to expand and extend into the landscape, allowing the external become part of the composition. While the individual spaces may be defined geometrically, each space flows into the next and continues to the external. The principle of the house is to protect and guarantee an intimacy and privacy for its inhabitants but also, somewhat paradoxically, to represent an air of generosity and an opening up of to the world. The intention is to create places in which residents are open and connected to the wider community in a concrete way, beyond the filter of maddening virtual communication. This physical relationship with the community restores a healthy balance of mind and aptitude. Excavations into the ground rock were kept to a minimum, with only the service spaces placed underground (-1.4m). Vehicle and pedestrian access is from street level (+0.0m). Half a level up from the entrance hall are two bedrooms, both with direct access onto a terrace(+1.4m). On the next floor (+2.8m) is the master suite, again with its own terrace and access to the garden below. Continuing up the house, we arrive into the dining and kitchen space which opens onto the central south facing loggia (+4.2m), with access to the terraces below. This central loggia, which affords panoramic views over the surrounding rooftops, may also be covered with a hydraulic roof when required. The living space on the top floor overlooks and has access down to the loggia below. Along with gains from the inherent thermal values of concrete, the house’s sustainable credentials also benefit from a heat pump and photovoltaic cells placed on the roof. PROJECT House in Lumino CLIENT Cristina e Curzio De Gottardi START DATE 2007 COMPLETION DATE 2009 SITE AREA 497 m2 BUILDING AREA 133 m2 TOTAL FLOOR AREA 221 m2 LEVELS 3 above ground TOTAL COST 1,000,000 CHF MATERIALS main structure underground: reinforced concrete, main structure above ground: reinforced concrete and steel, windows: insulated glass, thermocoated frames FINISHES internal wall cladding: mineral painted gipsboard, external paving: concrete, interior flooring: resin. Design collaborator Michele Alberio Interior design Davide Macullo e Marco Strozzi Works supervision Ennio Maggetti, Switzerland Structural engineer Ingenere Andreotti & Partners, Switzerland Building engineer IFEC Consulenza SA, Switzerland
  •   MUSEUM OF POLISH HISTORY Warsaw, Poland   Design Architect: ZERAFA ARCHITECTURE STUDIO Design Team: Jason Zerafa, Joaquin Boldrini , Pablo Zamorano, Luis Carmona, Katherine Moya. Associate Architect: Gregory T Waugh AIA Client:  Ministry for Culture and Natural Heritage. Facility: National History Museum Location: Warsaw, Poland Size: 20,000 sm Design Date: June 2009. Status: International Competition Proposal- Stage 1   Introduction The challenge of creating a new Museum of Polish History today involves considering the historical relationship between a National identity, collective memory and a culture’s traditions within a modern global context.  The design of the museum and the crafting of a user experience that communicates an essential spirit of Polish Identity and is also meaningful to visitors from around the world represent a universal challenge of our time. We believe the solution lies within the power of history to illuminate, teach and improve relationships through the celebration of ideas and human aspirations. The collective memory of a Nation is quite often defined by those memories enshrined in national monuments and in particular, those not publically memorialized.  The idea of a “collected memory”, one that is inherently fragmented and individual in character in relation to “collective psychology” that represents a group’s common ideas and aspirations is the starting point for our design.   Design Concept For the proposed museum building, we have taken a bold step and inverted the typical exhibition space typology. The full exhibit gallery program is conceived as ten, 3-dimensional monolithic objects, a dramatic departure from the gallery defined exclusively as an interior space. Exposing the galleries to be viewed in the round, in space, adds a critical scale dimension to the program, one that is not typically legible in the museum experience. The galleries are given an impressive solidity and monumental scale, and yet many are floating in space- held up on virtual pedestals . It is the complexity of this dual expression of monumentality and lightness which defines the contradiction within the individual museum experience, celebration, judgment and the rejection of sentimentality. The ten gallery objects are juxtaposed to each other both vertically and horizontally to create a 3-dimensional cubic composition within and through a linear circulation volume. The objects are then push-in and pulled-out like drawers to create a series of interior voids and dramatic interstitial spaces. The six exterior surfaces of the gallery objects, sides, top and underside provide multiple canvases for nonconventional exhibition use. Also, in this configuration, the in between, or accidental spaces can become important opportunities for surprise temporary exhibits and mobile museum events and program space. The ten boxes contain the five chronological divisions for the permanent exhibit program, the two temporary exhibition spaces, and the exhibition related educational zones.  The free composition of the gallery boxes does not determine a particular distribution of the permanent galleries; but provides a flexible environment for multiple interpretations of how the galleries can be allocated and the relationships between them. The temporary exhibition space is located in two of the upper gallery boxes clustered together to provide a multi-height venue for temporary exhibits when required. The “high” temporary gallery is a 12m tall box which projects out of the eastern façade and through the roof structure to form a dramatic tower-like element suspended within the museum. DESIGN NOTES Introduction The challenge of creating a new Museum of Polish History today involves considering the historical relationship between a National identity, collective memory and a culture’s traditions within a modern global context. The design of the museum and the crafting of a user experience that communicates an essential spirit of Polish Identity and is also meaningful to visitors from around the world represent a universal challenge of our time. We believe the solution lies within the power of history to illuminate, teach and improve relationships through the celebration of ideas and human aspirations. The collective memory of a Nation is quite often defined by those memories enshrined in national monuments and in particular, those not publically memorialized. The idea of a “collected memory”, one that is inherently fragmented and individual in character in relation to “collective psychology” that represents a group’s common ideas and aspirations is the starting point for our design.   Design Concept For the proposed museum building, we have taken a bold step and inverted the typical exhibition space typology. The full exhibit gallery program is conceived as ten, 3-dimensional monolithic objects, a dramatic departure from the gallery defined exclusively as an interior space. Exposing the galleries to be viewed in the round, in space, adds a critical scale dimension to the program, one that is not typically legible in the museum experience. The galleries are given an impressive solidity and monumental scale, and yet many are floating in space- held up on virtual pedestals . It is the complexity of this dual expression of monumentality and lightness which defines the contradiction within the individual museum experience, celebration, judgment and the rejection of sentimentality. The ten gallery objects are juxtaposed to each other both vertically and horizontally to create a 3-dimensional cubic composition within and through a linear circulation volume. The objects are then push-in and pulled-out like drawers to create a series of interior voids and dramatic interstitial spaces. The six exterior surfaces of the gallery objects, sides, top and underside provide multiple canvases for nonconventional exhibition use. Also, in this configuration, the in between, or accidental spaces can become important opportunities for surprise temporary exhibits and mobile museum events and program space. The ten boxes contain the five chronological divisions for the permanent exhibit program, the two temporary exhibition spaces, and the exhibition related educational zones. The free composition of the gallery boxes does not determine a particular distribution of the permanent galleries; but provides a flexible environment for multiple interpretations of how the galleries can be allocated and the relationships between them. The temporary exhibition space is located in two of the upper gallery boxes clustered together to provide a multi-height venue for temporary exhibits when required. The “high” temporary gallery is a 12m tall box which projects out of the eastern façade and through the roof structure to form a dramatic tower-like element suspended within the museum.   Massing Strategy There is an inherent conflict between the desired spreading out of the building program into separate elements of a variety of scales and the need to impose a delicate and limited footprint in the landscape. Also, the proposed new building must present a strong and meaningful architectural image in the appropriate scale for a National History Museum, yet find a supportive and subtle role within the urban hierarchy of the Stanislawowska axis. The scheme should also be consistent with the concept of “linear continuity” of the slope as it relates to the Aleja Na Skarpie and the primacy of the Zamek Ujazdowski.   Our proposed museum building is conceived as a cubic composition of solids and voids representing the varied programmatic spaces within the structure. As the building components (galleries) are individually expressed and pulled apart, the overall mass is broken into smaller scale parts. The slipping and sliding movement of these gallery boxes within the volume create a series of smaller scale foreground and background objects floating delicately above the eastern plaza. These smaller scale monolithic volumes appear to defy gravity, and their relative lightness helps establish a respectful yet direct dialogue with the more massive masonry Castle form. This design approach maintains the relative compactness required by the desire to impose a limited footprint, yet achieves the rich variety and mix of heights and massing that is in support of the conservation of the local historical and cultural context. As the MHP is a public institution, it is certainly appropriate for the galleries to in effect be liberated from the confines of the museum and thrust out into the landscape, and become visibly part of the public realm.   Forum The Forum is conceived as a 14m high glazed volume penetrated by the floating gallery boxes on the east elevation, and defined/contained by the 3-level program bar on the western “park” elevation. The Forum serves as the central public gathering space for museum visitors and can accommodate a variety of large-scale museum related events. The spatial complexity of the Forum space is revealed in the interstitial spaces found between, above and below the individual gallery boxes. Some of these accidental spaces contain program elements while some provide access to and from the galleries. The “park” volume contains the Education and Seminar, Research and Academic, and Administration zones within the second and third floors. The Auditorium is located within the tail of the “park” volume which floats above a through-plaza connecting the Skarpie to the park. At the ground floor, the storefront is punctuated by an entry volume and numerous voids connecting the forum space directly to the park landscape. This wing of the building becomes the mediating element between the park landscape and the museum interior. The service and loading areas are located within in a separate pavilion at the northern edge of the site. Service vehicular access is located off of ul.Jasdow.   Materials The relationship between monumentality, materiality and scale is of paramount importance in the design for the museum. The ten gallery objects are conceived as monolithic white stone-clad boxes. The specific use of a uniform white stone to clad the gallery boxes, a material typically identified with solidity and permanence, is essential to our reconsideration of the exhibition program space. The subtle irony of the massive stone boxes, presented as individual monuments rendered weightless within the museum facade, symbolizes the inherent complexity of the museum’s education and cultural mission. The use of this material to clad the solid boxes which are the predominant building surface provides an exterior lighting strategy consistent with the desired visual hierarchy. At night, the stone clad boxes can be minimally lighted, or simply left to subtly reflect ambient light from the surrounding to ensure that the surface-lighted masonry castle remains the dominant presence. A solid and opaque exterior has another practical implication for the design and the inherent environmental factors related to this specific site. The solidity of the gallery exteriors serves as a means to mitigate the severe acoustic challenges presented by the Trasa Lazienkowska. These acoustic considerations can be effectively managed without compromise through a number of means in the opaque exterior wall detailing. For the eastern facade of the building, we propose a mechanically-ventilated double curtainwall system. The curtainwall is composed of an insulated and laminated-glass unit on the exterior, a mechanically ventilated cavity, and a single monolithic interior glass layer. The curtainwall employs low–e glass and lamination technology to permit the maximum transparency and minimal interior reflectivity while meeting strict solar, thermal and acoustic performance standards. The harsh environmental effects of the Trasa, primarily traffic noise and air pollution are a major consideration in the use of a fully sealed mechanically ventilated wall system. Fresh air can be ducted in from the “clean” park side of the building, filtered, and mechanically drawn through the facade cavity on the eastern side to increase the thermal performance and control the quality of air entering the system. The cavity features an integrated shade device that can be programmed to operate as required in changing daylight conditions. Further environmental study will determine the need for a similar facade system to be employed on the north and south glazed elevations. The “park” volume employs a two-layer facade system composed of a single curtainwall facade with a screenwall of aluminium panels layered in front. The aluminium panels feature an abstract laser-cut treescape which provides solar shading against western sun exposure and filtered light with varied levels of transparency determined by specific program requirements. The abstract quality of this facade, a modern interpretation of trompe l’oeil , is used to create a virtual continuation of the park tree line into the museum interior. The intentional softening of this park elevation is critical for the subtle integration of the museum building into a sensitive historic setting.   Internal Museum Circulation and Access Primary controlled visitor access to the museum is from the western forecourt along ul Jazdow through a cubic entry volume that extends out from the Forum. Adjacent to this entrance, controlled access to the dedicated staff elevator lobby is also provided. Secondary visitor access points are located at either end of the north/south Forum space. Some program elements, such as the Museum Shop, Kid’s Zone and the Museum Café are located on the building perimeter and may be accessed directly from the outside. Primary visitor access to the individual gallery boxes is through a circulation spine lining the western edge of the Forum space. Three dedicated passenger elevators are centrally located within the Forum to serve this zone and provide “accessible” circulation directly to and from the galleries. This direct circulation option also provides museum visitors the flexibility to access individual galleries quickly for short visits and target only specific galleries of interest or temporary exhibits. Because all ten gallery boxes are exposed within the forum space, the complete museum exhibit program can be viewed as a whole, reinforcing the ideas of historical continuity and the intrinsic interdependence of individual events. Inter-gallery circulation is within a circulation zone on the east facade characterized by an “ant farm” network of catwalks and communicating stairs. This circulation zone provides flexibility for unscripted paths through the museum galleries. The “free-style” movement of visitors through this circulation zone animates the eastern façade and reveals a subtle expression of the complexity of the site conditions and the museum’s cultural mission.   Masterplan and Site Design Our masterplan and landscape design proposal fo­cuses on 4 distinct zones labeled A through D. The Stanislawowska Axis, pl Na Rozdrozu, the Jazdow Park areas and museum entry plaza, the Aleja na Skarpie and museum eastern garden overlooking the escarpment and extending down to the base of the slope. The development plan has to delicately balance the important cultural and physical conser­vation goals with the desire to create a revitalized public urban and cultural amenity for the city. The covering of the Trasa Lazienkowska and the building of the new museum building are fundamental to this effort to maximize the potential of this valuable city asset. The Trasa cover presents a number of signifi­cant design challenges, as the rising elevation of the existing roadway bisects the site from east to west to create some complicated sectional issues within the park landscape. The design solution will need to mediate the multiple grade changes necessary to cover the trench while maintaining the continuity of the park from north to south. The proposed structural scheme to span the Trasa Lazienkowksa is critical to free the new museum building from the existing geometry imposed onto the site by the existing trench. In opposition to the trench, we propose a line of single-span offset trusses running north/south almost perpendicular to the or­thogonal axis of the castle. This approach provides an orthogonal 9m x 11m structural grid for the mu­seum building independent of the angled geometry of the existing highway trench. The elimination of the physical traces of the high­way geometry bisecting the site is critical for the re-establishment of the park’s formal hierarchy and the visual continuity of the Jasdow landscape and park areas from south to north.   ZONE A   The re-establishment of the Stanislawowska axis from the Wisla River, up the escarpment through the Zamek Ujadowski to the west terminating with the Pl. Na Rozdrozu is the spatial design element which is essential to the redevelopment of the Os Stanisla­wowska. This baroque axis is the primary ordering device in the plan and provides the spatial link to the area’s historic layout. The redevelopment of this axis should be consistent with the formal geometries implied by the underlying Baroque plan, yet permit some flexibility for the overlay of additional geom­etries and modern park amenities. The axis is conceived as a wide gravel pedestrian alley, lined with trimmed native trees starting in the western forecourt of the Zamek Ujadowski. Clus­tered along this alley we propose a number of glass garden pavilions or follies to balance the historic hospital building defining the southern edge. These small commercial structures establish the perforated edge between the formal geometries of the axis and the newly planned park areas to the north and will contain park amenities such as a bookstand, café or information center. As the wide alley intersects with the geometry of the Trasa, two large rectangular voids are cut into the new ground plane to provide pedestrian access down into the existing bus stop areas. These voids represent the only occupied ap­ertures in the highway cover and are capped with floating glass roof planes to allow light to enter the lower level.   ZONE B   The current configuration of the pl Na. Rozdrozu as a multi-level traffic intersection provides a confused and incomplete terminus to the Stanislawowska Axis. If a reconfiguration of this area is considered, we be­lieve that only a dramatic transformation is consis­tent with the desire to improve the legibility of the important spatial components of the plan. Our re­configuration introduces a grand traffic circle at the intersection of the axis and the Aleje Ujazdowskie. The new vehicular loop is located at grade within an inner circle fronting a concentric perimeter zone spanning the highway below designated for two prominent terminus-type crescent buildings to the west. The existing crescent of east-facing buildings forms the outermost concentric line of buildings which extend out to meet the Aleje Ujazdowskie along a local roadway. Where this circular geometry intersects with the axis along Aleje Ujazdowski, we have located a new en­try court. This pedestrian space serves as the primary western entry and distribution point for pedestrians and contains a vehicular drop-off lane for buses and coaches serving the museums and surrounding park areas. A pedestrian bridge on the southern edge of the loop provides access across the traffic circle to the entry court.   ZONE C   The effort to erase the disruptive effects of the Trasa calls for the extension or re-connection of ul. Jazdow and Johna Lennona, two north/south routes that were previously severed by the introduction of the highway. The geometry of these two routes defines the limits of a natural park forecourt to the new mu­seum building bordered by the Stanislawowska Axis to the south. Within this area the new museum build­ing responds to the surrounding park zones with a unified spatial concept. The ul. Jazdow extension takes the form of a pedestrian plaza or multi-pur­pose entry forecourt to the new museum building. This forecourt, not unlike the Pompidou’s sloping en­try plaza at Place Beaubourg, will become the pub­lic outdoor gathering space for visitors to the new museum. This north/south plaza will also be a unique transition space between the park landscape to the west and the museum interior. As the oldest historic route through the Jazdow area, the extension of ul Jazdow will be a critical spatial element linking the museum with the Stanislawowska Axis and the castle to the south. The new landscaped area fronting the museum’s west façade and forecourt reclaims the significant green space lost to the Trasa. Our concept for this space relates the shifting cubic geometries of the museum architecture with a humanist idea of a “Third Nature”, space created by the natural world mingling with the world of art. The idea of a con­structed or designed landscape is integral to both the physical reality of the Trasa cover and the imple­mentation of a unifying concept to integrate the rig­id order of the baroque plan with the more roman­tic landscape of the Ujazdow Park. Our proposed quilt of slipping landscape elements proposed for the Jazdow is conceived of as the connective tis­sue with which the whole of the Os Stanislawowska will be stitched together. The offset pattern of linear planted and paved elements forms a matrix of cir­culation paths and terraced lawn surfaces which negotiate the multiple grade changes and environ­ments throughout the Trasa cover. The introduction of spatial elements of different scales, use and density including a garden amphi­theater are woven in to the existing fabric to tran­sition between the disparate existing environments within the area. A public art program in the form of site specific sculptural installations throughout the park is intrinsic to the purposeful overlay of synergis­tic public uses related to the museum.   ZONE D   As the required public parking, bus stops and coach drop-off areas will be located in the designated ar­eas underneath and around the fly-over of the Trasa Lazienkowska, we propose the use of a funicular to connect the foot of the slope to the top of the Skarpie along the existing northern pedestrian circu­lation path parallel to the highway. This vertical connection along with the existing net­work of stairs and paths will significantly diminish the negative effects of the steep escarpment on ac­cessibility from east to west and provide a fast and efficient method for moving large numbers of mu­seum and park visitors up and down the slope. Also, the use of a rail-funicular will eliminate the need for a vertical tower element on the escarpment and help reduce the visual disruption of the historic slope area. We have located the museum’s east façade just west of the Zamek Ujadowski’s west facade leaving the castle’s north façade unobstructed. The corner to corner relationship between the new museum building and the castle minimizes the visual impact on the historic views to the castle, fundamental to the preservation of the baroque planning hierarchy and the historic panorama. The two buildings define the boundaries of the new museum’s eastern pan­oramic terrace overlooking the escarpment and Wisla River beyond. It is within this terrace that the museum gallery boxes project from the east façade and float out above the landscape. The new museum in effect, reaches out to the ter­race to greet those passing by along the Aleje na Skarpie, creating a dramatic spatial event to call visitors to the museum. The sliding movements of these boxes are traced into an open plaza surface creating a series of depres­sions and terrace projections containing plantings and seating areas. The single below-grade gallery box extends out into the plaza to create a sunken garden anchoring the museum building to the site. The proposed funicular will drop visitors on the east­ern edge of the plaza along the Aleja na Skarpie route north of the Zamek Ujazdowski. From here, museum and park visitors can pass through one of two gently sloping landscaped east-west through plazas to enter the museum or continue through to the Jazdow park areas to the west.           Structural Strategy-Traza Span   The proposed structural scheme to span the Trasa Lazienkowksa is critical to free the new museum building from the existing geometry imposed onto the site by the existing trench. In opposition to the trench, we propose a line of single-span offset trusses running north/south almost perpendicular to the or­thogonal axis of the castle. This approach provides an orthogonal 9m x 11m structural grid for the mu­seum building independent of the angled geometry of the existing highway trench. The elimination of the physical traces of the high­way geometry bisecting the site is critical for the re-establishment of the park’s formal hierarchy and the visual continuity of the Jasdow landscape and park areas from south to north.
  • Extension of the Ars Electronica Center, Linz Guiding principle The main thought behind the design has been to create a sculptured building with a structure totally accessible by foot, and therefore an exciting experience within itself. The existing Ars Electronica Center and the new extension are connected to form one unit to be perceived as an ensemble. The crystal-like appearance generates a homogeneous interaction with its surroundings, at the same time becoming a distinctive landmark. Urban concept The urban concept is based on the principle of dialogue between architecture and environment with due consideration to important factors, such as preserving the view across the River Danube and protecting the surrounding (neighbouring ?) historic buildings, in order to create an attractive ambience. THE LAYOUT OF THE ARS ELECTRONICA CENTER 1. Multi-storey main and supply building adjoining the existing AEC The new building forms a unit with the existing AEC. By designing the building in the form of a large glass cube with a double facade, an impression of homogeneity is achieved. 2. Exhibition area beneath the main deck The exhibition area is located beneath this outdoor platform – the main deck – between the main building and the future lab facilities and can be flexibly divided into larger or smaller exhibition areas. 3. Future lab facilities and upper deck The future lab facilities – for media art research – comprise laboratories and workshops in the basement with offices and recreation rooms above. The upper deck, which is also an outdoor platform two storeys higher than the main deck (and adjacent thereto ?), offers space for additional exhibition areas, presentations, events, etc. FACADE DESIGN - PROJECTION SURFACES The existing Ars Electronica Center is connected to the new main and supply building by a steel & glass construction. The double glass facade, partly transparent and partly translucent, can be illuminated by LED (liquid emitting diode) technology installed in the space between the two layers of the facade. Each facade element with its own LED panel can be individually controlled, with colour and brightness/intensity (RGBW) infinitely variable. This innovative lighting system – unique in Europe – presents artists with a whole new range of imaginative creativity. The Ars Electronica Center also presents another speciality as standard illumination, the facility to display pure white light. The AEC building turns into a glowing white crystal at the touch of a button. SITE LAYOUT The generously-sized presentation & activity area – the main deck – is at the heart of the Center and provides open-air exhibition facilities. It nestles between the River Danube and the historic buildings on the one hand and the new Ars Electronica Center on the other. Wide steps leading to the upper deck provide seating for open-air theatre and film presentations For special events, the open space can also be used for cultural and artistic presentations, or just simply as a meeting place for moments of leisure. STATIC CONSTRUCTIVE CONCEPT 1.main- and supply building with several stories, conterminous to the existing AEC An encasing steel-glass-construction connects the existing and new several stored main- and supply building. All new main bodies will be erected with massive construction. At the main and supply building with 3 basements, ground floor and 5 upper floors, the solid ceilings reach from exterior wall ~12m from exterior wall to exterior wall. The exterior wall till inclusive 1 upper floor will be accomblished through massive ferro- concrete walls with minimum approx. 50% wall percentage. Beyond there is a frontage-backup- system which is absorbing the ceiling. The encumbrances will be bleed off by raft footing into the underground. All assemblies are accomplished as waterproof ferroconcrete construction till the level of the 500 annual flooding. The lift security is given by empty weight. The occurred horizontal encumbrances are bleed off into the underground through the north side arranged staircase core as well as the massive exterior walls in connection with the stiff ceiling disc. 2.exhibition space in the basement with a place lying upon - main deck The one floored underground arranged exhibition building is performed as waterproof ferroconcrete construction, because it is completely situated below the level of the 500 annual flooding. The ceiling was concipied as massive construction with 60cm thickness –on the one hand to improve the bonding with the ground/propulsion safety and on the other hand to bestride the exhibition space. The ground plate is performed with minimum 1m thickness with additional pole traction for the warrantee of the propulsion safety. 3.future lab with upper deck The future lab is performed as waterproof ferroconcrete building till the level of the 500 annual flooding. The propulsion is resolved because of the dead wight of the building. Above the water surface the buiding is concipied with a central point and pillars in the area of the exterior frontage. Thereby the vertical- and horicontal load transfer optimal solved.
  • B amboo F orest & H uts with Water for Aqua M etropolis O saka 2009 - Mizube no Bunkaza - The event of Aqua Metropolis Osaka was held from 22th august to 12th October at Small Island of center of Osaka. Aqua Metropolis Osaka 2009 is symbolic event to for rediscovering and telling our intention to spread our ideas. Purpose of this project is that to rethink about aqua metropolis by participation form citizen. So, we designed Waterfront Bunkaza Cultural Plaza where is as space for activity of artist that is mo than 150 in Nakanoshima Park. We made 7 temporary wooden buildings by theme: (place for making) hold workshops for making something, (place for enjoying ) is for daily art programs and (place for talking and watching )is for dancing and lecture and so on.After expo Osaka, the space for festival is decreasing with the fact that the daily space in city is changing like a space for festival. so, now urban space lost real festival area. How the space for festival on water front should be? Aqua Metropolis Osaka 2009 is event with water theme, so we tried to rethink about water which lost connection with urban space.But, unfortunately Nakanoshima park is a general park in a city where we cannot get near a river because of the speed of flow of water.After consideration for symbolic space for water, city, park and Aqua Metropolis Osaka 2009, we though up the new figure of architecture which was constructed by people in the event for making space by making all stance of construction a festival, in this construction stance, we get materials from natural environment and at the same time, the action is going to be for nice circulation for, then connect energy to event for festival
  • Wooden Chunk House function: Single familly house chief architect/office name: +48 architecture project team: Agata Filipek Kamil Miklaszewski Karol Szparkowski client: privat consultancy/collaboration partners: Zygmunt Szparkowski Zygmunt Olechowski ( constructor) design date: 2009 completion date: 2011 area: 540 sqm Site area – 2420 sqm Footprint – ca 180 sqm related links www.plus48.com.pl // Wooden chunk house location: Sękocin/Poland The site of the building is situated in the far outskirts of Warsaw. Surrounded by woods seems to be further from developed areas than it actually is. Access to the site is provided from the north. Building is located in approximately 1/3 of the length of the site. This gives margin of the privacy for the inhabitants on one hand and leaves as much as possible untouched natural garden from the south. Front garden –wood - is a visual barrier that prevents from direct view into the building. Garage driveway and front door walkway are following old wood paths. The reason was to save as many trees as possible. Architecture of the building has visible reflections to late modernism. Wide glazed openings, cantilevered walkway along the perimeter of the building seem to be reflections of the style of early 1960’s. On the other hand, through used materials architecture of the building is in close relation to its surrounding. Building footprint was shaped to save maximal number of existing trees, especially old pines. Sękocin house consists of two wings. While one houses double height living room with over hanged study, the other rooms guest unit, kitchen and dining on the grand floor and sleeping rooms on the first floor. Building skin indicates “external” and “internal” facades. External ones are those overseeing site entrances, internal ones oversee terrace. External façade creates barrier that, on the one hand protects interior from the outer world while on the other hand camouflages the building in its wooden environment. Trees lumbered during the construction of the building are cut in one meter long blocks and chopped. Triangular chopped elements create character of the building exterior. Terrace side is bordered witch white simple walls with wide openings. Profilite panels are used between window and wall to gradient transparency from opaque wall to fully transparent window. Entertainment area is located in the basement underneath living room. There is visual and functional connection from that room to external lower level yard. Open air swimming pool is situated adjustment to the lower level yard creating retaining wall for the yard.
  • Floating Sauna function: public sauna chief architect/office name: Casagrande & Rintala project team: Marco Casagrande, Sami Rintala - architects Christel Sverre – Bergen Art Academy Professor Students: Kristin Lian Berg, Mona Brekke, Simen Dyrhaug, Jenny Therese Eriksson, Mahlet Ogbé Habte, Marja Ristiina Nickel, Ragnhild Ohma, Anne Marte Ruud, Mona Aspen Simonsen, Thomas Aspeland Sivertsen, Elin Solvang, Sverre Strandberg, Karolin Tampere, Sveinung Unneland, Elisabeth Wahlström. client: Kvinnherad munincipality consultancy/collaboration partners (if any): Bergen Art Academy design date: 2002 completion date: 2002 area: deck 25 m2, interior 9 m2 Floating sauna for the Rosendahl village by the Hardangerfjord in Norway. The sauna is situated in the center of the village. You enter by swimming or with a rowing boat. The walls are semi-transparent and the floor is open to the sea. The sauna glows like a lantern when the things are cooking. Norwegians are masters of shipbuilding. Finns cannot live without a sauna. This is a happy marriage between the Norwegian and Finnish cultures. The Design-Build process was an intensive workshop for the Bergen Art Academy, Norway.
  • Twin- W alls H ouse in H illside This is a villa for a family which has 4 peoples, husband, wife & two kids. located in a hillside riverbank, the site is facing to the river and crowded with lots of natural landscape. The opposite of the river is also focal landscape-view which forms the visual axis of the site. In this project, we will deal with 4 problems, as follow: 1.we tries to let the building naturally lie in the riverbank & match terrain without destroying valuable elements of surrounding, so that we set up twin-walls to suit the terrain line & determinate levels of each space to balance the terra; 2.Main view direction will face the river and its opposite to exploit the remarkable landscape of the site, also we will maintain the natural visual axis. 3. Most of plants in the site will be reserved to create a comfortable inner-environment and make the house undercover in it; 4. The main idea of that project is that we attempt to create interesting spaces to fit the complex functions of daily life by using the minimum wall, and this purpose will be realized by the two subtle twisted walls. The building formed by twin-walls has graceful contour, mutative & artistic quality that also match the status of the client who is an artist. Location: Chengdu, Sichuan, China project name: twin-walls house in hillside function: residence chief architect: Canhui Zhang (from ZCHYM STUDIO) project team: ZCHYM STUDIO collaboration partners: Yemin Hu(from ZCHYM STUDIO) client: a four people family design date: 2003 completion date: 2003 area: 325 ㎡
  • High Court of Justice Debrecen function: High Court of Justice chief architect/office name: J. Koller, L. Csatai, L. Pethö, L. Földes project team: T. Szojka, Sz. Kiss, Z. Bánfalvi, Zs. Fehér client : Hajdú-Bihar county consultancy/collaboration partners (if any): interior decoration : László Rádoczy, Zsolt Tolnay design date: 2004 completion date: 2006 area: Debrecen Hungary (optional) related links http://epiteszforum.hu/node/3162 http://epiteszforum.hu/node/430 (optional) references (if published before): 2006/4 Magyar Építőművészet – Hungarian magazin 2006/5 Alaprajz – Hungarian magazin 2008 Brick’08 Callwey (Germany, München) 2009 ANDIL – Italian magazin
  • hab 01-ext/see-play-sleep Ecuador-Zamora-Namacuntza. function: Public Infrastructure chief architect/office name: Santiago Espinoza, Espinoza Carvajal Arquitectos project team: ODA client: Namacuntaza community - UTPL consultancy/collaboration partners (if any): design date: Julio 2009 completion date: Agosto 2009 area: 52 m2 The design is solved by a flexible and efficient system of construction: resolves with a wooden platform and in turn makes banking a place to sleep, its system of adaptation to the environment it can be solved depending on geographic area, in this case it is a warm moist area and eastern Ecuador, Here we apply a wall covering and roof: 1.guadua flat - . galvanized sheet-metal . burlap or plastic surface The structure is generated with triangular pieces of wood strips that are generated based on the module three vertices. The viewpoint-space and transitional shelter is designed to be implemented in a mountain area and to provide needed services to the community that holds and the visitor will admire the flora and fauna of eastern Ecuador Zamora.
  • Project and realization of street and squares in the Izzalini historical town center Function : Urban streets and squares in historical center Chief Architect : Signorini Associati Project team : Signorini Associati Client : Todi City Administration Design date : 2006 Completion date : 2008 Area : Todi, Perugia, Italy Photos : Francesco Signorini The project refers to the repaving of the main piazza and internal streets of the medieval borgo of Izzalini, next to Todi in Umbria. During the last years the carriage ways of the borgo Izzalini were realized in a range of inappropriate materials like asphalt, stone and cement. Continuous interventions throughout the years completely transformed the medieval section of the main piazza and internal streets. After an accurate analysis of the site we decided to use “Izzalini stone” to repave the whole borgo. This stone comes from a nearby cave and was used as the main building material. Due to the stone's properties it can't reach large and homogeneous dimensions and when it's hand cut its natural beauty is kept. This peculiarity drove us to use stone of different sizes that reflect the irregularity of the streets. Maintaining the character of the borgo these hand cut stones were used for the pavement with thickness of 12cm, constant width and variable length, 30, 40, 45, 50cm. The material dimension permitted us to follow the natural shape of the terrain, that is mainly visible in the piazza in front of the castle. In fact we didn't replace the natural form of the piazza with a regular slope, but we restored its original and gentle shape. To regulate the natural water direction we gave the internal streets a convex form with two lateral gutters. Next to the piazza the existing little green area has been redone with dry stone paving in large dimensions, in the opus incertum pattern. This helps to maintain a continuity of materials, order and cleanliness. A series of stone benches have been added, not only to create seating but also used as parapets where the levels change.
  • Stitching Community: Challenging the Traditional Arena Function: Sports Arena/Urban Park Designer: Antonio Vigil Design Date: 2009 Master’s Project, University of New Mexico [School of Architecture and Planning] Related Links: http://www.formz.com/academic/2008-2009/html/0809UrbanLandscape.html Project Summary: THE PROBLEM: The City of Albuquerque has actively proposed a new multi-events arena to replace an existing and aged facility that currently resides within the New Mexico State Fairgrounds. A highly publicly financed endeavor such as an arena, should respond to the community in a way that exceeds its programmatic function and promotes a sustainable future for the city. Recent developments of similar entertainment venues across the region have been placed outside of the city, lacking any urban connection. While these venues prosper in their ability to unite a large community at specific times, they ultimately suffer from a minimal usage when compared to other typologies. THE SOLUTION: In order to fully engage public transportation and other amenities of the urban fabric, as well as continue a process of revitalization, the arena is sited in downtown Albuquerque. It’s specific location rests between several detached districts of the downtown neighborhood. In an effort to link districts rather than creating a barrier, the complex becomes a below grade arena. This creates an opportunity for the arena roof structure to allow site circulation while also utilizing earth sheltering as a reference to indigenous cultures and to provide thermal benefits. Linear pathways serve as pedestrian corridors that become entrances to downtown via the newly established regional rail line. Another pathway directly links the Alvarado Transportation Center to the Albuquerque Convention Center. These public spaces also become activity zones for local merchants and fairs. Allowing visibility into the arena from these areas creates a transparency of events. A green roof rises from ground level to create vegetated areas for park activities as well as an opportunity for urban agriculture to occur. These vegetated strips pay homage to “varas” (agricultural strips of land used by the Spanish settlers) that can be utilized for educational demonstrations as well as for local food production. The addition of a residential/hotel tower not only promotes high-density living and encourages tourism, but also provides the site with a vertical presence and permanent population located along Historic Route 66, now called Central Avenue.
  • Archaeological Museum on the Historic Site of Volubilis Set within the most visited archaeological site in the kingdom of morocco, this project seeks to enhance the historical and symbolic significance of this unique unesco world heritage site. the site is an exceptionally well-preserved example of an ancient roman colonial town and one of several antique sites in morocco. volubilis later became the capital of idris i, the first islamic ruler in morocco, and thus transformed into an islamic settlement. the superposition of different civilizations on the same ground creates a site rich in varied histories and artefacts. due to the lack of urban development in the immediate surroundings, the site today closely resembles what the romans saw in their time. in order to highlight the dramatic visual impact of the antique ruins upon entry to the site, the volume of the museum is ded into the hillside so that visitors do not initially perceive its presence. this museum complex, the first of its kind in morocco, is unique in that it hosts a multitude of functions for a variety of users: tourists, schoolchildren, researchers, and administrative staff. the project provides a pedagogical space for both the general public and for research professionals. the visitor center aims to educate the public on the site’s significance by highlighting the richness of morocco’s past and its place within the continuum of the region’s extraordinary multicultural history. as volubilis is an active archaeological site, the public will benefit from the unique educational opportunities afforded by proximity to an ongoing archaeological dig. the project is conceived as a narrow imprint on the perimeter of the ancient territory, eight meters wide by two hundred meters long. the building consists of a succession of wooden volumes along an extended retaining wall, simultaneously buried and suspended in relationship to the rolling landscape. the project behaves much like the ruins it houses, and the tectonics of its construction and the lifespan of its materials inherently propose a strategy for the building’s eventual disappearance.
  • Cloud Blanket Ben Lee - University of Pennsylvania 2009 Type: Concept Program: Health/Recreation Area: 30,000 sqft Cloud blanket - a new aqua-healthness center Water usage is re-imagined in the city of Philadelphia. By collecting grey- and storm-water from its surroundings this water is transformed into steam - a visual marker depicting the movements of the wind. Thus, the building becomes an apparatus for water recycling and purification; aesthetically the registration of steam becomes a visual indication of the presence of inhabitants inside the building; programmatically the social, mental and physical components are constantly reorganized by the temperature of the immediate environment.
  • WATER FILTRATION PLANT IN THE VENICE LAGOON Winner of WA Community Award 2010 Selected project in the Mies van der Rohe Award 2009 Honourable Mention in the AR AWARD 2008   An infrastructure becomes landscape design. Located in the Nortehrn Lagoon Park north of Venice, on the southeastern edge of Sant'Erasmo island, the new water filtration plant is part of the general urban and environmental upgrading of the island that the Magistrato alle Acque di Venezia is implementing through the Consorzio Venezia Nuova, within the context of a programmatic agreement between the Magistrato alle Acque di Venezia, the Veneto Region and the Municipality of Venice. The fragility of the island, its indefinite shores that change contours and thickness with the tide, the beautiful Austrian battery, trace of the more extensive system of fortifications that once existed in the lagoon, whose thick and solid walls leave a mark on the lagoonal landscape, the regular division of the artichoke cultivations and the ghebi or internal canals design the landscape and the building becomes part of its character. The theme of the project is the design of a 'threshold space', the point where the land and its ground comes to an end. Four one meter thick parallel walls, built in reinforced concrete colored red with pigment constructed as rough, untreated surfaces give the space the building form, like the ruins of an old battery, at the same time defining structure and shape. The spaces between the concrete structures are closed by full-height panels in Iroko planks that may be opened at the entrance and in the areas used for unloading of dust. The red concrete walls also serve as basic structures for the design of the landscape. The building buries its roots deep into the ground, at the same time facing the land, the void as a possible façade. Inaccessible due to regulations, the new water filtration plant was to have occupied a large part of the public land of the island. This has become one of the themes of the project: working on the distribution of the flows used in the depuration, it has been possible to bury a significant part of the construction, that only appears like a form in the land, the only surfacing parts being those necessary for maintenance and the final removal of the residual dusts. The building consists of two parts: an underground area that contains the depuration part and the space above ground that hosts the area where the mud is dried, an electric cabin and an area for maintenance. In fact, the underground area with its roof openings contributes to design a new land which becomes a play with paths that intersect one another, forming a pattern with the vegetation. Lavender and phlox, broom, lavender cotton and rosemary follow and reflect the development of the building. They design the accessible part of the park in such a way that the building, which on the contrary is inaccessible, takes on an ampler significance, as an element for 'land-watching' that may become an essential part of the system of the Park itself. project name/function: Water filtration plant, Sant’Erasmo island, Venice, Italy chief architect/office name: C+S Associati: Carlo Cappai, Maria Alessandra Segantini www.cipiuesse.it project team: Barbara Acciari, Eva Horno Rosas, Alessandro Stefanoni, Carolin Stephanhort, Davide Testi Stefanoni, Andrea Tenuta, C+S ASSOCIATI client: Magistrato alle Acque di Venezia, Regione del Veneto, Comune di Venezia consultancy/collaboration partners: Alberto Scotti with Guido Fiorini, Technital S.p.A. design date: 2005 completion date: 2008 area: 897,11 mq
  • Stairs-House The owners of this house are young couple in their 30’s. They are both teachers and have twins. When they asked us to design their dream home, they had three key themes in mind. One is “people gathering” as they love their students visiting them, another is “warm and bright”, and the other is “protect their privacy”. The land is located at the seaside. In winter, it suffers from the strong, cold sea wind and a short number of daylight hours. To the south of the land there is a 3-metre wide road and a 4-metre high bank leading to open ground. From the West is a combination of strong direct sunshine and sea wind. To the North is a road to the local village and to the East is a two-storey house closely. Taking into consideration the owner’s two key requests and the location of the land, we designed this “Stair-shaped House” as a solution. To allow sunlight into the house, there are a number of glass slits in-between the steps on the south side. The glass slits not only make them feel librating but also keep their privacy at the same time. The stair shaped wall is made of porcelain tiles and, therefore, maintenance free. The outside structure links the garden to the rooftop, and the inside of the house links a private porch/reception/lounge area to the bedrooms. The windows are designed and situated to allow in as much sunlight as possible, whilst retaining privacy. Additionally, the “Stairs-House” achieves the aim of allowing in both daylight and ventilation very efficiently. In summer, the house has a nice breeze blowing through the small garden situated on the south side and removes heat through both opening and ventilation fan on the north side. Also, the slit windows stop the strong, direct sunshine, whilst allowing the indirect reflected light into the house. In winter, this design keeps the house warm by allowing the maximum amount of sunlight into the house, in addition to the comforting warmth from the under floor heating and a wood fire. The “Stairs-House” is a perfect solution that can be adapted to any type of climate!
  • Unfolding Vision, Unfolding Sound Project Name: Unfolding Vision, Unfolding Sound Function: a Multi-functional Concert hall (Concert hall + Education center, Exhibition area and Musicians’ space) Chief Architect: Jung Min Nam (Work at GSD, Harvard University) Project Team: Jung Min Nam (Individual Work) Client: Philharmonie de Paris Consultancy/ Design Critic: Brendan MacFarlane Design Date: September 2007 – December 2007 Completion Date: Unbuilt Project Area / Project Location: Paris, France Related Links: http://www.evolo.us/architecture/unfolding-sounds-paris-concert-hall/ Project Description Design Intentions This concert hall for the Philharmonie de Paris is an urban intervention along the south-eastern edge of the Parc de la Villette, Paris. The movement into the concert hall will be the continuation of the pedestrian street of the city, as the proposed concert hall becomes the extension of the existing pedestrian paths within the park. This concert hall began with the idea to bring people to a visual contact with the surrounding urban context: from the park and further to the city. It is a trial to engage visitors into its surrounding neighborhood and the city as well as acoustic experience. Also, it is a way to bring the concert hall into everyday activities on the park as a more democratic place to avoid becoming an exclusive place for music. The visual experience emerges from the movement of people as they follow or their own circulation through the building. Along these narrative movements, their encounter with surrounding contexts and Eiffel tower in the end will enhance their visual experience and a sense of place. The movement of visitors begins with the sloping landscape from the ground, which continues to lead them into the concert hall and which anchors the concert hall to the existing park condition and further to the city network. A sloping extension of the existing promenades of the park will take people through the main reception area. After this, visitors might wish to continue down to the exhibition hall and music discovery area or up to the grand foyer along the continuous unfolding promenades. These promenades continue to become circulations around the concert hall area, by providing visitors with constant visual contacts with the city as well as movements. Along their experience, visitors go through visual, tangible and acoustic experience. Concert hall: Vineyard Configuration The proposed concert hall is designed based on the vineyard configuration, which is also requested by the Philharmonie de Paris for their new concert hall. The vineyard configuration will provide unobstructed sightlines and frequency response for all audience. Seating areas are arranged to take the advantage of the reflection walls, surrounding them. Also, these reflection walls delineate the seating areas.
  • The interpolation in Korcula,Croatia Function: restaurant and SPA Office name : matrica arhitektura Project team: Andrijana Pozojevic, Zora Salopek Baletic, Bojan Baletic, Roberto Vdovic Client: Lesic-Dimitri Collaboration partners: Igor Fiskovic_ historical research Kata Dubljevic, Milan Strbac_ architectural measurement Klaudia Pezzi_ conservation and restoration research Vesna Zmajic_ archeological research Sandra Momcilovic, Jasna Zmaic, Valentina Jakobovic, Sinisa Ilic, Samira El-Majzoub_ architectural project associate Egon Lokosek_ structural design Ivan Cetinic, Zvonimir Petar Gajsak, Zeljko Susic_ installation projects Attayut Piravinich_ interior design Design date: 2007-2008 Completion date: 2009 Area: 300m2 Related links: Palace Lesic-Dimitri http://www.lesic-dimitri.com The buildings of the Lesic-Dimitri Palace complex consist of two parts, historically and structurally different, four storey Palace and the addition of five monocellular derelict houses. The complex originally evolved as part of Korcula Island old city medieval urban matrix. A city set on a hill, the town has a disciplined plan that is both organic, its form derived from fishbone, feather or leaf, and geometric, a simple network of parallel east-west alleyways crossing a no less narrow north-south spine. These streets respond to wind and sun. Straight lanes stepping down to the west and the setting sun are open to the cooling maestral breeze in the summer, while those to the east fall in a gentle bend curving just enough to check the ingress of winter when the jugo blows. The Lesic-Dimitri Palace together with its outhouse is one of many stone buildings on the Adriatic coast that stood empty, their future unsure, and often exposed to unintentionally ignorant restoration without clear vision on their new tourist function. It was decided very early that a full restoration of the complex would be carried out in such a way as to restore the structural integrity of the buildings to the highest standard, preserve all existing features, maintain as far as possible the existing floor plan, and present the intrinsic qualities of the buildings. The aim of the conversion was to create a comfortable facility fully equipped with infrastructure usually present in luxury tourist facilities out of an old and damaged building lacking any infrastructure. The baroque Palace was divided into comfortable separate residential units where a single floor represents one unit, together with the two upper ruins, thanks to the original stone bridges over the street became a very attractive part of the related apartments. The three of five old derelict houses were left roofless and the space within their walls full of soil, used for a long time as a garden, a fate which caused serious damage to retaining walls and foundations. Houses are located at the very end of the street, meaning that future interpolations have to consider town’s eastern vista. Another important factor was related to the fact that there were no interpolations done on town’s eastern brim for a very long period of time and that there were no relevant details for an authentic reconstruction. This resulted in many consultations among architects, authors of the conservation documentation and competent authorities who all had doubts about finding solutions for such a complex situation. Technical problems arose from the fact that new facilities, restaurant, bar and relaxation area all demanded separate spaces which resulted in problems with the designing construction. Dimensions of existing monocellular stone houses were such that it was not possible to solve the problem with traditional construction, stone walls and wooden horizontal construction. The optimal solution for connecting smaller units was a steel construction coated with stone since the traditional construction was not possible. On the contrary, the existing parts of the buildings were restored with use of appropriate building and conservation techniques and traditional crafts and skills. This three front ruins got two additional floors, built in the new manner respecting the old urban typology. Over the old ruins the new wall made of smooth stone was built emphasizing the difference between old and new. The eastern façade of this part of the complex has been successfully incorporated in the eastern city facade. “ So stringently respectful has the renovation of the modest addition to the Lešic-Dimitri Palace been that the integration of its constituent parts into unique city matrix remains clear and unimpaired. The restoration maintains the building’s volumetric integrity and historical detail. The new elevation adds the new value to the building complex and to the city itself. Simplicity is exactly right, proportions good, and the design avoids pastiche altogether without being aggressive.   The new house is of its time yet still of its place, all together with the Palace make a fine example in all aspects of the project. “, is the words of one dear friend, impartial observer, who happens to be totally in love in the Korcula Island, Mr. Frank Arnel Walker, emeritus professor of architecture of the University of Strathclyde. Along the Croatian coast there are many beautiful medieval stone towns such as Korcula on Korcula Island which have precious urbanity and ambient value. However, buildings inside their walls are exposed to long lasting devastation. Domestic owners of the buildings in question in the light of the ‘’progress’’ of socialist society, during the second half of the past century, moved from humid facilities lacking infrastructure to their new, modern and more comfortable houses. During the transition period and the introduction of capitalism and mass tourism, owners have realised the value of those houses and the possibility to exploit them for tourist accommodations. Among many this resulted with the decision to undertake certain reconstruction works which caused further devastation in great majority of cases. Present owners do not have enough financial means for thorough interventions and this excludes the participation of experts and preparation of detailed designs. At the same time, people are installing basic infrastructure, plastic windows, and additions inadequate in style or new floors without providing protection for the construction. It is also important to note that such towns have more notable economic activities only during summer months, remaining empty during the winter. In the light of this very depressive situation such a comprehensive and thorough intervention has an incalculable value. It proved that only high quality performance and use of traditional materials and forms may resuscitate the beauty of this type of architecture and that the new design which interprets traditional architectural language in a contemporary way harmoniously fits in the environment as opposed to the design copying the past with ignorance. Since competent expert circles fear reconstruction projects in cases where there are no relevant details for an authentic reconstruction, this project represents an important step forward. The reconstruction proved that old houses can have top quality equipment and comfortableness and regular guests if they are managed as a five star hotel and that they are interesting to guests from all over the world. Only that type of tourism can be feasible and sustainable for historic island towns like Korcula. Zora Salopek Baletic
  • Block 36 Project data: Project name: Westown – Block 36 Office name: Shahira H. Fahmy Architects Design date: 2008 Expected completion date: 2012 Client/Developer: SODIC (Egypt) + Solidere (Lebanon) Use: Residential Plot area: 4000 sqm Built up area: 14 652 sqm Number of apartments: 30 units Project team: Lead Architect: Ms. Shahira H. Fahmy Architect Team: Ms. Jenane Azmy Architect, Mr. Farid Shaltout Architect, Mr. George Talaat Architect, Ms. Laila Badawi Architect, Mr. Rafik Adel Architect Our Brief Shahira H Fahmy Architects has been appointed by SODIC & Solidere International (SI) to submit a design proposal for block 36 in the Westown development project in Sheikh Zayid City on the outskirts of Cairo. The following document is a brief of our studies, concepts and proposals for block 36: a residential block with ground floor retail situated on the North border of the residential District and overlooking the Office district. Westown & the Challenges of Cairo Cairo’s rapid urban growth has been developing on two fronts simultaneously: the informal sporadic versus the formal planned growth. This dual expansion of the urban fabric, is a meaningful reflection of the conditions of development and the different social and cultural characteristics within the different social strata and can be seen as a representation of Egypt’s life today. The past 3 decades have seen a rapid urbanization of the fertile agricultural land around Cairo as a spontaneous reaction to the recent population explosion and its demands of space. The consequences of this loss of fertile land, has led the Egyptian state to favour expansion into the desert, to the East and West of Cairo. As a mixed use integrated community, Westown provides a model for such developments and may establish itself as a new regional centre where business, commercial, residential and recreational facilities meet and mingle. Thoughts & Interpretations From the Westown site, it is easy to believe that an endless desert surrounds. However, an aerial view reveals agricultural land only 3km away, with expanding boundaries dominating the scene. These boundaries of urbanized green areas, representing the informal side of Cairo’s expansion reveal gridded patterns that trace the forms of the patched agricultural land that once stood in their place. The design is conceptualized on two levels. First, the urban massing drew inspiration from the patterns and forms of the urbanized plots of agricultural land which have been translated to integrated units with alternating patches of green/open spaces/patios/solid/void on the different floors of the design. Second, the architectural language was derived from in the irregular elevations characteristic of most parts of Cairo- provide a reference for the design of the block’s skyline. Architectural Language Surveys of typical building elements such as gateways, projections, stairs, and screens, in between spaces, colors and textures have contributed to defining and refining the identity of block 36. Security and the separation between public and private areas are important social and cultural issues that have been taken into consideration for the layout of gates and boundaries. A central courtyard, characteristic of Islamic architectural layouts, together with patios on other floors and balconies create a pleasant flow of open spaces with different levels of opacity, and allows for a airflow through the building, which is an important consideration in view of sustainability and the climatic context. Projections are used for shading, and creating irregularities that maximize the use of living space, surface area and open spaces. The stairs or their inclines are protruding and apparent to create a feeling of dynamic flow and livelihood. The color code is mainly Earth-colors to maintain harmony with the surrounding, and a range of textures is used with rougher stone textures closer to the ground, to more refined textures towards the top. Site Context Westown’s unique location adjacent to the Cairo Alexandria Highway from the north and cornered by the Dahshour Road to the west provides high accessibility and exposure. Westown is characterized by being a mid-to-high density residential neighborhoods, dense active mixed use city centre, extensive retail, balanced provision of open spaces and pedestrian permeability. Block 36 is located at the North of the residential region, overlooking the office district. Total area is around 4,600 m2, of which 40% = 1856m2 is built up to a height of 17m. The ground floor will consist of residential units, some retail and recreational space, for example a bookstore or art gallery. Accessibility studies show a busy North side, with the two site entrances from the left (Casa Allegria) and right (commercial district). The main road on the North side that separates block 36 from the Office district acts like a boundary due to fast traffic, thus limiting pedestrian access from that direction. The south side is calmer and links nicely with the rest of the residential district. In this respect, block 36 is a transition and a middle ground from the purely residential south east, to the commercial/recreational North West. Depending on block 33, being very close to the spine, the West side can host some light retail. The pleasant North wind finds easy access to the blocks North/North-West side Proposals Based on the initial research, a layout for the block is proposed: The site constraints favour a hollowed out block approach, with a central courtyard The main gate to the block is south side facing, linking the block with the residential area, and avoiding the busy streets. The Gate leads into a public courtyard, which gives in to a more private central garden with a width of a little over 12m. The patios on the first floor allow for air flow continuity into the block, drawing the wind in from the North West and North Sides. Retail is located around the North West corner and sides, facing the office area to the North, and the commercial district and spine to the West. The rest of the building contains 26 apartments. A single car parking access is situated on the quiet East side. There are 4 cores in the whole block, each core serving 2-3 apartments on each floor. The upper floor and roof extensions (20%coverage allowance) will contain 3-bedroom apartments and duplexes. The duplex apartments are made possible through double height interlocking volumes, creating terraces and looking over both orientations. The grid system previously described is 3-Dimensionalized to produce interlocking volumes and create integrated units that allow for terraces and patios on different floors, to be used as private and semi-private open spaces, as well as provide wind flow inlets. These interlocking units work very well for duplex apartments on the upper floor and roof extension.
  • a Site Museum Design Intention: The site at Tulum, Mexico, is contained between the sea and a dense jungle. Within this intermediate space, a masonry wall clearly defines the boundaries between that which is open and confined. Ruins of great opacity and mysterious depth direct circulation around the site, creating invitations from one enclosure to another. Harsh light is absorbed by the porous limestone and through the emptiness of mass, together forming relationships between entrances in shadow. Essentially, the enclosure transmits a feeling of compressed stillness and expansive movement. The museum attempts to create a harmonious relationship with the existing masses. A subtle and non-imposing gesture reveals itself as two horizontal planes, generating spaces of intimacy and identity. A building is perceived on the site, but is only experienced once we penetrate the form. Office Name: Brito.Rodriguez Arquitectura Project Team: Inês Martins de Brito Gilberto Rodriguez Client: INAH (National Institute of Anthropology and History) Design Date: 2006 Area: 500 m2 Website: www.britorodriguez.com Architectural Periodical Network list: Arq/a - Portugal Luís Baptista lsbaptista@revarqa.com Arquine - Mexico Gabriela Solis editorial@arquine.com Darco Magazine - Portugal Ana Leal arqanaleal@directorioarco.com House Traders - Portugal Cátia Fernandes catiafernandes@housetraders.pt Traço Arquitectura+Design - Portugal Ana Rita Sevilha rsevilha@construir.workmedia.pt Wettbewerbe Aktuell - Germany Petra Bruegel verlag@wettbewerbe-aktuell.de SITE MUSEUM Tulum, Mexico BRITO.RODRIGUEZ ARQUITECTURA Rua das Fontainhas edif.D-2ºC 1300-255 Lisboa, Portugal tel. +351 210 993 246 mail@britorodriguez.com www.britorodriguez.com
  • 10M X 10M- Al-Tuni House Design intentions AHMAD HAMID ARCHITECTS 10M X 10M- Al Touni Country house. Sannuresse,Tameyah, Fayoum Oasis –EGYPT. The land in which the project is constructed on used to be part of the desert until the design of Al-Tuni house was finalized in 1986 to be part of the reclamation movement then. The shown pictures of the project were taken after the reclamation process has taken place. Built on a swelling desert, sandy and silt pocket, the foundations were 2.20 meters below the original ground level. The project has a 10mX10m built surface based on a 0.90m module. The 9 dome mosque in Balkh inspires the division of the plan with the reasoning of a house projected on it. The house has openings that flood it with a natural light changing with the time of the day. This variation gives an illusion of space to a structure that measures 10 mX10 m. Having both axis of this built square open all-through, adds to the feeling of open permeable space – no visual blockage. Private rooms each containing a built ‘Mastaba’ or platform for sleep and storage closets make use of structural alcoves whenever the matter or mass of the wall is not needed. The compact spaces have the feel of ocean-liner cabins. The house includes a southern winter courtyard and a northern summer gazebo. The west wall has minimal fenestration for any possibility of future extension in that direction.The upper floor bedroom is at a split level from the elevated dome dorq’aa, subtly, simply and without double-height complications. Not forgetting the curvilinear roof-scape (due to domes & vaults)that could be used for sky watching at night or simply as an architectural scape terrace during the day. The Architect’s experience in Interior Decoration and traditional furniture-making shows in the house’s interior detailing in addition to the details that enhance the flow of spaces. To accommodate local climate & geographical conditions: - Orientation: Every room has one or more orientations. - Cross-ventilation: Summer northern courtyard vs. winter southern courtyard creating continuous suction. - Seasonal sitting areas. - Uses of material & thickness of walls for thermal insulation. Project Significance and Impact: 1. This project’s design, construction and building technique complies with the surroundings making it a nucleus for land development projects of the kind. It could help start a trend of immigration from Cairo back to the countryside. 2. Economically, 50% of the project’s cost went to labor so the materials used didn’t come from the high-bracket cost. This suggests the possibility of using this prototype to develop another, less costly, prototype aimed at the country side farmer (or ‘Fallah’). The beauty of the structure is a design project rather than being due to the use of rich and ostentatious materials 3. This residential prototype has Islamic Architectural elements that fit the present and the future without any heavy adherence to the past. 4. In the desert countryside, temperature control & ventilation are of a high degree of importance. In the Al- Touni farm house both were heavily taken into consideration from the beginning of the design process. Technical data Longitude 31° - Latitude 29° Desert land (soil & climate). Irrigation comes from Artesian wells & Nile irrigation branching (Main source: The Nile) Temperature Morning Evening Summer 35° 20° Winter 18° 8° Northerly winds –sometimes N. East. In April South-West ‘Khamaseen’ hot winds. Low humidity. Rain in January & February (see overleaf). Materials and Structure : The structure is bearing wall. Local stone, brick and sand were transformed into a structure built according to the traditional techniques of arching, doming and vaulting. A technique that stands outside of the contracting system used today and enhances the role of the architect as designer and builder. 10M X 10M- Al-Tuni house Project team Assistants: Arcitects Hesham El-Guindy & Hatem Fawzy& Hamed Hammam. Project consultants: Mustafa Al Kafrawy. Structures. Cairo.Egypt. Sameh AbdelGawad. Sanitation. Cairo. Egypt Ahmed Soliman, Mohamad Eissa, Abdel Rahim. Masonry construction builders, Edfu, Egypt.
  • Scripture hall: Wat Pha Vachirabunpotch, Chonburi PRACTICE: Suriya Umpansiriratana Before practicing architecture seriously, I pursued craft, sculpture and traditional Thai painting, and did architectural rendering and landscape design. Following an opportunity to practice meditation, and because of my strong Buddhist belief, I made the decision to sacrifice my time and give my services in charity to the monastery. The many things from long years that inspire me include childhood memories, the sound of chanting and the sound of silence in meditation, as well as the experience of growing up surrounded by beautiful nature and culture; I put all these into architecture. That is in addition to collaborating with other talented persons from diverse fields. In almost all the temples across Thailand one can see a traditional style of building. In my work there is a keen interest in challenging with creativity the order and results of these architectural forms and the resolutions in context. To the public the designs appear quite contemporary, while for me the traditional forms are a body whose meaning resides in the mind. In my work the body is transformed or even destroyed so that only the meaning remains. Only when ones experience comes from within can one perceive the original meanings. CONCEPT Our hope is to transform the Buddhist abstract essence into architecture, to create a peaceful place set auspiciously in the landscape, a building that will preserve the scriptures and provide an atmosphere for quiet study. A building that sits with quiet power and energy, the way a monk sits when in deep meditation. DESCRIPTION The temple had a very small budget to build a new scripture hall, so as Buddhists we needed to do something for them. Here the monks are involved in various types of Dharma practice. Besides the usual body of canonical Pali scriptures - the books that bind the wider Buddhist priesthood todgether ­- the monks at Wat Khao Buddhakhodom produce their own Dharma publications for free distribution. The existing library of scriptures, along with the publishing activities of the temple, created the need for a space capable of holding hundreds of titles of Dharma books amounting to more than three hundred thousand volumes. We designed and built a main scripture hall in the branch temple in Ban Bueng prefecture. Here the land is flatter and so more suited to this type of building, which is built over a shallow pool to protect the books from termites and other insects. The construction process made use of recycled materials, donations from practitioners, and the generosity of the abundant surrounding forest. This picturesque scripture hall performs its function with elegance in this tranquil setting. Compared to the exquisite ornament of traditional scripture halls, this new rectangular plan building is very simple. The external walls are finished with plain polished concrete. The two rows of square openings in the walls, for daylighting and ventilation, similar in some ways to traditional window designs, echo the lifesaving form of ancient medical chests. The wide overhanging roof, for protection from sun and rain, is constructed from lightweight metal beams. An upper level, capable of storing more books while providing natural ventilation, is set between this simple gable roof and the main storage space below. PROJECT DATA project name . Scritpure Hall location . Wat Khao Buddhakhodom, Chonburi Province, Thailand type . Religious primary users . Monks size . 120 sq m floors . 2 building height . 6 m client . Wat Khao Buddhakhodom structural engineer . Tanya Ongsiriporn builder/contractor . Anan Yuenprakon structure . Steel frame main exterior material . Painted cement board, plastered concrete main interior material . Painted cement board, plastered concrete design date . 2006 building time . 3 months ADVISORS Buddhism . Venerable P. Yanasobhano . Venerable Mahatong Dhamavudho Architecture . Apichart Puemsagul . Kyai Nuichan Project team . Anan Yuenprakon . Natapon Nimlamai . Pirak Anurakyawachon . Panicha Bhusarakumtrakul
  • The Friuli Venezia Giulia Film Archive The vault is a building with a surface area of 650 squa re metres, consisting of a compound bounded by a perimeter almost 9 metres high,within which stand two buildings separated by a hall open to the sky. One of the buildings contains three floors of offices and technical laboratories, while the other houses the climate-controlled vaults on two floors, two on the ground floor and one on the first floor, covering a total of 450 square metres. The first novelty is the introduction of the compound, as if two boxes were contained within a larger one. The outer wall comprises a cement base supporting glass panels, surrounding and totally covering the two structures within. A corridor runs right around the perimeter in order to provide a space between the air-conditioned areas and the outer wall, thus ensuring improved insulation and energy conservation. The Cineteca del Friuli was also concerned to safeguard the environment, and to this end the architects have devised a series of systems exploiting renewable energy sources to reduce energy consumption. The three climate-controlled ground-floor rooms are 3 metres high, while the room on the first floor is 4 metres high, and are equipped Underlying structure of the building with an antechamber so that doors do not lead straight into the air-conditioned area, thus maintaining a constant temperature of 6°C and 30% relative humidity. Temperature and humidity levels in the building are kept constant through the combined use of a direct-expansion refrigeration plant and independent dehumidifiers specially designed to operate at low temperatures. This ensures a highly precise control of humidity levels room by room, regardless of variations in weather conditions and the type of material stored. Volatile pollutants released by materials in store are treated by an active-carbon filtration plant, which automatically pumps fresh air into the premises. The offices are equipped with a heating/cooling plant based on the use of a heating pump combined with geothermal gauges connected to a system of radiation panels set in the floor. Ceci n’est pas un frigo The Cineteca is a structure with the “introverted” characteristics interior spaces that immediately catch the eye in a film vault, usually inward-looking, without windows or openings facing outside, and isolated. The materials used are standard and straightforward, the distribution of space and the arrangement of passages are eminently rational, and the wasting of energy is avoided. Form and content are inextricably linked. The hall becomes a reception room, and offers a view of the area’s natural beauty. The basin set in the centre is not functional, but establishes an immediate link with the surrounding environment, calling to mind the river Tagliamento, which flows nearby and from whose bed the foundation stones were taken. This reference to the outside, including the use of an open roof, is a way of turning the building towards the outside, rejecting a tendency towards introversion, making it visible, something other than a large fridge. A sarcophagus is the model for ideas for the vault. Preserving means not only protecting, but expressing and revealing, too. Thus the other model becomes a “box within a box”, like the famous Yale University Beinecke Rare Book Library, designed by Gordon Bunshaft in 1963. Opening towards the outside, displaying what is being preserved and safeguarded, can be done while still covering and protecting. The temperatures required for the preservation of film rule out glass panels enabling the interior of the cold-store cabinets to be seen, but perhaps this is not the real issue. “Visible” suggests a General view of the interior space recognized, visited exhibition area, maintaining contact with reality and of the new facilities. Not just with the past, with something so jealously shielded that it runs the risk of becoming a historical relic. The cinema is far more than this. A vault can for example house those contemporary artworks which more and more often pay tribute to or are inspired by the cinema, borrowing its techniques and genres. A vault should not merely be a container, hidden away, but rather a facility that offers an opportunity for making people aware of the physical nature of film, the mechanics involved in its use, the aesthetic quality of its material form. This is what the new vault aims to do in a way, for here form and substance are one and the same. project name: FRIULI VENEZIA GIULIA FILM ARCHIVE function: FILM ARCHIVE office name: DE MATTIO/RAFFIN ARCHITETTI project team: Arch. Michele De Mattio, arch. Giuliana Raffin client: LA CINETECA DEL FRIULI consultancy/collaboration partners: Nicola Scian, arch. Marica Venier, arch. Roberto Moret Ing. Raffaele Piva, P.ind. Alessio del Ben, Ing. Antonio Colonnello design date: 2005 completion date: 2008 area: Gemona del Friuli (Udine) – North-East ITALY   references: Magazine: CASABELLA, OTTAGONO, COSTRUIRE – Italy 2009 FIAF Journal of Film Preservation n. 77-78/2008, Bruxelles Awards: Gold medal for Italian Architecture – LA TRIENNALE DI MILANO – Electa 2009 Premio Architettura Città di Oderzo – Italy 2009 photo: ORCH Alessandra Chemollo
  • Headquarters of Prosecutors Office , Vilnius, Lithuania function: Government Office chief architect/office name: Kestutis Lupeikis KLAP / Kestutis Lupeikis Architectural Projects client: General Prosecutors Office of Lithuania consultancy/collaboration partners (if any): JSC “Archprojektas” design date: 2004 – 2008 completion date: 11 2008 area: 18 800 m2 Copyright – Kestutis Lupeikis (photos, etc.) The architectural-plastic idea - cube conceptually gives sense to order, stability, strength, rigour, etc. This form best reflects the specifics of the object and creates an exceptionally suggestive and concentrated image of a law enforcement institution. One of the key formative elements of the image is the application of black, polished granite to the exterior of the building. This natural, precious mineral has to stress the necessary level of solidity of one of the key institutions in the law enforcement system. Black – the colour of law enforcement – conceptually contributes to the general solution of the building (any other colour in this case would be a simple formal aesthetisation, a search for “beauty” that is incompatible with the specifics of the object). The strict composition of the cube in black is conceptually supplemented with a rhythm of oblique windows that brings drive and dynamism, which is also an inseparable part of the activity of the prosecutor’s office, to the static character of the building. The overall heavy, stable form has been provided with the elements of dynamics. In this way, a visual motion appears. It is a change and a fourth dimension, giving atypical qualities to the static form, activating it, and turning it into a hypersurface. Here hyper  – is not in binary relation to the surface. It is a new notion that describes a complex condition of architectural surfaces. Urban context is a random structure of urban texture that emerged spontaneously. A low quality built up area dominates, with typical Soviet period apartment buildings. This context is noncommittal . The plot of land is in the central part of Vilnius, about one kilometre from the historical centre of the city. This is a continuation along the axis of the new administrative centre which runs parallel to the River Neris. This territory has not seen much urban development, even though Prosecution Service buildings are concentrated in the area. The location of the building on this plot was aimed at smooth adaptation to the existing surroundings, and preservation of the character of the landscape. The formation of the idea was influenced by the intended purpose of the building and its role in a socio-political context. Priority was given to the aim—to express the specific aura of the Prosecution Service as an institution, as well as the purity of the architectural idea and form of the object, its clarity, perfection of proportions, and responsiveness. The aim was to seek a high quality artistically conceptual result that did not surrender to the environment and dissolve into the background. The “Black Cube” seems to express the wish to be seen, and not to blend with the surrounding grey buildings, but to “set” a new tone, a tune to the territory and become a pause—a black point that embodies a search for silence in the noise of the city. Minimum means were used to achieve maximum suggestibility and expressiveness. “Less is more”. There is a blend of strictness, simplicity, and restraint about this work. Elements of psychological impact were also applied. A massive black cube “hanging” on a transparent basement visually glides and daunt visitors... The main entrance is set down a little and proportionally formed in such a way as to subconsciously imply that one needs to bend, thus making visitors experience a feeling of fear and respect. The building contains 13 floors: nine floors are above ground, three—under ground, and one ground floor. The total area is ~ 18,800 m2. Technical premises, archives, and a car park (134 vehicles) are located in the underground floors. All entrances to the building including the entrance hall, reception, security personnel posts, staff rooms, and café are located on the ground floor. Prosecutors’ offices occupy the perimeter of the building in the upper floors. Above the entrance hall located on the ground floor, an internal space opens which connects all the floors—an atrium with “hanging” conference and meeting rooms. This is like the “heart” and “brain” of the building. The form of the rooms is a transformed primary geometrical shape with double curvature domes at the top and bottom. It was decided to use natural building materials for the object such as stone, concrete, wood, glass, metal, etc. Simple and easy to use internal finishing materials were used to ensure a good aesthetic level for the interior. The structure of the building includes monolith reinforced concrete drilled foundations, columns, floors, metal columns and beams. The façade is ventilated.
  • House Steuer-Best The house is located in the building area “Hammelsberg”, on the outskirts of Perl, in the Saar-France-Luxembourg border triangle. Situated on a hillside to the north-west and overlooking the Mosel valley, opening up the land from the north-west side. The garden is situated in a northeasterly direction that gives onto a small wooded area Our task was to place the building on the one hand in a public space, connecting the other hand the private rooms of the house with the environment. A square floor plan with dimensions of 14.5 / 14.5 m provides the basis for our concept. So it is possible to accommodate the required space program of about 190 square meters on two levels and simultaneously to integrate the special exterior, the quadrangle, so that it is a generous link to the garden. The Carport and the entrance will be in such way as to avoid additional extensions to the main body. From the recessed entrance the foyer leads into the open-kitchen. This is where the house opens up generously towards the patio. In the warm seasons it can be ideally used as a quiet refuge. The patio affiliates to a boulevard, which connects the property with the arbor. The living room and fireplace are linked by a pond with the patio and with a "picture window" view to the garden. Upstairs are the private areas, with an additional patio and a "Winter Garden". These are arranged so that all residents of the house have the opportunity to retreat. The bedroom is extended into the outer patio, which is only accessible from this room. The study and the guest area is attached to the "Winter Garden", which provides a view into the patio. The result is an architecture, which attempts to incorporate the realities of place and environment.
  • Dr. Babasaheb Ambedkar Technological university, Lonere, Alibaug Design intentions Dr. Babasaheb Ambedkar Technological university, Lonere, Alibaug, India. This is an Administrative and Academic complex of an University, situated in west maharasthtra state of India. Building is designed in association with . The building situated in a campus 550 acres in area. This building has been designed as a main complex of the university and has its programme as 1. A Vice chancellor’s block, 2. Library, 3. Auditorium, 4. Entrance Plaza, 5. Amphitheatre, 6. Classroom Complex, 7. Computer center, 8. Administrative offices for the registrar, faculty of the university. It has a wonderful surrounding , the site sits amidst hill all over and at the backdrop is famous fort of India “ Fort Raigad”. As a mark of respect to this great monument the main axis of the building in coinciding with the fort. The building with the above programme in mind is designed to evolve a built environment suitable and catalytic to the process of learning and teaching. The natural wealth around this site demands the architectural plan to have a rich dialogue with the nature. The spaces, have been designed to promote more and more sense of togetherness and interactive with its users. The building has a strong personality which I am sure the students and teachers are proud to associate with. Which is very evident form the feedback we have been gathering for past few years. Being an institute the circulation is highly legible but not monotonous. It is full of variety achieved through intelligent designs of almost 12 staircases, each one unique in its own way. This is deliberately done to establish a strong sense of communication with the students. After so many years of institute designs now we have realized that staircases are extremely vital and essential to relieve stress by encouraging student community to gather around and share a spirit of team. The building has a huge plaza at the entrance and offers a grandeur to the main entrance of such a huge and premier university. Technical data The building is designed as a RCC framed structure, with ducts spread all over to carry services such as rainwater and plumbing lines. The connecting corridors are 3m wide to sustain the growing strength of the students. All the buildings have their own internal courts to draw natural light and offer rich ventilation. The red colour stone cladding is used to simulate the locally available latrite stone colour and feel. The silhouette of building is inspired by the surrounding hills which are a typical character of the region. It has a form finish surfaces to slab and beams, to retain the monumental aspect. The building assumes it to be an important being in the region and tries to exist as responsible, deep rooted, and robust ready to sustain invasions and face all times to come in the socio cultural change of the country. This is achieved through its scaled up columns and a great order in columns carrying services. Project team Architects: Ar. B. W. Dhumaley, Ar. Ajay Kulkarni, Engineer incharge: Mr. Sahasrabudhey, Mr. Ksheersagar, Contractors: M/s Chaudhary and Chaudhary Pvt Ltd. Mumbai. Structural Engineer: Vikas L. Chaudhary. Services HVAC, Electrical: M?s Seth tecno consultants Ahmedabad. Project Incharge: Mr. Vilas Chavan University Engineer Design Date : Jan 2000, Completion date: Oct 2009, Area 29490 Sq mtrs. Project Name: Administrative and academic complex for Dr. Babasaheb Ambedkar Technological University at Lonere. Alibaug, India.
  • Beach Cottage function: residence chief architect/office name: Juliana Lahóz/ Juliana Lahóz Arquitetura project team: Architect Juliana Lahóz client: Mostra Morar Mais Curitiba consultancy/collaboration partners (if any): Synteko, Cebrace design date: august 2006 completion date: September 2006 area: 103m² This cottage offers excellent thermal and acoustic insulation and was constructed around a tied wooden structure utilizing a variety of Brazilian natural materials with the walls using pine self-clavate, painted with a regular ink water base, the flooring of Brazilian IPÊ , sealed with a water based varnish (Vitta Resistance – Synteko) and the ceiling furnished with Brazilian MUIRACATIARA wood. As the design was to also include picture windows, a specification was made for reflective security glass (Reflecta Float – Cebrace) to maximize light while maintaining the internal ambient temperature. The interior is designed with the maximization of space and easy maintenance, especially for vacation builds such as beach houses, camp houses or even low footprint city plots. Many of the furniture pieces can be found in regular stores and as a contrast with the wood of the house, the style was more contemporary. The internal and external lighting also designed by Juliana Lahóz Architecture Office, highlights the natural elements of the wood construction along with localized task specific lighting . Colors with natural soft tones were used to provide a good contrast with the wood and glass to offer the resident complete integration with the natural environment. The construction system provides modeling modifies and enlargement according the necessities.
  • The Exhibition Center Of Contemporary Sculpture In The Alexandrovskiy Park Foundation: Saint-Petersburg, Russia (59°57'14.53"N 30°19'17.36"E) Function: Exhibition Center Chief Architect: Ilya Filimonov Irina Filimonova Project team: Ilya Filimonov Irina Filimonova Client (competition): 43rd Central Glass International Architectural Design Competition Tokyo, Japan. (updated for Architecton`09 Saint-Petersburg, Russia) Design date: July 2008 (updated – August 2009) Competition date: 43rd Central Glass International Architectural Design Competition – 25.07.08 Architecton`09 – 03.09.2009 Concept: The historical center of Saint-Petersburg was added to UNESCO World Heritage List in 1991. So there are no single opinion of what and how to build there. The Alexandrovskiy Park in Saint-Petersburg is a transit space in the heart of the city. The exhibition center will bring a new function and besides it will modernize the recreation area. On the glass walls of the center there will be printed images in order to hide it. And that is why it will be placed on the height of 4-7 m above ground. The new illumination system is placed on the bottom side of that hall. Interior spaces designed in the esthetic of functionalism (minimum details), so the park itself will be the background for contemporary sculptures.
  • G ranatum - G ranada P erforming A rts C entre Granatum is the title of this competition. A building that evokes the structure of a symbolic fruit for Granada. A geometry inspired on the nature. The honeycomb grid is adopted as the best way to connect spaces at different heights and to organize the whole audience. It is also the base for the structural system, as it becomes the principle to solve the structure of a no-column space. The hall configuration is a “fan type”, trying to avoid the strong hierarchy of the “shoe box”, with impersonalized stalls and small boxes on the upper levels. The hall proposed has 1462 seats organized equally in a series of terraces around the stage that impedes the discrimination of the audience The hall is considered here as a social space, compact and cozy, reproducing the spirit of the Old Italian opera theatres, where the relation among the audience was also very important. The foyers are part of the thickness of the façade, facing the open space of the future development of the city beyond the loop highway at the back of the site. The entrance is also tangential to the main axis of the site, a bent entrance, inspired by tradition of the Islamic architecture, entrances breaking the axis with abrupt turns, very present in the historic buildings of the city. This project has been made in collaboration with Kengo Kuma & Associates.
  • S udecki _H ouse Sudecki_House is attempt of connection of modern house with traditional features of mountain constructions. Project refers to planning, forms and materials to typical historic buildings from this area.
  • Darnitsky Railway Highway Bridge Conception of 2 km darnitsky railway highway bridge in kiev across dnieper river was d in 2004 in cooperation of architect oleg zavarzin and engineer leonid etnis
  • RAK OFFICE PARK United Arab Emirates Project Name: RAK Office Park Function: Offices / Work Places Office Name: CC Jafar Tukan Architects Design Architect: Shadi A.Salam Client: RAK Design Date: May 2008 Completion Date: Area: 17000 sqm ARCHITECTURAL DESIGN PHILOSOPHY: The main target of the design is to create an interactive office environment that reflects the park experience, while at the same time being a model of efficiency and buildability. The design achieves this purpose by introverting the buildings to inside, consequently filtering the outdoor environment and reducing the impact of the undesired surrounding factors to emphasize the dialogue between the offices and the inner park. Therefore, the project is seen as four layers: - The Solid Shell (external walls) - The Transparent Fill (glass ) - The Green layer (park) - And the Structural system. This layering system encouraged a high level of interaction among the buildings and between the buildings and the park. The segmentation of the buildings is derived from the distribution of the entrances on the surrounding streets. A grid system is applied to provide the outline of the buildings and define the circulation patterns within as well as outside of the components. The park's interaction with the building is achieved at all levels; Public facilities (restaurant and café's …) are located at the ground level. Main entry and exit points and buildings lobbies are open to the plaza. At the upper floors; offices interact with the plaza through the transparent facades and planted terraces. And as the fifth elevation, a roof garden is designed to maintain the park experience at the roof level. The offices are organized through an open-office plan; since a free floor plan allows the owner/user greater flexibility and freedom. The spines of vertical circulation as well as the services are assembled at buildings centers to increase floors efficiency and reduce circulation ratio.
  • Jordan Kuwait Bank Function: Office building Chief architect/office name: Bilal Hammad / Bilal Hammad Architects Project team: Mohammed Hwail Client: Jordan Kuwait Bank Design date: 2001 Completion date: 2003 Area: Extensions 3000 m²   Related links : www.bilalhammad.com References (if published before): JO, September 2003, issue 1, p.90-91 The intervention had a great effect transforming a rather dull structure into a strong architectural statement to the extent that owner /client (a local bank) embraced the new image as a logo in his advertising campaigns. The intervention comprised of some extensions and a new skin to the existing building. The extensions were an additional floor plus an additional building eastward comprising parking space and a tower like structure. The upper floor was retracted back to make space for a roof garden covered by a semi transparent canopy. The existing building was cladded by a mélange of different materials, a rough stone base, a membrane of spidered glass wall, another membrane of aluminum sheets crowned by a semi transparent steel canopy. Each of these elements contributes in creating a pleasing ensemble.
  • Coffee Shop + Shading Surface Sacavém is an ancient working class village, developed around ceramic industry. Its geography at the outskirts of Lisbon, the progressive dissipation of industry and the exponential inhabitants growth, made it loose former urban references throughout a massive generic housing development, so that it became to be seen as a dormitory city. On the end of last century, Loures City Hall started to work on the revitalization of Sacavém (about 20.000 inhabitants), centered on the longest road of the city. The challenge was to transform one former national road that led to Lisbon, on one urban avenue. Ateliermob was called to took part on this urban plan, designing three interventions with the common goal of playing the decisive role at the qualification of public spaces in between buildings, formerly abandoned, disqualified and full of cars. After the first site visit and interpretation of the urban plan’s main dynamics, it was felt the need to design the this elements as part of one family, although holding different uses and problematic. These three interventions, with objective and circumscribed problems, should contribute to simplify the complexity of the urban environment and, above all, to reduce the impact of the turbulent context. Therefore, we sought to design three quiet buildings, under the motto: "nothing new under the sun" The design process started from the idea of having the fifth facade as the reference element of the three interventions. The faceted surface could adapt itself to the different topographies of the projected landscape reinforcing the common identity of the buildings. The Coffee Shop and the Tobacco Shop (not built) are similar buildings. Constructed on the top of interstitial and renovated areas in between building (mainly designed for children to play), these two buildings are embraced by one staircase, one ramp and the north road. Since a part of the building is underground on the north facade, we chose to detach it from the ground so that we could design the building with cross ventilation and no need of air conditioning systems. The north light is emphasized by the use of colored handmade ceramic tiles which changes a lot the interior ambiance according to the daylight and time of the year. The third intervention is one shading surface, on the top of the main square and above one underground parking. This surface was intended to be the reference element of the square. In this case, the three slop plans structured on five walls, are dematerialized by one regular process of pixelization. The holes produced a very iconic image to the square (important on one environment with lack of references) and play one interesting game of light under it. This project assumes a particular relevance to our firm, for being the first built public space designed by ateliermob. Coffee Shop + Shading Surface, Sacavém [2004-2009] FACT SHEET Location : Sacavém, Portugal Developer: Loures City Hall Master Plan: CMLoures – [construction] Alfaro Martins [project] Ana Lúcia Abreu Architecture: ateliermob [construction] Tiago Mota Saraiva, Nuno Carvalho, Andreia Salavessa, Raquel Capelo with Carolina Condeço, Nuno Ferreira and Vera João [project] Tiago Mota Saraiva, Nuno Carvalho, João Ribeiro, João Ferrão with Sónia Oliveira. Engineering: Pereira Pinto, structure; Grade Ribeiro, hydraulics; Campos Carvalho, installations. Contractor: Abrantina/Grupo Lena Construction Supervision : TPF Planege
  • Sustainable Energy Research Center Sustainable Energy Research Center(SERC) is designed based on the green architecture rules: Attention to Environment and Respect to it Using Natural Energies such as: Solar and wind Energy Recycling Material Protecting site Potentials
  • Haesley Nine Bridges Club House -Ecological Transparency - Architects: Kyeong Sik Yoon/KACI International Shigeru Ban/Shigeru Ban Architects - Site Area: 1,132,871.00m2 - Bldg. Area: 5,420.21m2 - Gross Floor Area: 22,463.189m2 - Bldg Scale: 1 story below ground, 3 stories above ground - Structure: Timber Structure, S.R.C. - Function: Golf Club House, Spa, VVIP Suites - Exterior Finishing: Stone, Glass Shutter, T24 Pair Glass - Interior Finishing: Timber, Travertine, Papertube, Stone - Project Team KACI International Inc.: Young-Il Jang, Yoon-Jung Kim, Man-Young Son, Kwang-Hoon Lee, Tae-Hee Kim, Guk-Hwan Kim SBA: Nobutaka Hiraga, keina Ishioka, Keita Sugai, Minha Kang - Consultancy Structural engineers: Creation Holz GmbH/Hermann Blumer, CS Structural Engineering Timber structure contractor : Blumer lehmann AG Lighting consultant: Light & Shade Lighting consultant: Light & Shade Mechanical consultant: Sahm-Shin Engineers Inc. Electrical consultant: Hana Consulting Engineers Co., Ltd - Design Date: 2006. 11 ~ 2009. 8 - Completion Date: 2010. 3 - General Contractor: CJ E&C (CEO, Myungkil Oh) - Client: H a esl e y Nine Bridges(CEO, U nyong Kim) New Way of maximizing Timber Structure as the most sustainable building material This clubhouse in the golf course located from Seoul to the south in the place of one hour by the car. It is composed of three buildings of the clubhouses for regular members and VIP members, and the accommodation for VIP members. Each building is composed of three different structure systems. The regular members' clubhouse building is composed of the wooden hexagon grid shell, and this ecological and natural ventilated concept of Hexagon pattern occurred from Korean traditional summertime pillow ( called” bamboo wife ” ). The VIP accommodation building is a small span of the steel structure in a residential scale. The VIP members' clubhouse building is the reinforced concrete structure. Each building has sublimed in the modern referring to traditional construction of South Korea. The atrium and the upper portion of the main building include timber columns and a glass curtain wall, while the base is made of stone(random rubble masonry typical of Korea). The timber area includes the reception zone, a member's lounge, and a party room. The stone podium houses locker rooms, bathrooms, and service areas. The roof over the main building measures 36 x 72 meters in length. The unusual tree-like timber columns in the atrium reach to a height of three stories. The first floor of the atrium has 4.5-meter-wide glass shutters that open fully. Innovation and Sustainability The most innovative feature is the hexagon grid shell roof made of wood. This wooden structure is fire-resistant and the roof and columns are exposed in the interior spaces. In modern building technology even though there are mainly three structural materials, Steel, Concrete and Wood but Wood is the only renewable materials. The professor Klaus Richter of Swiss Federal Laboratories for Materials Testing and Research has presented an interesting result from his research comparing the total amount of CO2 created by three different materials, Steel, Concrete and Wood through the process of procuring the materials to the completion of the building. The results are shown in the diagram below. As it is clear from the diagram, the total amount of CO2 created by Timer (Wood) construction is half that of concrete construction and one-third of steel construction. Additionally, wood has absorbed CO2 before they are cut down. Our project utilized Timber Structure as the main structural material in a new way. Using the most advanced technology of computers and cutting machines we were able to find the most efficient structural form and minimized the assembling process and quantity of timber. This development of the new timber structural system will encourage architects, engineers and clients to utilize the sustainable building ideas of for the future.
  • Nabha House, New Delhi Function : Cultural Center (Housing various functions such as Amphitheater, Auditorium, Art Galleries, Guest rooms, Library, Restaurents and cafeterias, Resource centre on the culture of Haryana State, Offices for the State Government of Haryana.) Chief Architect : Prof. Christopher Benninger Project Team : Harsh Manrao, Jagadeesh Taluri, Shahaan Patel, Mansi Sahu, and Er. Rahul Sathe Client: State Government of Haryana, India Design Date: 2008 to 09 Completion Date: Unfinished project Site Area: 10,915 Sq.M. Built-up Area: 28,540 Sq.M.
  • Lighthouse Tower Rio 2009 Architect : Mikou Design Studio Client : City of Rio Programme : O bservation points, auditorium, skywalk, bungee jump platform, climbing tower, gyrodrop, cafétéria, souvenir store, urban balconies, multi-usage space. Height : 110 m Surface: 2000 m2 Budget: 11 Millions euros Location : Cotunduba Island, Rio di Janeiro, Brasil Date  : competition 2008 Lighthouse Tower, Rio This tower is for us the poetic embodiment of its natural and urban surroundings. It summarizes the tropical experience associated with lush South American vegetation, the deep skies of Brazil and the sensorial urban landscape. We have thought up a truly Brazilian tower which symbolizes the imagination, beliefs, myths and memories of Brazilians. One made of sensitive perceptions of light, sound, atmosphere and sensual experiences related to its geographical and urban location. An abstraction of the female form, our tower is rooted on the island of Cotunduba and offers itself to the sea via a large jetty. It is designed as an arch at the entrance to the city, a figure that frames the Brazilian landscape by a window cut into the organic shell.
  • Paris Department Store Renovation/Restoration- Blend of historic and contemporary – National Heritage Non standard geometry Under 40 / young architects Hungary Custom-made steel and aluminium structures location: Hungary, Budapest, VI. district use: office, retail client: ORCO Hungary Zrt. architecture: TIBA Architects Studio – Design team leader architect: János Tiba; project architect: Ida Kiss, Ákos Gerle; architects: Melinda Matúz, Anita Pintér, Zoltán Bozsik, Zoltán Beszeda, consultants: MTM structural engineer, SMG-SISU Budapest Kft. M&E Pataky és Horváth Kft. waterinsulation project: 2006-2008 realization: 2007-2009 site: 1264 sqm gross floor area: 9130 sqm The refurbished Paris Department Store – one of the most important building with shopping traditions in Budapest opened in 2009, right in time for Christmas shopping. This extraordinary building has already won a public prize as best building of 2009 and has been published in several hungarian magazines. TIBA Architects Studio, the firm responsible for the architecture of the reconstruction is a young office led by Janos Tiba (formerly associate director of Erick van Egeraat). Being bilingual - english, hungarian - the office is effectively collaborating with clients from all over Europe, designing for them office developments, vineries and participating in the elaboration of masterplans. The Paris Department Store is the first building in Hungary built exclusively for warehouse function. It uses a sophisticated reinforced concrete-skeleton structure qualifying it as a national monument. The department store was built in 1909-11 in the style of industrial art-nuovo on the site of a former neo-renaissance Casino building. The architect integrated the prestigious ballroom of the Casino into the new department store thus creating an exciting blend of historical styles. In the 60s the building has undergone a major refurbishment that affected the style and use of the building. It operated as a famous department store typical of the socialist era until 1991 when it was vacated. By acquiring the long-time abandoned building in 2006, the aim of ORCO was to revitalise and giving it back the prestige it used to carry. The aim during the design of the refurbishment was to restore the original space concept of the building, to bring back the original values as much as possible considering both monumental aspects and the needs of the future users, whilst adding contemporary elements that correspond with the historical style of the building providing it freshness and boldness. The department store was converted into a multifunctional building. Retail areas are housed on the ground floor, the first floor and the Lotz-hall (the ballroom). New escalators and elevators serve the retail floors. The formerly dark and narrow areas are converted into large, elegant uninterrupted spaces as at their original state. The intermediate floors are transformed into prestigious open space offices. An exclusive business club might be located on the top floor served by a restaurant that is housed in a unique steel-glass crystal-like shell structure extending the usable areas of the most valuable spaces of the building. The refurbished roof terrace offers superb views over the city. The architectural language of the refurbishment is conceived from the blend of the neo-renaissance and industrial art-nuovo. Forms, details, decorative surfaces are reinterpretations of the historical building thus creating a new, exciting relation between the historical and the newly added elements. Fragmented lines and small, repetitive, geometrical decorative painting and ornaments are used to create the contemporary language. The use of these principals as tools when shaping all new architectural elements results in exciting, decorative, rich surfaces and spaces meanwhile it suggests direct associations to the original atmosphere of the formerly luxurious department store. For further information, articles or images please contact: studio@tiba-studio.com +361 336 0961
  • Eczacibaşı R&D Center eczacıbaşı r&d center is designed by oncuoglu architecture for a limited competition is rewarded as “highly commended” at the commercial/mixed-use future project category at cityscape dubai 2009. the project is aimed to bring together the separate pieces of research laboratories of eczacıbaşı bozuyuk campus under one roof. the main idea of the research center originated from the fluidity concept to combine the research and development s in one holistic space. the main s of the building as showroom, laboratories and offices are designed as different forms while they are connected to each other by an interior street flowing through the building. the design idea is to a work space integrated with social space for the users that is inefficient at the industrial zone. the project is designed to enable the users to pass from the public zone as interior street to private zone as laboratories. it is aimed to integrate interior and exterior space by open common spaces. the common spaces are designed as transparent surfaces in contrast to the covered industrial space. a public square at the entrance as a gathering space, courtyards and interior gardens as recreational area are d by the use of topography.
  • RELAXX S port and L easure C entre RELAXX – RELAXED FORM Location The new building of sport and leasure centre RELAXX is situated on a long and narrow site in Einstein street in Bratislava. It fits into a row of new mixed-use buidings between the Old and the New Bridge. Its nearest neighbours are furniture store Atrium, new office building of Tatrabanka and the Old Bridge. The site is surrounded by a busy traffic corridor of Highway ring from north and by an international railway track from south. Form and structure The basic shape of the building was determined by the long and narow conditions of the site. The floorplan is approximately 100 m long in its longest axis, 20 m wide on western side and 14 m wide on eastern side. Overall, the building can be described as both dynamic and poetic at the same time. Compact form is elevated on one side by two floors and sits on four up-side down U-shaped concrete pillars. The height of the lifted floor matches the height of the nearby Old Bridge. The other side of the building is set on a 2 storey cuboid mass. With its overall 6 storeys it is of the same height as the neighbouring furniture store Atrium. Characteristic feature of this building is its play with transparency and opacity. Solid part of outer skin is covered by silver-grey titan-zinc cladding and wraps-up the inner volume from top, back and bottom sides, creating a strong C-shaped profile figure visible from short elevations. North facade and two short side facades are transparent and fully glazed. Load-bearing structure is made of reinforced concrete monolith where the load-bearing system is based on columns and walls - all set up on basic 7,5x7,5 m grid. Function and disposition The main entrance into the building is provided by a pedestrian ramp and stair from Einstein street. There are travolators connecting first three floors situated in the entrance lobby. In terms of function, the building is divided as follows: on the first floor there are retail and refreshment stores; second floor is health and wellness centre; on the third floor there is indoor golf court, bio-restaurant, solarium and childrens playground; fourth and fifth floor is dedicated to sport and leasure activities divided into wet and dry zone. Dry zone on fourth floor contains fitness, aerobic, yoga, spinning, changing rooms, whereas the wet zone on fifth floor conssists of swimming pool, whirlpool, sauna, masage room and snack bar. Two underground storeys with parking and service rooms are accessible by ramps from both sides of the building. One of the ramps leads through an aisle between the U-shaped load-bearing pillars from east side of the building. Wrote about: „ Einsteinova Road is probably the most frequented artery in Bratislava, situated misfortunately, like a big cut through Petrzalka town quarter. But some architects show us it is possible to refine such a busy enviroment. The new RELAXX Sport Centre enters the rush locality, harmonizes and directs the noise and chaos. This house is like a sculpture symbolizing the beauty of restlessness and the poetics of velocity.“ PROJEKT, Slovak architectural review 03/04 2008 BIBLIOGRAPHY Ferreira da Silva, M.: RELAXX - Complexo Desportivo, Bratislava, Eslováquia, In: Arquitectura & construcao, 04-05/2009, Impresa Publishing, Lisboa - Portugal Topolcanská M.: Sports centre, Bratislava, In: A10, 03-04/2009, A10 Media BV, Amsterdam - Netherlands Aziz Draim, A.: Speed of light, Spaced out, In: SPACE - ARCHITECTURE+DESIGN+LIVING, 02/2009, Inovatif Media, Kuala Lumpur - Malaysia RELAXX, Architect_AK2, real project, In: ARCHITECTURE & CULTURE, 04/2009, ANC, Seoul - South Korea RELAXX (Sports and Leisure Center_Bratislava, Slovakia), AK2 Architectural Studio, In: CONCEPT - A&U Design Group, (Architecture & Urbanism), Vol. 118, Capress, seoul - South Korea Unikatowa kolekcja -7 cudow swiata przyslosci (Relaxx), In: FOCUS Poznac i zrozumiec swiat, 08/2009, G+J Gruner+Jahr Polska, Warszawa - Polska, Poland Provazníková, T.: Fitness mania, První liga, In: dolce vita, 01/2009, Stratosféra, str. 072, Czech republic Spácil, J., RELAXX BRATISLAVA AK2, In: ARCH, Arch o architektúre a inej kultúre, 07-08/2008, Eurostav, Slovakia Cena Dušana Jurkovica 2008, Andrea Klimková, Peter Krucay - Športovo-relaxacné centrum RELAXX Bratislava, In: Projekt, príloha, SAS, Slovakia RELAXX - športovo relaxacné centrum, In: Projekt, slovenská architektonická revue, 03-04/2008, SAS, Slovakia RELAXX - športovo relaxacné centrum, Andrea Klimková, Peter Krucay / AK2, In: ERA 21, 5/2008, ERA 21, Czech rebublic
  • Elevating Communication Products of modern progress have rendered communication invisible to the third party. Cities and place are constantly communicating and connecting by various means but to which the modern machine have obscured; causing one to transpire through without acknowledging the relationship of city and place. The presence of one’s architecture and urban conditions has become quieted against these current interventions. Modern upgrades to the once primitive physical means of communication conceal from the perceiver the tangible forms that have embodied communication up until recent. Thus communication must become violent against the terror of passing through, to acquire back its physical body to which the perceiver may grasp these lines of communication and engage in participation. If the communication that occurs within place, cities, and self continue to disappear then the history and character which define and mold one’s sense of place will become consumed by a sense of sameness. Structuring communication to be a physical entity will allow these lines of communication which is shared by cities, place, and people, to be detected and intercepted by a third party whom may choose to participate. Such interruption will cause one to become aware of the spaces around them, attaching such acknowledgement with the awareness of architectural and urban qualities. The awareness will further accentuate the experience with specific spatial qualities and extend one’s sense of knowing outside of assumed sameness. These lines of communication will extrude from the confines of spaces which does not promote or foster social environment, and evolve from them a spatial opportunity to connect back into dialogue. Elevated lines of communication will allow an environment to sustain the appropriate condition for participation while evolving new spatial conditions to be inhabited. Currently, communication only exists as elements lingering in space, never truly attaining the hierarchy necessary to seize the attention of the perceiver. The presence of communication must be allowed to concentrate and be brought against the force of passing through in order to punctuate space, offering an additional layer of definition to place. Communication must reinsert itself back into the physical realm, eliciting the necessary interruption that will rehabilitate the perceiver back into consciousness to enter into conversation with the communicated. Awareness of what is communicated will awaken the senses, reaffirming memory of place in order that the essence of place can be reestablished within context. These interjected moments of knowing will reposition the perceiver within the mental as well as bodily context of the city, home, and overall place that is not same but is assumed when not explored consciously.
  • XX Building XX Building, Spacelab Architects, Italy 2009 (Preliminary design) Status quo: decommissioned industrial block. Purpose: building replacement with mixed functions (commercial/business/residential). Composition is resolved with stacked and tilted blocks above a commercial slab. This solution, guided by particular attention to sunshine exposure and orientation, improves visuals, daylight and privacy for the functional units. Each residential/business unit is provided with exclusive terraces and roof-gardens with unique visuals. The name XX refers to the distinctive shape of the plan. More info: http://www.spacelab.it http://facebook.com/spacelab.it (fan page)
  • The New Moulin Rouge Fun c tion: Dance School Academy Chief Architect/Office Name: João Mendes/sdesign_world Project Team: João Sarmento João Mendes Ana Isabel Moreira Andreia Mesquita Pedro Rebelo Hugo Paraiso Inês Marques Joana Abrantes Client: arquitectum competition París 2009 Design date: August, 2009 Completion date: This project in a non winner proposal of a portuguese office to an international Architecture Competition which main goal was to reinterpretate the famous cabaret Moulin Rouge in Paris, having as challenge the reabilitation of that space to a dance school. Area: Each floor - 650 square meters (6 floors) Total area - 3900 square meters References: http://www.arquitectum.com/index.php EN Conceptual Idea Dance is, in itself, the art of movement and expression. It breathes for itself, speaks for itself, lives for itself, regardless of style, period or its origins. The building is entirely a movement, but a move choreographed with the functional requirements of its own program for teaching the art of dance. He turns and shapes around the spaces to be lived and traveled throughout the human universe that involves, students, faculty, staff or anyone who has interest in dance, respecting the functional requirements established by the program. The idea behind the movement is the creation of an architectural language that makes its presence felt in the spirit of all its “inhabitants” in every moment experienced in the building, asserting the freedom of its movements by its affinity with the different spaces. Exterior and interior become one, allowing an open and harmonious dialogue around its cultural icon and world famous Moulin Rouge, abiding in the conscience of whoever lives the architectural object existing in a place dedicated to dance. The renewal of a cultural icon (Outside the building perspective) The symbol of the Moulin Rouge was revised during this creative process, went through a metamorphosis, maintaining its strong lines, which makes it the Moulin Rouge, emblematic symbol of Parisian nights with a history of more than 100 years that translates, itself, the world of entertainment, color, joy and life. The process gives it a new face and elevates it a few meters above its present location, so that it can, as before, be on pair with its surroundings. This transfiguration or restyling gives it a great visibility that spreads to the whole space and an image of dignity and reputation, thereby continuing to assert itself as a bastion of modernity. The red windmill of this new building houses the main link of communication between the various floors. The elevator in the centre of the windmill is the point where the front opens to the city. This element, now also a piece of sculptural art, establishes the bridge between the past and the present while looking to the future. Bioclimatic A double-skin frontage, ventilated vertically, allowing a natural climate of large areas. The first outside curtain, shaped in polycarbonate, is translucent and filters the light and heat into the building. The inside curtain, in glass, influences the climate on each floor, which causes more or less susceptible to temperature and luminosity between the two skins. It has the ability to switch between full transparency and a reflecting surface. The equipment for ventilation of the interior spaces occupy longitudinal corridors that connect the frontage of the backside of the building and therefore taking advantage of a fully cross-ventilation, with the possibility of integrating passive systems that result in efficiency gains. On the frontage, the metallic sides linking the existing buildings to the translucent front of the new building, containing not only the internal ventilation system, but also pipelines and downspouts to discharge rainwater. The interiors, as well as the furniture designed, are materialized through wood, a natural raw material which makes the acoustics and thermal of the architecture reach generous comfort levels. The materiality of this project meets all the subtlety of a metal structure with the lightness wood and glass, reducing the use of concrete only at the foundation and the floor buried. Thereby boosting the advantages of each material, the building becomes more sustainable and its materialization more true to the concept that generates it. PT Fundamentação conceptual   A dança é por si a arte do movimento e da expressão corporal. Ela respira por si, fala por si, vive por si, independentemente do estilo, da época ou das suas origens. O edifício é todo ele um movimento, mas um movimento coreografado com os requisitos funcionais de um programa próprio para o ensino da arte da dança. Ele gira e modela-se em torno dos espaços a serem vividos e percorridos por todo o universo humano que o envolve, alunos, professores, funcionários ou qualquer um que tenha interesse pela dança, respeitando os requisitos funcionais que o programa estabelece. A ideia por detrás do movimento é a criação de uma linguagem arquitectónica que marque presença no espírito de todos os seus “habitantes” em todos os momentos de vivência do edifício, afirmando a liberdade dos seus movimentos, pela sua relação com os diferentes espaços. O exterior e o interior tornam-se num só, dando lugar a um diálogo aberto e harmonioso em torno do seu ícone cultural e mundialmente conhecido o Moulin Rouge, ficando no consciente de quem vive o objecto arquitectónico que está num lugar dedicado à dança. A renovação de um ícone cultural. O símbolo do Moulin Rouge foi reformulado durante este processo criativo, atravessou uma metamorfose, mantendo as suas linhas de força, aquilo que o torna o moulin rouge, símbolo emblemático da “noite de Paris” com uma história de  mais de 100 anos que traduz, em si, o mundo do espectáculo, da cor, da alegria e da vida. O processo dá-lhe uma nova pele e ergue-o alguns metros acima da sua actual localização, para que ele possa, como outrora, ombrear com as cérceas que o rodeiam. Esta transfiguração ou restyling conferem-lhe uma grande visibilidade que se propaga a todo este espaço e uma imagem de dignidade e notoriedade, continuando assim a afirmar-se como bastião da modernidade. O Moinho Vermelho deste novo edifício aloja o principal eixo da comunicação entre os vários pisos. O elevador, no centro do moinho, é o ponto onde a fachada se abre à cidade. Este elemento, agora também ele uma peça de arte escultórica, estabelece a ponte entre o passado e o presente com um olhar sobre o futuro.  Piso 1 O átrio é uma galeria que rompe e arrasta a fachada para dentro do edifício, criando um efeito de continuidade entre o exterior e o interior. Ao fundo do átrio, a área afecta aos serviços administrativos, tem como frente uma montra de atendimento que reunirá as funções de recepção, bilheteira e segurança. O átrio é também o ponto onde se cruzam, os fluxos do interior para o exterior e de um edifício para o outro, (da Parcela A para a Parcela B. A entrada para o edifício faz-se por esta área de duplo pé direito, e concentra os acessos para o museu e auditórios, no piso -1, o acesso ao bar e livraria, e o acesso aos espaços para o ensino de dança, nos pisos superiores. A organização interior do espaço, teve em conta algumas concessões em relação ao programa existente, com o objectivo de rentabilizar a área disponível para intervenção, e tendo em vista uma politica de gestão económica do edifício, por exemplo; concentrando as instalações sanitárias do bar e da livraria num só bloco, e ainda no espaço de entrada da cafetaria uma dupla função de foyer. Piso -1 Ao descer pela escada que envolve o ícone deste edifício,o visitante depara-se com o museu, que se desenvolve 360º em torno deste acesso privilegiado sobre a exposição. É desta galeria que acedemos aos dois auditórios. Piso 2 Este piso é dedicado aos alunos da escola de dança. Chegando do elevador existe um preâmbulo que lhes dá acesso directo ao ginásio e aos balneários. Aqui o estudante deverá circular por uma galeria que ladeia o ginásio, para aceder aos balneários. Posteriormente sairá do ginásio directamente para o elevador subindo para a respectiva sala de treino. Pisos 3, 4 e 5 As salas de treino são amplas e em forma de L. Para quem chega a este espaço, vindo do elevador, depara-se com uma primeira frente, virada à fachada do edifício. Neste primeiro espaço existirá mais luz natural. À medida que caminhamos para o interior da sala e nos afastamos da fachada, o ambiente fica mais controlado, menos espontâneo, contendo apenas os elementos essenciais (bens humanos e materiais) a um laboratório de dança. As fachadas viradas para o interior do quarteirão são espelhadas pelo lado de dentro, ao nível destes pisos. Bioclimática Uma dupla pele de fachada, verticalmente ventilada, permite uma climatização natural dos grandes espaços. A primeira cortina exterior, modelada em policarbonato, é translúcida e filtra a luz e calor para o interior do edifício. A cortina interior, em vidro, condiciona a climatização em cada piso, podendo ser mais ou menos permeável à temperatura e luminosidade entre as duas peles, tendo a capacidade de se alternar entre a transparência total ou uma superfície reflectora. Os equipamentos para a ventilação dos espaços interiores ocupam corredores longitudinais, que ligam a fachada aos alçados do interior do quarteirão, sendo assim possível tirar partido de uma ventilação totalmente transversal ao edifício, com a possibilidade da integração de sistemas passivos que se traduzirão em ganhos energéticos. Na fachada, as laterais metálicas que cozem os edifícios existentes à frente translúcida do novo edifício, contêm não só os sistemas de ventilação interior, mas também ductos e tubos de queda para descarga das águas pluviais. Os interiores, assim como o mobiliário desenhado, são materializados através da madeira, matéria prima natural que condiciona a acústica e térmica da arquitectura a índices de conforto generosos. A materialidade deste projecto reúne a subtileza de uma estrutura metálica com a leveza da madeira e do vidro, tendo reduzido o uso de betão apenas ao nível das fundações e do piso enterrado. Potencializando assim as vantagens de cada material, o edifico torna-se mais sustentável e a sua materialização mais cúmplice do conceito que o gera.
  • Ferozsons L aboratories H ead O ffice B uilding Inception towards veracity  Nadeem Ul Hasan and Associates, has designed a head office building of a Pharmaceutical Company which is soon to be inaugurated. The client produces life saving drugs for ailments such as Cancer & Hepatitis ‘C’.  NUHA developed an intriguing concept for the building which echo the life, ‘ Water is the source and plants are expression of life’ The building emerges out of water (source of life), and plants gushing out of the building so as fuse with the statement masses. The building is finished with exposed concrete (truth) & use of divine color ‘white’ says it all.   Two amalgamated masses in the design symbolize the joint venture of a Pakistani company with a European one. The building is on a shallow pool to combat hot weather which will act as a reflection pool also to enhance the ‘y’ axis of the faced.  Tilted main mass is to manage the southern solar path. Project Team Client: Ferozsons Laboratories Limited 5 KM Sunder Raiwind Road, Opposite Ijtima Chowk, Raiwind Pakistan Tel: 0092 308 5053135 Fax: 0092 21 352 06 827 (Please note Karachi code)  Architect:   Nadeem ul hasan & Associates   F-1, first floor, Yasmeen Arcade, Plot # 8/C, 33rd   Tauheed Commercial Street,  Phase - 5, Defence Housing Authority, Karachi,   Pakistan.   +92-21-5304228  + 92-302-8281844 E mail- [email_address]     www.nuha.com.pk   Project coordinator Muhammad TAHIR Iqbal  Structural Engineer Fida Hussain and associates  HVAC consultant A.Sadaat Associates  Electrical Engeneer Ayub and Associates  Contractor Gulf construction company 
  • Sudecki House Function: country house Project team: Bartosz Wawrzynczak, Marta Kaszuba Design date: 2010 Area: 170 sqm Description: This single family house is located in Sudety Mountains in Poland. The building takes a lot after traditional Sudety house: the proportions, the steep roof angle and the use of local materials. At the same time the design is very contemporary. The house consisting of three modules (square in plan) could be easily extended in future. Also the roof shape is very innovative. It lets the sunlight in during different times of the day. The roof ridge is skew, which gives the opportunity to arrange the attic space more efficiently. The inside of the house perfectly suits a modern family needs. Living and dining areas along with an office and a study room are located on the ground floor. Two large bedrooms with a walk-in wardrobe and a bathroom are located at the attic. There is also a basement car park with adjacent storage areas.
  • A house for Federico Fellini THE TASTE OF THE MARVELLOUS _____ 20th January, 2008. Dream sketches. _____ Fregene has become a chaotic place. Marcello has bought a new car. And it is even much more powerful than his last one. I have to move away! _____ Driving down the coast of the Tyrrhenian Sea, I catch sight of an empty piece of land. The only one. Indeed, Italy‘s seaside places seem to have become one big unified built-up area. Attracted by the strange gap within the extensions of settlement, I enter the pine-wood-thicket. After a while I arrive at a sandy beach, a place almost distant from the earth, meeting my momentary inner apogee. _____ Having a lark, lying on the beach throwing dices with Giulietta for lack of a card game, I suddenly know how it should be, my house, our house: it will be a big circus. Even more! It will consist in different kinds of circuses forming an ensem­ble: the Muse‘s home, a theatre, a guest house for our friends, a car park (it won’t bear any comparison with Marcello‘s garage), and the villa, our private circus. The old lighthouse in the dunes? An ideal thinking temple! _____ The villa will be our vantage point and direction tower, offering views in every direction, on each floor another one. From there, we communicate with our friends in the guest house nearby, almost crystalline in direction of the villa and protected towards the sea – scenes of sweet life, actors and actresses, fables, a wine-cellar and a pasta-kitchen, which reproduces the provincial tastes I loved as a little boy. _____ The villa is a control desk and my private theatre. It is a circus and a cinema at the same time. Large apertures and a balcony are facing the acrobatic vehicles appended in the airspace of the car park. And, on the upper floor, our bedroom is directly connected with the Muse‘s home: if it appeared in a film, critics would write about an autobiographic obsession. Should I care? Forever, I will be in search for the Italian mums of my childhood! Inspiration, caricatures of wonderful beach-muses, bathing, escorted by strange male figures. A bow in front of the satire! In front of an imaginary universe! A dreamlike magic! Pleasure! All in all: The taste of the marvellous! Now Marcello might come. _____ © Nora Lau
  • The Local Hero House: Re-interpreting Modern Thai House function: Residential building / Single house chief architect: Khiensak Seangklieng,Ph.D.,ASA project team: M.L.Varodom Suksawaddi Pornsit Rattanasrithai, Hasaporn Poomkhum Pairas Seangklieng client: Panu’s family consultancy/collaboration partners (if any): design date: March,2007 completion date: October, 2009 area: 256 sq.m. (optional) related links: Analysis of Local Hero House (optional) references (if published before): Project Information: When people speak of a traditional Thai house, they generally have in their mind’s eye an elegant, wooden paneled house on high posts with two or more buildings clustered around chan or central terrace through the centre of which grows a large, shady tree. Underneath the house may stand an ox cart, some agricultural implements and a low table on which the owners and their friends sit and chat. Within the compound are a variety of fruit trees, and a buffalo may be tied to a fence post. The house might be situated on the banks of a klong (canal) or river, or on the side of the road. As well as tending the fields, the family might also trade from their house (Chaichongrak et al, 2002). Today such houses still exist but they are becoming hard to find. Often corrugated iron has replaced the traditional tiled roof and various additions have been tracked on any old how. Or, if recently built, they may serve simply as a stylish adjunct in the grounds of modern compound, or be the setting for a restaurant, where Thais or foreigners can come and savour for a while the delights of natural wood and beautiful proportions. In fact, many Thais do not appreciate them, finding them dark or poorly insulated and ill adapted to modern cities. For hundreds of years, however, they were the perfect dwelling. Standing in the midst of shady trees, near the owners rice fields, they used locally available materials, they were prefabricated and could be moved and reerected. Raised high above the annual floods, they were also and breezy and, above all, beautiful. This house is a holiday home for a family with two kids, and comprises a Thai-style pavilion supported by pillars on the innovative jar-footings. The whole idea of the project was created when architect was visiting the site. There, in front of the client, he imagined what later would be the transverse an idea of what was being proposed a resort house, a place where his family could invite friends over frequently. This house was built with low-cost solution in the concept of reinterpreting modern Thai house. Architectural value is demonstrated through its integration and transformation based on the Thai wisdoms, and innovative use of passive design in tropical contexts. The house was created with an emphasis on family living and looks into the future of Thai-ness while not forgetting the past.
  • Single- F amily H ouse by the Balaton function: single-family house chief architect/office name: munkacsoport.net (architect network) project team: architect: Tamás Bulcsu, Éva Fortvingler (munkacsoport.net) landscape architect: uilandscape architects design date: 2006-2007 completion date: 2007-2008 area: 122m2 related links: www.munkacsoport.net references (published before): Magyar Építőművészet 2009/2 Átrium 2009/2 The spaces of the house follow the archetype of the small Balaton-region summer houses. On the ground floor we have continuous spaces for an elegant social life: from the garden over the living room into the dinning room. On the first floor we designed small bedrooms and a bigger playing room on the peak of the house. The house stands on the edge of a small forest, between high trees. These were the inspiration points of our design: the house follows the situation of those trees, and besides it adapts to the differences in the levels of the surface. The legs of the house have the direct formal connection with the environment. The house has a particular atmosphere for living, in the rain, as well as in the hottest days of the summer. Under the design process we cooperated with landscape architects, we had a vision of an open house, living around the fireplace. The rooms are oriented to the lake view, and on the first floor, at the end of the neck its possible to study the small animals of the trees, or its a good place for kids for playing. Under this part, there is the resting area, and the dining zone. The interior follows the dynamic character of the exterior's form. We were looking for simple materials that can be used also in the interior, as in the exterior or in the garden. (architects' text)
  • Walking Flowing Function: House Office name /chief architect: Openlab Architects / Jennifer Gomes, Gonçalo Guerreiro Team (collaborators): Laurent Tek, Go Kawakita Year: 2009 Area: 480 m2 Status: Competition Location: Vale do Lobo- Portugal The challenge was to design a self- sustainable house in Algarve (Southern region of Portugal). This region has a Mediterranean climate, the winters are fresh and the summers warm. Climate data for the site, indicates that there is high solar radiation, ideal for using solar thermal energy as a means of hot water generation and photovoltaics to generate electricity. When visiting the site we were totally overwhelmed by the lake and immediately thought of ways of using this natural resource for the project, its proximity to the sea complements the fantastic setting of the plot. We decided to explore how the natural cycle of the water could work to find sustainable solutions for the house and with this in mind, we proposed to extend the lake to the house (as its linked with the sea, this makes this element a reliable source), creating a central water courtyard where the water will be visibly stored. It’s routes will dictate the form of the house together with the solar orientation and the use of the prevailing winds - by using different strategies we could reach different solutions for the multiple problems a self-sustainable house can have. The house is organized in two main blocks, one related to the lake at ground level (social areas) and another which is elevated in order to maximise the amazing sea view for private areas. The heating/cooling system shares the same principle: On-Site water circulates throughout the house i.e. roof, walls, floors by a series of tubes. In the block with the private areas, water will be pumped up to the roof from the central water courtyard, passing through a Chiller(for cooling ) or a boiler (heating) powered by solar thermal hot water and as the water falls back to the courtyard, this naturally creates a water feature. at the bottom of the waterfall we located several hydro powered turbines, that generate energy to pump the water back up to the roof again, thereby repeating the cycle. In the block with the social areas we propose a similar system that works using the floor instead. Whilst we insulate the house from the prevailing winter winds with a thick rammed-wall, high thermal mass provides added insulation using cork (local material), the project adopts the strategy of using summery east winds, which after contact with the water curtain pre-cools the air before entering in to the house. The roof inclinations are set up for solar gain using a combination of photovoltaic and evacuated tube solar collectors, the roof merges with the landscape giving access to the green roof area allowing organic agriculture, also providing added insulation, reducing heat loses and air purification. The house was sculpted by the wind, water, sun and earth resulting in a total merging with the surrounding landscape.
  • The New Bouwkunde function: Educational chief architect/office name: arch. Adam Wojtalik project team: client: master project at Technical University Of Lodz, Poland consultancy/collaboration partners (if any): tutor: prof. Marek Pabich design date: September 2009 completion date: area: 35521m2  references (if published before): http://www.dezeen.com/2009/10/20/the-new-bouwkunde-by-adam-wojtalik/ I started working on this project almost year ago, when the competition for the “idea…” started. Unfortunately I didn’t manage to finish it before the deadline. So I decided to continue it as my master project. From the first sketches, the new Bouwkunde, was intend to be as much student friendly as it could be. Huge pressure was put on leisure and recreation areas, which are on almost every floor. However the epicenter of it was created on the lower parts of the building. The ground floor is a huge, public space consists of canteen, coffee bar, book store, exposition/exhibition zone, lounge zone and auditoriums. But the most interesting about this part of the building is concrete structure in the middle, which hides "the meadow". This is a green area which raise between ground level and first floor and it is whole covered with grass. All of this is linked through the workshop with underground level, where building technologies laboratory could also be found. These two floors are the heart of the new Bouwkunde. In the upper parts, building divides into two structures. The first one reach eleven storey and it was designed as a student part with library, computer rooms, lecture halls and "open space studios". The second one has five storeys and consist of conference rooms, administration offices and professors rooms. The new Bouwkunde building has been designed as an eleven storey building, covered with fibre c concrete panels and with two volumes connected by huge, curved glass structure. This creates several possibilities to decrease costs of maintenance: - almost half of this surface is covered with solar panels. It gives almost 1500m2 of photovoltaic cells, which produce 4000kWh per day. - by dint of this structure it was also possible to create a double façade circulation system. This increase efficiency of ventilation and gives natural insulation to the building. - it is also possible to use a greywater gained from glass roof, which could comprises almost 60% of building's wastewater, generated from all sanitation equipment.
  • I.N. House Design Intentions: In this project our purpose was to study Form as a mechanism that generates sensations, in terms of looking into the formal and spatial qualities that allow for a particular experience in the use of the building. Together with our client, we determined several sensations and abstract concepts so that a semantic base could be established for the project. From that Semantics we could then start building a spatial narrative where it could be possible to walk along and pick up the initially proposed glossary. Almost literally we were able to scatter the keywords in a site plan and connect them to the physical and real environment - the site, the sun, the road, the valley –, as well as with each other, in a more abstract level; these syntactic connections would eventually help defining the shape of the house as well as the way it would stand on the site. We aimed at the creation of a poetic discourse that would be understood by us and by our client, who was actively engaged. Such discourse is clear in its process and to the parties involved, but becomes hazy to third-parties, simply because they handle different signs. It's neither a locked code nor meant to be secret. It's a mere reflection of the choices made by the authors and client according to a framework where common values intersected, thus solving the dilemma Calvino claims to be the dramatic aspect of any creative act: In the beginning everything can be said in every way, but in the end it is required to say one thing in a single way. The first four words of this glossary are closely related and have but a thin line between them. Those nuances, however, were exactly what attracted us: Path, Direction, Destination and Wander. The first two signs are very similar in meaning: Path and Direction, both refer to the track between two points, from one place to another. Nevertheless, we spotted in these meanings a tiny difference that was relevant enough, and consequently justified splitting in two words. Concerning these tracks between two points, the act of going from one point to another, we chose to distinguish the physical aspect of walking through a space from the visual aspect, more abstract, of glancing around in different directions. Visual alignments were created between several spaces and through the house, connecting remote places of the site, in a way that new connections could be made between many points that weren't physically related. That leaves us with the words Destination and Wander associated for suggesting an antagonism of purposes that we aimed to turn into a dialog that could produce multiplicity. The idea of objective, defined function, which is conveyed by the word Destination, seems to clash with straying, the fluid notion of uncertainty that is related to Wander. So we worked on developing a circuit of multiple possibilities of Paths encouraging Wander and designed by windows, doors, alignments and skylights, which, in turn, intersect with a physical and visual Track, clear and precise, that stretches throughout the entire house, from the entrance - the first place – and to the garden on its highest point - that other place. Architecture: Pedro Gonçalves & Pedro Mosca - Inerte.arquitectura Project Team: Pedro Gonçalves & Pedro Mosca Client: Inês Nascimento Structures: Hugo Pinto Hydraulics: Rui Figueiredo Site: Valongo, Portugal Design Date: 2006-2008 Building: 2009 - ... Area: 400 m² Related Links: www.inerte.net References: Present at the exhibit "Contemporary Architecture in Portugal: Confronting Generations on the theme of the residence", School of Architecture - University of Palermo, Italy
  • Museum & Research Center for Russian Avant-garde (Kostakis Collection) in Thessaloniki George Kostakis was born in Moscow in 1913, where he has lived for the biggest part of his life. For at least three decades he methodically collected works of Russian Avant-garde, creating thus the biggest collection of Russian Avant-garde artwork in the world. When he left Moscow in 1977 to settle in Greece, he granted an important part of his collection in the Art gallery Tretyakov, while the rest was purchased by the Greek state in 2000. The collection is representative of all styles and tendencies of Russian Avant-garde, one of the most radical and fascinating periods in the world history of art which flourished in the decades 1910-30, while it is exemplary for the authenticity, the artistic value of the exhibits and its comprehensiveness. These works provide the ability to recreate the development of Russian modernism during the first decades of 20th century, to compare the works of this era created by various artists in various styles of the avant-garde movement, and to help someone understand the logic of its development and the ways in which it exerted influence and attracted imitators. The collection consists of works of art from important artists of Russian avant-garde such as Κ. Malevich, V. Τatlin, ΕΙ Lissitzky, L. Popova, Ο. Rozanova, Ν. Udaltsova, Α. Rodchenko, S. Nikritin, I. Kliun, G. Klucis, Ι. Chashnik, Κ. Ender, Α. Drevin, Ι. Kudriashev, Α. Sofronova, Κ. Vialov and many others. Main targets of the new Museum and Research Centre that will house the Kostakis Collection, are the development and the creation of necessary conditions for the study of this enormous material from the researchers, the connection of Museum with the University and specifically with the sectors of History of Art for the exercise of students and postgraduate students, the promotion of conservation and documentation, as well as the promotion of relations with international research institutes and institutions of art for the completion of picture of artistic avant-garde of the particular era. PROJECT DEVELOPMENT The proposed site for this building is in the crossing of Egnatia street (city’s most important and central road) with Kautantzoglou street. The removal of the now existing military installations and the replanning of Camp region, the adjacency with Egnatia, the central position of the site, the proximity with the University (research sector) as well as with the group of the existing museums (Byzantine, Archaeological and Contemporary Art), are the main reasons for the choice of the particular place. The operations of Museum and Research Center are divided in two different, but complementary building volumes. These volumes are shaped by the division of the site with a path that aims at the unification of Egnatia with the future replanned region of Camp (which most possibly will be turned into a city park). A second path penetrates the Research Centre, giving access to the Museum from all three free sides of the plot. The Research Center is covered by an inclined planted slab, under which its spaces are arranged in a stepped way. The planted roof is accessible and open to the city, offering a green area and substituting a significant amount of the lost ground from the building construction, while the “atriums” in combination with the north directed skylights, ensure natural ventilation and cooling of the building. The significance of “movement” -one of the main elements of Avant-garde art- is expressed in the relationship between the two volumes, as the one appears to slide above the other, projecting at the same time the linearity of the site, a reference to the movement of Egnatia’s traffic. Thus, the two complementary functions (Museum – Research Center) are translated into two complementary volumes, each of them developed by the functional needs and regulations of the program. The two buildings are connected by a series of thick glass (side-glow) fibers that hang above the green roof, emphasizing the crossing path through the two building volumes when illuminated at night. But besides the lighting of the public space these fibers have another function. On warm months, water flows on this vertical arrangement of linear elements. Air flow through the water curtain creates evaporation and cools the area around making a pleasant public space. The combination of light and water at night will give the effect of vibrating light beams, a reference to the style of Rayonism. Over the Research Center's entrance, concrete spheres house the roots of the trees that penetrate the green roof. These trees are on the level of the café and they aren't planted in soil but in clay pellets (hudroculture system). They project through the roof of the building together with the skylights, portraying the idea of phototropism (development of organisms in response to the light stimulus). As the skylight development follows the concept of phototropism (negative phototropism because the skylights are directed towards north to achieve steady lighting conditions for the workshops and library), it connects the mechanic with the organic nature of building. Connections between machine - artificial and natural structure are basic in the theory of Avant-garde movement. Regarding the Museum as a space in constant movement and taking into consideration the ability of readjustment in the way the collection is presented to the public, exhibition rooms are designed to allow the reformation of internal space with the help of large scale kinetic elements. The galleries develop in two levels and are organized in an arrangement of square rooms. In the superior level the roofs of each room are glazed for the entry of natural light, while certain of them can move vertically along with the walls, so that they alternate the internal height. This transformation is possible with the use of hydraulic pumps which move independently each gallery shell, in order to adjust the interior space to the different needs of a “living museum”. Transformation is also visible on the outside, modifying the public picture of the building and allowing the transformation of its form, embodying the parameter of time in the building’s function. The total form development besides the adaptation to the needs of the program has references to the soviet constructivists’ architecture, such as the Rusakov Workers Club by K. Melnikov (projected auditoriums), the V. Tatlin's Tower (abandonment of verticality), El Lissitzkys Wolkenbügel / Cloud-Iron (projecting volumes above the ground). Since the element of movement is particularly dynamic, the overall design refers to the primordial geometrical forms of abstract art (square, circle, triangle, cross), so that the synthesis and the correlation between the two buildings is as clear as possible, without distracting from the simplicity of the two prismatic volumes.
  • WA 6. Cycle Fullcourseware, January 2010

    1. 1. 20+10+X Architecture Awards 6th Cycle January 2010 w w w . w o r l d a r c h i t e c t u r e . o r g
    2. 2. You may click images to view the Projects’ pages on WA To request high resolution materials for publishing purposes, please contact [email_address] WA Team Regards,
    3. 3. MORPHOGENESIS Morphogenesis is a design practice engaging in a critical dialogue towards bridging the boundaries of art, architecture, urbanism and environmental design in India. Founded in 1996, Morphogenesis is an association of architects, designers, urbanists and environmentalists. The Morphogenesis approach to creativity is inspired by the evolutionary processes in nature to create built form which is optimized for the built environment and the community. Design is viewed as a result of different stimuli, ranging from climatic conditions, urban fabric, local traditions, and human activity. At Morphogenesis, sustainability is a core creative value and is practiced in the evolution of the design. The practice considers the widening scope of sustainability to be all inclusive; to include social, cultural, financial, technological and environmental sustainability. It is this inclusive nature of design that, Morphogenesis believes, will define the new emergent Indian architecture. Issues within the architectural realm of Morphology and Sustainability are investigated and tested within the research laboratory to re-define the conceptual and the contemporary framework of design practice. The think-tank delves deeply into socio-economics, culture and identity, exploring new models and approaches to architecture and design, whilst operating in the factual domain simultaneously. The work of the practice has been exhibited at several venues internationally including the Gallerie ROM in Norway and the Royal Institute of British Architects in London in an exhibition titled ‘Critical Projects’. The practice has been the recipient of numerous awards and accolades including the Best Learning Building, World Architecture Festival Awards 2009, The Economic Times ACETECH Award 2009, Green Good Design™ Award-The European Centre for Architecture Art Design and Urban Studies and The Chicago Athenaeum 2009, The Architectural Review Cityscape Awards for the Best Environmental Design internationally and the Residential (Built) category, Project of the Year in The AIQ Awards (Israel), The A+D Spectrum Award for ‘The Young Enthused Architect’, Indian Institute of Interior Designers- MK Award and the JIIA (Indian Institute of Architects) Award for excellence in architecture amongst others. The work has also been extensively published in both national as well as international publications including Architectural Design, Domus (Italy), Architecture Record, Spaces (UK), The Atlas of Global Architecture (Spain), Art 4D (Thailand), Contemporary Indian Architecture, The Guardian (UK) and 10+1 (Japan). > WA Profile > Official Website India - 1996
    4. 4. SELECTED BY THE VOTES OF HONORARY MEMBERS Factory and Offices, Noida India Morphogenesis
    5. 5. Factory and Offices, Noida | India | Morphogenesis
    6. 6. Factory and Offices, Noida | India | Morphogenesis
    7. 7. STEFAN KRUMMECK Stefan Krummeck is a Director with TFP Farrells Limited, responsible for directing the design and co-ordinating key projects in the Hong Kong office. Stefan has worked in both TFP’s Hong Kong and London offices for 16 years. He has an in depth knowledge of the design, planning and integration of large complex commercial and station projects through all the stages of procurement. > WA Profile Hong Kong - 1962
    8. 8. SELECTED BY THE VOTES OF HONORARY MEMBERS Beijing South Station China Stefan Krummeck
    9. 9. Beijing South Station | China | Stefan Krummeck
    10. 10. Beijing South Station | China | Stefan Krummeck
    11. 11. DAVIDE MACULLO Davide Macullo Architects are an award winning Swiss studio with an international portfolio of both public and private projects. The ethos of the studio has developed into one of ‘cross-experiences’ and promotes an open and cultural exchange with architects and collaborators often coming from different backgrounds. The diverse individual contributions encourage, and help sustain, a local-meets-global, embracing approach to architecture, spanning from the theoretical to the practical and detail level, to territorial analysis, pedagogy and sustainability in construction. > WA Profile > Official Website Switzerland - 1965
    12. 12. SELECTED BY THE VOTES OF HONORARY MEMBERS House in Lumino Switzerland Davide Macullo
    13. 13. House in Lumino | Switzerland | Davide Macullo
    14. 14. House in Lumino | Switzerland | Davide Macullo
    15. 15. JASON ZERAFA Zerafa Studio LLC. is a multi-disciplinary architectural design firm based in New York City. Founded in 2005 by Jason Zerafa, the firm has a fundamental belief that each project offers us the opportunity to develop innovative architectural design solutions that can make a positive and lasting contribution to our built environment. We strongly believe in a rigorous and holistic design process that encourages the direct participation of our clients and specialty consultants in a collaborative work environment. > WA Profile > Official Website United States - 1966
    16. 16. SELECTED BY THE VOTES OF HONORARY MEMBERS M useum of P olish H istory , W arsaw Poland Jason Zerafa
    17. 17. M useum of P olish H istory , W arsaw | Poland | Jason Zerafa
    18. 18. M useum of P olish H istory , W arsaw | Poland | Jason Zerafa
    19. 19. ANDREAS TREUSCH Andreas Treusch and Nadja Sailer run the young Viennese architecture office - Treusch architecture.Treusch and Sailers work mainly focuses on educational and commercial projects that are defined by technical specifications and requirements. Treusch architecture has shown a particular talent for large formats in their last completed projects, such as the Ars Electronica Center and many others. > WA Profile > Official Website Austria - 1966
    20. 20. SELECTED BY THE VOTES OF HONORARY MEMBERS Extension of the Ars Electronica Center, Linz Austria Andreas Treusch
    21. 21. Extension of the Ars Electronica Center, Linz | Austria | Andreas Treusch
    22. 22. Extension of the Ars Electronica Center, Linz | Austria | Andreas Treusch
    23. 23. RYUICHI ASHIZAWA 1971        Born in Yokohama 1994        Graduated from Waseda University 1994 ~ 2000 Worked at Tadao Ando Architect & Associates   2000       Cofounded URBAN FOREST ARCHITECTS 2001 ~       Ryuichi Ashizawa Architects & Associates     2006 ~       Lecturer at Osaka City University 2007 ~       Lecturer at Kinki University > WA Profile > Official Website Japan - 1971
    24. 24. SELECTED BY THE VOTES OF HONORARY MEMBERS B amboo F orest & H uts with Water for Aqua M etropolis O saka 2009 - Mizube no Bunkaza - Japan Ryuichi Ashizawa
    25. 25. B amboo F orest & H uts with W ater for A qua M etropolis O saka 2009 | Japan | Ryuichi Ashizawa
    26. 26. B amboo F orest & H uts with W ater for A qua M etropolis O saka 2009 | Japan | Ryuichi Ashizawa
    27. 27. PLUS48 ARCHITECTURE arch. Agata Filipek arch. Karol Szparkowski arch. Kamil Miklaszewski > WA Profile > Official Website Poland - 2005
    28. 28. SELECTED BY THE VOTES OF HONORARY MEMBERS Wooden C hunk H ouse Poland Plus48 Architecture
    29. 29. Wooden C hunk H ouse | Poland | Plus48 Architecture
    30. 30. Wooden C hunk H ouse | Poland | Plus48 Architecture
    31. 31. MARCO CASAGRANDE C-Laboratory is a Finland based international co-operative of architects, urban planners, artists and scientists of various disciplines. The mobile working crew is involved with cross-over architectonic projects around the world. C-LAB is known of interdisciplinary work commenting on social and ecological questions within the framework of built human environment. Focus in ruining the industrial city. Ruin is when man-made has become part of nature. Venice Biennale 2000, 2004 and 2006. Havana Biennale. New Trends of Architecture in Europe and Japan. Yokohama Triennial. Firenze Biennial. Demeter Environmental Art. Montreal Biennial. Puerto Rico Biennial. Alaska Desing Forum. Echigo-Tsumari Art Triennial. Taipei on the Move. Sensoria Melbourne. London Architecture Biennial. Taiwan Moving Landscapes. Taiwan Design Expo. Urban Flashes Mumbai. > WA Profile > Official Website Finland - 1971
    32. 32. SELECTED BY THE VOTES OF HONORARY MEMBERS Floating Sauna Norway Marco Casagrande
    33. 33. Floating Sauna | Norway | Marco Casagrande
    34. 34. Floating Sauna | Norway | Marco Casagrande
    35. 35. CANHUI ZHANG > WA Profile China - 1982 Canhui was born in 1982. Work e xperiences so far are as follows: 2005-2006 Internship in CHINA CONSTRUCTION.SOUTHWEST- ARCHITECTURE DESIGN INSTITUTION ,Chengdu ,Sichuan 2006-2008 Zhong Dekun Design Studio ,SEU ,Nanjing ,Jiangsu 2009- Architectural Design Institute of South China University of Technology (SCUT) Design Awards: 2003 The 3rd JINGY CUP National Student Arch Competition Award:winning prize -Museum in Huanglongxi; 2004 The 4th JINGY CUP National Student Arch Competition Award:winning prize -Theatre in Chengdu; 2005 The 2nd ZHUJUE CUP Arch Competition Award: Second Prize and The Best Representation-The Net; 2005 Chongqing New District Urban Design Competition Award:Nominated Prize-Twist The City Knot; 2005 The 4th Structural Competition Award:Second Prize ; 2006 The 1st Dean Scholarship Gainer; 2008 The 5th XIANDAI CUP National Competition Award: Third Prize
    36. 36. SELECTED BY THE VOTES OF HONORARY MEMBERS T win- W alls H ouse in H illside China Canhui Zhang
    37. 37. T win- W alls H ouse in H illside | China | Canhui Zhang
    38. 38. T win- W alls H ouse in H illside | China | Canhui Zhang
    39. 39. J.KOLLER, L.CSATAI,  L.PETHO, L.FOLDES Our philosophy is to amplify our houses identity with using natural and mainly local materials of high standard such as brick, wood or stone - in order to follow regional directions. Team-work is very important for us. > WA Profile Hungary > Official Website
    40. 40. SELECTED BY THE VOTES OF HONORARY MEMBERS High Court of Justice Debrecen Hungary J. Koller, L. Csatai, L. Petho, L. Földes
    41. 41. High Court of Justice Debrecen | Hungary | J. Koller, L. Csatai, L. Petho, L. Földes
    42. 42. High Court of Justice Debrecen | Hungary | J. Koller, L. Csatai, L. Petho, L. Földes
    43. 43. SANTIAGO ESPINOZA Santiago Javier Espinoza Carvajal / 1984 Quito Ecuador Professional career training in ARCHITECTURE - UTPL > WA Profile Ecuador - 1985
    44. 44. SELECTED BY THE VOTES OF HONORARY MEMBERS H ab 01- E xt/ S ee- P lay- S leep - Namacuntza Ecuador Santiago Espinoza
    45. 45. Hab 01-Ext/See-Play-Sleep – Namacuntza | Ecuador | Santiago Espinoza
    46. 46. Hab 01-Ext/See-Play-Sleep – Namacuntza | Ecuador | Santiago Espinoza
    47. 47. SIGNORINI ASSOCIATI Signorini Associati was established in 1987 by th architects Giovanna Signorini, Francesco Signorini, Filippo Signorini. The work team consists of architects skilled in the different fields which undertake national and international commisions for both public and private clients, in the fields of architecture, urbanistic, housing, refurbishinment design and interiors. They create high quality buildings using new materials and contemporary eco friendly construction methods, according to “Clima House” standards. They part i cipate to national and international competitions and they`ve been recognised trough many awards, and they`ve been published in architectural sector magazines. > WA Profile Italy - 1987 > Official Website
    48. 48. SELECTED BY THE VOTES OF HONORARY MEMBERS P roject and R ealization of S treets and S quares in the I zzalini H istorical T own C enter Italy Signorini Associati
    49. 49. Project and Realization of Streets and Squares in the Izzalini Town Center | Italy | Signorini Associati
    50. 50. Project and Realization of Streets and Squares in the Izzalini Town Center | Italy | Signorini Associati
    51. 51. ANTONIO VIGIL Antonio Vigil, a former student of UNM, graduated in May 2009 and he is currently interning at Mullen Heller Architecture. > WA Profile United States - 1984
    52. 52. SELECTED BY THE VOTES OF HONORARY MEMBERS Stitching Community: Challenging the Traditional Arena United States Antonio Vigil
    53. 53. Stitching Community: Challenging the Traditional Arena | United States | Antonio Vigil
    54. 54. Stitching Community: Challenging the Traditional Arena | United States | Antonio Vigil
    55. 55. KILO ARCHITECTURE Kilo challenges the limits of established norms and architectural and urbanistic assumptions by devising fresh design alternatives to combat an increasingly standardized world. Kilo practices an architecture d’auteur, customized to address each client’s needs and each project’s unique opportunities. The trajectory of the office has been constructed through a series of projects spanning a great diversity of scales and programs which share a communal approach and philosophy. Questioning the limited scope of the traditional architectural project, Kilo has developed its practice upon the theory that architectural strategies should be integrated into a project long ‘before’ and ‘after’ the conventional intervention of architects. Through such strategies as project development, site determination, and programming, Kilo engages in the definition of the architectural project from the very inception of a project. Kilo firmly believes that playing an integral role in the ‘non-architectural’ aspects of a project results in a stronger architectural solution. Committed to an international approach to design, Kilo integrates technical expertise with sensitivity to cultural specificities. Our design philosophy encompasses an interdisciplinary approach that is founded upon an open and c ontinuous dialogue with all the participants of a project. > WA Profile France - 2000 > Official Website
    56. 56. SELECTED BY THE VOTES OF HONORARY MEMBERS Archaeological M useum on the H istoric S ite of Volubilis Morocco Kilo Architecture
    57. 57. Archaeological Museum on the Historic Site of Volubilis | Morocco | Kilo Architecture
    58. 58. Archaeological Museum on the Historic Site of Volubilis | Morocco | Kilo Architecture
    59. 59. BEN LEE Ben is a m.arch student at the university of pennsylvania, USA. he has received previous education at the university of hong kong and at the bartlett, university college london. he has worked in both hong kong and tokyo. bens interests are parametricism and scripted design strategies. he is currently undertaking research in swarm intelligence. > WA Profile United States - 1984
    60. 60. SELECTED BY THE VOTES OF HONORARY MEMBERS C loud B lanket United States Ben Lee
    61. 61. Cloud Blanket | United States | Ben Lee
    62. 62. Cloud Blanket | United States | Ben Lee
    63. 63. C+S ASSOCIATI (CARLO CAPPAI AND MARIA ALESSANDRA SEGANTINI) The office works internationally in the different fields of architecture: masterplans, full architecture services, interior design both for the privat and the public sectors.The office is following about thirty current projects all over the world. C+S won many important international competitions for  public and private buildings: Cinema Festival Palace in Venice, Policlinic Hospital in Milan, Tenova headquarters in Verese, housing complex in Japan, university students’housing in Murano (Venice) and law court of Venice which are in the construction phase. Their projects are published in the main international architectural reviews: Abitare (Italy), AD (Great Britain), Area (Italy), A+U (Japan), Bauwelt (Germany), Casabella (Italy), D'Architettura (Italy), Detail (Germany), L’Architecture d’Aujord’hui (France), Loggia (Spain), Spazio e Società (Italy) and their work was shown in many different exhibitions. They exhibited in the 8th Biennale of Architecture in Venice. > WA Profile Italy - 1994 > Official Website
    64. 64. SELECTED BY THE VOTES OF HONORARY MEMBERS Water Filtration Plant Italy C+S Associati ( Carlo Cappai and Maria Alessandra Segantini )
    65. 65. Water Filtration Plant | Italy | C+S Associati (Carlo Cappai and Maria Alessandra Segantini)
    66. 66. Water Filtration Plant | Italy | C+S Associati (Carlo Cappai and Maria Alessandra Segantini)
    67. 67. MASAHIRO MIYAKE Design For Asia Award 2009 Silver Award World Architecture Festival 2008 JCD Design Award 2009(Japan) ECO-Building Award 2008(Japan) GOOD DESIGN AWARD2008(Japan) JCD Design Award 2008 (Japan) Interior Cordination Contest 2008(Japan) Good Painting Color 2007(Japan) Architectural design should be suitable for clients lifestyle. So, we try to ask carefully not only clients requirement but also theirlifestyle, hobbies and diversions in detail. As the result we can extract their hidden requirements which they havent noticed by themselves. We especially attach big importance to connection between inside and outside. For example, connection between premise (inside) and community (outside), between inside and outside of house, between own family and visitors, between individual and the other family members. We always think how should we treat the various connections and what is the best design of the interface for clients life. > WA Profile Japan - 1974 > Official Website
    68. 68. SELECTED BY THE VOTES OF HONORARY MEMBERS Stairs-House Japan Masahiro Miyake
    69. 69. Stairs-House | Japan | Masahiro Miyake
    70. 70. Stairs-House | Japan | Masahiro Miyake
    71. 71. JUNGMIN NAM PRESENT Working at KVA (Kennedy & Violich Architect), Boston, MA WORK Moshe Safdie and Associates: Cambridge, Massachusetts, Summer 2007 Architectural Intern OMA: Rotterdam, Netherlands, Summer 2004 Architectural Intern EDUCATION Harvard Graduate School of Design: 2005 – 2009 Cambridge, Massachusetts. Master in Architecture I (June 2009) Yonsei University: 1996 – 2004 Seoul, Korea. Bachelor of Science in Architectural Engineering (January 2004) AWARDS & HONORS First 10 places, The Project of the Year Competition, by Architecture of Israel + European Union: 2009 Gold Medal & Bienal Medalion, “Bienal Miami+Beach,” Competition: 2009 1st Prize, Seoul Association of Architects’ International Competition, “Collaboration with Nature”: 2009, Seoul, Korea. Thesis Finalist for the James Templeton Kelly Prize,2nd Place Nominee, Harvard Graduate School of Design: Spring 2009 1st Prize, Boston Society of Architects’ Housing Award, “In the Pursuit of Housing”: 2009 President’s Award for Excellence, Yonsei University: 2003 Thesis Award for Excellence, Yonsei University: 2003 EXHIBITIONS & INSTALLATIONS INSERT, Chinatown Library Project: Boston, MA. January 2009, Team member Gwangju Design Biennale Exhibition 2009: Gwangju, Korea. June 2009, Team member. > WA Profile South Korea - 1977
    72. 72. SELECTED BY THE VOTES OF HONORARY MEMBERS Unfolding Vision, Unfolding Sound France Jungmin Nam
    73. 73. Unfolding Vision, Unfolding Sound | France | Jungmin Nam
    74. 74. Unfolding Vision, Unfolding Sound | France | Jungmin Nam
    75. 75. Design For Asia Award 2009 Silver Award World Architecture Festival 2008 JCD Design Award 2009(Japan) ECO-Building Award 2008(Japan) GOOD DESIGN AWARD2008(Japan) JCD Design Award 2008 (Japan) Interior Cordination Contest 2008(Japan) Good Painting Color 2007(Japan) Architectural design should be suitable for clients lifestyle. So, we try to ask carefully not only clients requirement but also theirlifestyle, hobbies and diversions in detail. As the result we can extract their hidden requirements which they havent noticed by themselves. We especially attach big importance to connection between inside and outside. For example, connection between premise (inside) and community (outside), between inside and outside of house, between own family and visitors, between individual and the other family members. We always think how should we treat the various connections and what is the best design of the interface for clients life. > WA Profile Croatia - 2006 > Official Website MATRICA-ARHITEKTURA (ANDRIJANA POZOJEVIC, ZORA SALOPEK BALETIC, BOJAN BALETIC, ROBERTO VDOVIC)
    76. 76. SELECTED BY THE VOTES OF HONORARY MEMBERS The Interpolation in Korcula,Croatia Croatia Matrica-Arhitektura (Andrijana Pozojevic, Zora Salopek Baletic, Bojan Baletic, Roberto Vdovic)
    77. 77. The Interpolation in Korcula,Croatia | Croatia | Matrica Arhitektura (Andrijana Pozojevic, Zora Salopek Baletic, Bojan Baletic, Roberto Vdovic)
    78. 78. The Interpolation in Korcula,Croatia | Croatia | Matrica Arhitektura (Andrijana Pozojevic, Zora Salopek Baletic, Bojan Baletic, Roberto Vdovic)
    79. 79. SHAHIRA FAHMY Shahira H. Fahmy's designs aim to establish balance between new spatial concepts and existing context in almost all aspects of urban design. Shahira is able to work on various levels: concept design, construction supervision and research-based designs. After working as an architect with the leading engineering firm in the Middle East, Dar El Handasah for over 3 years, she established her own private architectural practice; Shahira H. Fahmy Architects based in Cairo, Egypt, providing Architecture, Interior Design and Furniture Design. She has taken part in milestone projects such as AUC's new campus in New Cairo and her firm has won many awards since its founding. Most recently Shahira's firm won the MIPIM Architectural Review Future Project Awards 2009 in the category of "Regeneration and Master Planning Category" for her work on SODIC and Solidere's WESTOWN Block 36, in Cairo, Egypt. > WA Profile Egypt - 1974 > Official Website
    80. 80. SELECTED BY THE VOTES OF HONORARY MEMBERS Block 36 Egypt Shahira Fahmy
    81. 81. Block 36 | Egypt | Shahira Fahmy
    82. 82. Block 36 | Egypt | Shahira Fahmy
    83. 83. BRITO.RODRIGUEZ ARQUITECTURA With two different backgrounds sharing a common interest in architecture, Inês Martins de Brito from Lisbon, Portugal and Gilberto Rodriguez from Taft, Texas USA both met in Spain while working at the office of RCR Arquitectes. In 2004, they relocated to San Francisco, USA where they collaborated at Sagan Piechota Architecture and Jim Jennings Architecture, respectively. During 2006 they began their professional collaboration by participating in several international competitions and were awarded and recognized for the Site Museum in Tulum, Mexico and the Lodge Museum in Chachapoyas, Peru. In 2008, the studio relocated to Lisbon and continue to pursue their interest in international projects. BRITO.RODRIGUEZ ARQUITECTURA studio work has been awarded in Mexico and Peru published in Germany, Mexico, Peru and Portugal and exhibited in Peru and Portugal. Our perception of architecture is to comprehend the concepts inherent to the identity of a space and to interpret the specific context and conditions of the environment. Our goal is to achieve an integrated expression between architecture and landscape. > WA Profile Portugal - 2006 > Official Website
    84. 84. CITED BY THE VOTES OF HONORARY MEMBERS a Site Museum Mexico Brito.Rodriguez Arquitectura
    85. 85. a Site Museum | Mexico | Brito.Rodriguez Arquitectura
    86. 86. a Site Museum | Mexico | Brito.Rodriguez Arquitectura
    87. 87. AHMAD HAMID Following studies at Cairo Universitys Faculty of Architectural Engineering, Ahmad Hamid began his professional career with Hassan Fathy, a pioneer architect in the international community. In 1984 he founded Ahmad Hamid Architects, a Cairo-based private interdisciplinary design office providing architectural services for residential and commercial projects, and public spaces, as well as product and furniture design. Furthering his own personal research into the indigenous art and architectural traditions of the Muslim World he then went on to pursue post-graduate studies in architectural history at the American University in Cairo, graduating with a Master’s Degree in Islamic Art and Architecture. Hamid worked with Skidmore Owings and Merrill on the “World Trade Center Cairo,” and several international consultants designing “Sadat City,” and has also consulted in Germany, England, Switzerland, Malaysia, Syria, Saudi Arabia, Oman and Abu Dhabi. He has dealt with urban and rural projects alike, focusing on the development of context-appropriate, economically-sustainable solutions. He has designed several lines of contemporary furniture, objects, textiles and accessories, and uses photography to document his sources of inspiration, periodically exhibiting his photographs and architectural and design drawings, most recently, The Architecture Shop: Character Studies; Works of Ahmad Hamid, ( Cairo. 2008). Ahmad Hamid’s 30 years of architectural practice have been driven by the inextricable relationship between art and architecture, as well as the conviction that the positive influence of art and design extends beyond function, encapsulating an entire mode de vie. He integrates the masculinity and confidence of modernity with a feminine subtle sensuality, born of Islam’s Arts, continually synthesizing the analytical with the beautiful and drawing upon tradition while absorbing contemporary ideas to produce designs that are quintessentially modern. He was awarded a Fulbright Design study grant at Pratt Institute in 2005, and the Frank G Wisner award 2007. Hamid has maintained an active teaching career alongside his practice, and has lectured at many universities and institutes around the world on selected topics in art, industrial design, architecture, culture, sustainability,and Islams art & architecture. He seeks to bring out the brilliance in each and every one of his students, educating them through the visual world instilling a critical appreciation of design as well as promoting intelligent, socially-responsible spaces and objects; his work has been featured in some seventy articles, television and radio programs in five languages. > WA Profile Egypt - 1956 > Official Website
    88. 88. CITED BY THE VOTES OF HONORARY MEMBERS 10M X 10M- Al-Tuni H ouse Egypt Ahmad Hamid
    89. 89. 10M X 10M- Al-Tuni H ouse | Egypt | Ahmad Hamid
    90. 90. 10M X 10M- Al-Tuni H ouse | Egypt | Ahmad Hamid
    91. 91. SURIYA UMPANSIRIRATANA I have done many things such as architecture rendering, crafting, Thai painting and landscaping before practicing architecture. Because of strongly believe in Buddhism, after having a chance to practice meditation I decided to sacrifice myself doing architecture as for charity to the monastery. There are many things inspired me through long-time experience, the childhood memory, the sound of chanting and even the sound of silence when doing meditation. In addition that I grew up in beautiful nature with richful culture. I put all these into architecture. > WA Profile Thailand - 1969 > Official Website
    92. 92. CITED BY THE VOTES OF HONORARY MEMBERS Scripture hall: Wat Pha Vachirabunpotch, Chonburi Thailand Suriya Umpansiriratana
    93. 93. Scripture hall: Wat Pha Vachirabunpotch, Chonburi | Thailand | Suriya Umpansiriratana
    94. 94. Scripture hall: Wat Pha Vachirabunpotch, Chonburi | Thailand | Suriya Umpansiriratana
    95. 95. DE MATTIO/RAFFIN ARCHITETTI Michele de Mattio Giuliana Raffin Roberto Moret > WA Profile Italy - 2000
    96. 96. CITED BY THE VOTES OF HONORARY MEMBERS T he F riuli V enezia G iluia F ilm A rchive Italy De Mattio/Raffin Architetti
    97. 97. T he F riuli V enezia G iluia F ilm A rchive | Italy | De Mattio/Raffin Architetti
    98. 98. T he F riuli V enezia G iluia F ilm A rchive | Italy | De Mattio/Raffin Architetti
    99. 99. KESTUTIS LUPEIKIS Born in Vilnius (Lithuania) in 1962.  First degree in Architecture, Vilnius Civil Engineering Institute (VISI, now VGTU), 1985.  Doctor of the Humanities (Arch), since 2004.  Assoc. Professor Architecture Department, Vilnius Gediminas Technical University (VGTU), since 2004.  Project director and owner of the architectural design company KLAP, since 1991.  Membership: member of the LAS, LDS and LTMKS (Lithuanian Union of Architects, Lithuanian Union of Artists and Lithuanian Union of Interdisciplinary Art Creators, since 1994, 1992, 2000), member of the artist group “Angis” (“Snake”), since 1993.  Projects: author or coauthor of more than 43 projects of architectural design.  Competitions: author and coauthor of 36 projects of architectural design.  Exhibitions: 10 personal, 38 group exhibitions.  Grants: high level Lithuanian state grant for art, 1999-2000; high level Lithuanian state grant for architecture, 2000-2001. Exhibition “Vilnius Architecture 2005-2006” Nomination “The Best Project” (Headquarters of Prosecutors office).  Collections: Lithuanian Art Museum, Vilnius, Willhelm Lehmbruck Museum, Duisburg, Germany, private collections in Lithuania, Germany, Austria, Honk-Kong, Dallas, New York.  Research interests: theory of archi¬tecture, value of minimal architecture, problems of minimal form and new tendency in contemporary architecture. > WA Profile Lithuania - 1962 > Official Website
    100. 100. CITED BY THE VOTES OF HONORARY MEMBERS Headquarters of Prosecutors O ffice Lithuania Kestutis Lupeikis
    101. 101. Headquarters of Prosecutors O ffice | Lithuania | Kestutis Lupeikis
    102. 102. Headquarters of Prosecutors O ffice | Lithuania | Kestutis Lupeikis
    103. 103. GEORG POENSGEN Cologne-based architect Georg Poensgen and his interior designer partner Andrea Denzer set up business together in 1999. Their residential building style is defined by quadratic forms that make good use of the ‘inside is outside’ principle and often incorporate calm atrium spaces – a feature that has its origin in ancient Roman architecture – such as their 2005 Wohnhaus in Trier and the Wohnhaus Perl due for completion in 2008. Denser & Poensgen approaches each project as an individual entity. The duo draw their inspiration from the location and surrounding area before putting pen to paper or fingers to mice. ‘Architects have to get used to the idea that they deal with places that are full of memories, dreams and wishes. Their job is to bring their creative work into a dialogue with history.’ Their architectural heroes include Le Corbusier, Louis I Kahn and Luigi Snozzi. > WA Profile Germany - 1964 > Official Website
    104. 104. CITED BY THE VOTES OF HONORARY MEMBERS House Steuer-Best Germany Georg Poensgen
    105. 105. House Steuer-Best | Germany | Georg Poensgen
    106. 106. House Steuer-Best | Germany | Georg Poensgen
    107. 107. AJAY KULKARNI P ractising archi te ct- designer. aim to architecture context responsive and monumental. the rich heritage and context of place where i practice keeps the fire on to put a timeless creation to the history of world architecture. also regularly practice s calligraphy, photography, graphics, and products( indu s trial). > WA Profile India - 1965 > Official Website
    108. 108. CITED BY THE VOTES OF HONORARY MEMBERS Dr. Babasaheb Ambedkar Technological university, Lonere, Alibaug India Ajay Kulkarni
    109. 109. Dr. Babasaheb Ambedkar Technological university, Lonere, Alibaug | India | Ajay Kulkarni
    110. 110. Dr. Babasaheb Ambedkar Technological university, Lonere, Alibaug | India | Ajay Kulkarni
    111. 111. JULIANA LAHÓZ Juliana Lahoz Architeture Office started 11 years ago. Its a team formed for the principal architect Juliana Lahóz, who is graduated in Architecture and Urbanism in Brazil, post-graduated in Construction Management, also the architects Gisele Mancini and Carolina Ribas, both with experience in Europe. We develop mostly design projects of houses, and comercial interior design as principal activities. > WA Profile Brazil - 1975 > Official Website
    112. 112. CITED BY THE VOTES OF HONORARY MEMBERS Beach Cottage Brazil Juliana Lahóz
    113. 113. Beach Cottage | Brazil | Juliana Lahóz
    114. 114. Beach Cottage | Brazil | Juliana Lahóz
    115. 115. ILYA A FILIMONOV & IRINA V FILIMONOVA N/A > WA Profile Russia
    116. 116. CITED BY THE VOTES OF HONORARY MEMBERS Exhibition C enter in Aleksandrovsky P ark S-Petersburg Russia Ilya A Filimonov & Irina V Filimonova
    117. 117. Exhibition C enter in Aleksandrovsky P ark S-Petersburg | Russia | Ilya A Filimonov & Irina V Filimonova
    118. 118. Exhibition C enter in Aleksandrovsky P ark S-Petersburg | Russia | Ilya A Filimonov & Irina V Filimonova
    119. 119. AH ASOCIADOS Ah is an architectural company established in 1995 with branches in Pamplona, Bilbao, Barcelona, Madrid, Quito and Doha. Its main purpose was to provide technical services for Planning, Design, Site Control and Project Management, after years of experience in housing, public facilities and urban design. The ah group, based upon a standard organizational framework, is focused on inter-disciplinary team work to obtain better results, adapted to the identity of each client, with the quality of a personalized office and the efficiency of a large company. Now ah has specialized teams in the design and execution of Collective housing; industrial facilities; public centres for culture, education and health; architectural renewal; urban design, structural design; technical specifications; site control; quantity surveyors and project management. Its work has been awarded with prizes in many local and international competitions and has been widely published in architectural exhibitions magazines and lectures including University Forums, Schools of Architecture and Professional Institutes. > WA Profile Spain - 1989 > Official Website
    120. 120. CITED BY THE VOTES OF HONORARY MEMBERS G ranatum - G ranada P erforming A rts C entre Spain AH Asociados
    121. 121. G ranatum - G ranada P erforming A rts C entre | Spain | AH Asociados
    122. 122. G ranatum - G ranada P erforming A rts C entre | Spain | AH Asociados
    123. 123. PAWEL SWIATKIEWICZ JPP Architects POLAND > WA Profile Poland - 1984 > Official Website
    124. 124. CITED BY THE VOTES OF HONORARY MEMBERS S udecki _H ouse Poland Pawel Swiatkiewicz
    125. 125. S udecki _H ouse | Poland | Pawel Swiatkiewicz
    126. 126. S udecki _H ouse | Poland | Pawel Swiatkiewicz
    127. 127. OLEG ZAVARZIN Ukranian architect {UIA}, professor {Ph.D. in Architectural Aesthetics} > WA Profile Ukraine - 1970
    128. 128. CITED BY THE VOTES OF HONORARY MEMBERS Darnitsky Railway Highway Bridge Ukraine Oleg Zavarzin
    129. 129. Darnitsky Railway Highway Bridge | Ukraine | Oleg Zavarzin
    130. 130. SHADI A.SALAM Degree in Architecture from University of Jordan in Amman, Joined CC - Jafar Tukan Architects as an associate architect in charge of the Concept Design Unit. Practiced architecture in Jordan and abroad. Teaches architectural design at the University of Jordan. > WA Profile Jordan - 1979
    131. 131. CITED BY THE VOTES OF HONORARY MEMBERS RAK Office Park United Arab Emirates Shadi A.Salam
    132. 132. RAK Office Park | United Arab Emirates | Shadi A.Salam
    133. 133. RAK Office Park | United Arab Emirates | Shadi A.Salam
    134. 134. BILAL HAMMAD Bilal Hammad is recognized as a leading figure in the architectural scene of Jordan. He has achieved a reputation for creativity and design excellence, merging art into architecture and interior design. He studied architecture at the university of Alexandria, Egypt, school of engineering/ Architectural Department, from 1970 to 1975. He started his private practice in the late 1970's, leading to the formation of "Bilal Hammad Architects" in mid 1980's where he was joined by Nida' Massannat. He has a clear interest in graphic design and corporate image and its integration with architecture, showing as well a clear commitment to urban issues and design. He has lectured and exhibited his work in several academic institutions in the Middle East and Europe. His work has been published by several professional Architectural publications. He has served as a jury member for many architectural competitions, and as an external examiner at several schools of architecture in the region. > WA Profile Jordan - 1952 > Official Website
    135. 135. CITED BY THE VOTES OF HONORARY MEMBERS Jordan Kuwait Bank Jordan Bilal Hammad
    136. 136. Jordan Kuwait Bank | Jordan | Bilal Hammad
    137. 137. Jordan Kuwait Bank | Jordan | Bilal Hammad
    138. 138. ATELIERMOB ateliermob is a Lisbon (Portugal) based office, that develops ideas and projects in architecture, design and urbanism. Its projects and work have been often referenced and distinguished with awards as the honorable mention on the International Ideas Competition for the Paris Courthouse (2006), the 1st Prize on the International Competition to Develop Tagus’ River Banks (2007) and the 1st Prize on the Competition for the New Mouras Cemetery (2008). In 2007, ateliermob was integrated in the Top 10 New Portuguese Blood held by New Italian Blood. > WA Profile Portugal - 2005 > Official Website
    139. 139. CITED BY THE VOTES OF HONORARY MEMBERS Coffee Shop + Shading Surface Portugal Ateliermob
    140. 140. Coffee Shop + Shading Surface | Portugal | Ateliermob
    141. 141. Coffee Shop + Shading Surface | Portugal | Ateliermob
    142. 142. AFSOON JABERY I present my works that ha ve been done in school of a r chitecture > WA Profile Iran - 1982
    143. 143. CITED BY THE VOTES OF HONORARY MEMBERS Sustainable Energy Research Center Iran Afsoon Jabery
    144. 144. Sustainable Energy Research Center | Iran | Afsoon Jabery
    145. 145. Sustainable Energy Research Center | Iran | Afsoon Jabery
    146. 146. KYEONGSIK YOON Kyeong Sik YOON CEO, President/Architect KACI International Inc. 1957 Born in Daegu, South Korea 1983 BA degree in Yeungnam Univ. 1983 Start practice Architecture in KACI Intl. 1989-1990 Practice in Perkins & Will Intl. in Chicago 1993 Established JISAN Scholarship Foundation 1994-1995 Practice in Leonard Parker Associates, Architects in Minneapolis 1996-1997 Practice in Cesar Pelli & Associates, Architects in New Haven 1997-1998 Practice in NBBJ in Seattle 2002 -2005 Collaboration with Cesar Pelli(USA), Ricardo Legorreta(Mexico), David Chipperfield(UK), Michel Wilmotte(France) and Shigeru Ban(Japan) > WA Profile South Korea - 1957 > Official Website
    147. 147. CITED BY THE VOTES OF HONORARY MEMBERS Haesley Nine Bridges Golf Club House South Korea Kyeongsik Yoon
    148. 148. Haesley Nine Bridges Golf Club House | South Korea | Kyeongsik Yoon
    149. 149. Haesley Nine Bridges Golf Club House | South Korea | Kyeongsik Yoon
    150. 150. CHR I STOPHER CHARLES BENN I NGER ARCH I TECTS PVT LTD Christopher Charles Benninger Architects, has a team of forty architects with studios in Pune and Thimphu. As an internationally known ‘design house’ Christopher Charles Benninger Architects create products ranging from capital cities and new towns; educational campuses and corporate headquarters; housing estates and complexes; hotels resorts and hospitals; down to the design of individual chairs and art works. The entire range of materiality plays a role in the studio’s search for beauty. In the end it is not the “things” that the studio design’s, but the transcendental experience of the people using them, looking at them, or just being in them which is the essence. For our studio, the good life exists just a step outside of materiality, in a mystic twilight zone, which we call architecture. The firm’s work has been published in international and national books and magazines such as Ekistics (Greece), Spazio-e-Societe (Italy), AIArchitect (USA), Cities (UK), Architectural Record (USA), Zoo (UK), Business Week (USA), Architects’ Newspaper (USA); Arquitectura Viva (Spain); World Architecture (UK); Mimar (UK), Habitat International (UK), Architecture+Design (India), Indian Architect and Builder, Inside-Outside (India) and many others. Mainstream magazine Business Week (USA) named the Mahindra United World College of India as among the ten “Super Structures of the World” in the year 2000. > WA Profile India - 1996 > Official Website
    151. 151. CITED BY THE VOTES OF HONORARY MEMBERS Nabha House, New Delhi India Christopher Charles Benninger Architects Pvt. Ltd.
    152. 152. Nabha House, New Delhi | India | Christopher Charles Benninger Architects Pvt. Ltd.
    153. 153. Nabha House, New Delhi | India | Christopher Charles Benninger Architects Pvt. Ltd.
    154. 154. MIKOU DESIGN STUDIO Mikou Design Studio is a place of creation and experimentation in architecture and its inter-disciplinary cross-fertilisation. We work in a continuous workshop spirit with a multidisciplinary team of architects, engineers, graphic artists, scenographers and town planners from very different cultural backgrounds. Every project is an excuse for re-questioning and redefining the meaning of a brief, a function, and an urban, social and human context, in order to invent new ways of living, places for sharing and gathering that are more sensitive and more sensual, and which stimulate feelings. Our aim is to get away from preconceptions of form and function in order to transmit more and better. Mikou Design Studio is currently involved in a large number of projects throughout France, Germany and Morocco, with a focus on cultural, educational, housing and offices. The two partners, Salwa and Selma Mikou were born in Fes Marocco. After attending school in Paris (Paris Belleville) and Lausanne (EPFL), they received their diploma on Architecture and Urban design in 2000. During 2000 to 2005 they worked at RPBW (Renzo Piano Building workshop) and AJN (Ateliers Jean Nouvel) Paris where they were in charge of international projects in Abudhabi (Lulu Island), Doha (Urban design of Doha waterfront), Los Angeles (Lacma museum), Seoul (Samsung Chairman house), Beirut (Condominium offices and hotel), Rabat (Bouregreg Valley), Kuwait (Performing Art Center and hotels), London ( legal and general offices). They founded Mikou Design Studio in 2005. > WA Profile France - 2005 > Official Website
    155. 155. CITED BY THE VOTES OF HONORARY MEMBERS Lighthouse Tower Rio 2009 Brasil M ikou D esign Studio
    156. 156. Lighthouse Tower Rio 2009 | Brasil | M ikou D esign Studio
    157. 157. Lighthouse Tower Rio 2009 | Brasil | M ikou D esign Studio
    158. 158. JANOS T I BA TIBA Architects Studio, the firm responsible for the architecture of the reconstruction is a young office led by Janos Tiba (formerly associate director of Erick van Egeraat). Being bilingual - english, hungarian - the office is effectively collaborating with clients from all over Europe, designing for them office developments, vineries and participating in the elaboration of masterplans. > WA Profile Hungary - 1971 > Official Website
    159. 159. CITED BY THE VOTES OF HONORARY MEMBERS Paris Department Store Hungary Janos Tiba
    160. 160. Paris Department Store | Hungary | Janos Tiba
    161. 161. Paris Department Store | Hungary | Janos Tiba
    162. 162. ONCUOGLU+ACP ARCH I TECTURE-PLANN I NG Öncüoğlu+ACP is an international architectural practice composed of dynamic and experienced team of architects, designers, planners and engineers that operates in 4 countries; Turkey, Germany, Russia and Kazakhstan. the firm was founded by Hasan Öncüoğlu in 1964. Since 1996, the company is directed by Enis Öncüoğlu with his partners Önder Kaya, Cem Altınöz, Cumhur Keskinok, Claus Jungk and Engin Öncüoğlu. Adaptation is the keyword that forms the identity of the team with respect to topography, geography, culture and climate within social and urban fabric. Bilingual specialists form the backbone of Öncüoğlu+ACP’s international design service and operations. after several numbers of realized projects, significant experience has been achieved in the requirements, services and organization of international projects. Each new project is a challenging experience that takes forward the company’s architectural approach, coordination skills, technological and material knowledge. The projects are designed with innovative methods taking into consideration the climate, environmental conditions and technological aspects. Öncüoğlu+ACP find ive and realistic solutions for every design case within its context and existence. ‘Integration’ is another keyword in the firm’s approach for social and spatial dialogue within the international standards of architecture. In its region, the company is recognized by its unique and individual architectural expression formed through the spatial dialogue. > WA Profile Turkey - 1964 > Official Website
    163. 163. CITED BY THE VOTES OF HONORARY MEMBERS Eczacibaşı R&D Center Turkey Oncuoglu+ACP Architecture-Planning
    164. 164. Eczacibaşı R&D Center | Turkey | Oncuoglu+ACP Architecture-Planning
    165. 165. Eczacibaşı R&D Center | Turkey | Oncuoglu+ACP Architecture-Planning
    166. 166. AK2 ARCH I TECTURE STUD I O AK2 architecture studio founded in 2005 two authorized architects: Andrea Klimková and Peter Kručay, both graduated Faculty of Architecture, Slovak University of Technology in Bratislava (Slovak republik) in 1997 Master Diploma (Ing. Arch.). AK2 architectural studio provide all stages of an architectural projects and have many experiens in the field housing projects, mixed use buildings, smaler urban areas, privat spaces, interiors, etc. AK2 Philosophy: We perceive architecture not as a sole translation of brief into a built form, but as an art determining the identity of our environment. While designing in a contemporary context we are always on the search for a new spatial quality that will endure. For us architecture is both a challenge and an inspiration, that needs the right clients to be realized. > WA Profile Slovakia - 2005 > Official Website
    167. 167. CITED BY THE VOTES OF HONORARY MEMBERS RELAXX S port and L easure C entre Slovakia AKII A rchitecture S tudio
    168. 168. RELAXX S port and L easure C entre | Slovakia | AKII A rchitecture S tudio
    169. 169. RELAXX S port and L easure C entre | Slovakia | AKII A rchitecture S tudio
    170. 170. THAO NGUYEN N/A > WA Profile United States - 1984
    171. 171. CITED BY THE VOTES OF HONORARY MEMBERS Elevating Communication United States Thao Nguyen
    172. 172. Elevating Communication | United States | Thao Nguyen
    173. 173. Elevating Communication | United States | Thao Nguyen
    174. 174. Spacelab Architects is an Italian architectural design practice specializing in architecture, landscape design, urban development and with some productive experiences in industrial design. Spacelab was founded by Luca Silenzi and Zoe Chantall Monterubbiano architects in 2002 as an evolution of the former firm LS+ZChM architects, on the stage by 1993. From 2008, Spacelab is a partnership including in the original core Roberto Sargo (architect) and Giampiero Luzi (engineer). The name Spacelab is referring to the spatial essence of architecture and design discipline: the office is intended as an architectural and design research laboratory, guided by a continuous development and refinement of rough ideas into excellent results and performances. We developed an highly flexible methodological approach, which incorporates parametric designing and collaborations with specialists in other disciplines, combining programmatic requirements, construction and subsidiary studies into an integrated design. Based in Fermo, middle Italy, the office has worked internationally since its inception and produced a wide range of work ranging from public buildings, infrastructure, offices, residential, products, to urban masterplans. Architecture from Spacelab is derived from research in which questions of organizational structures take centre position, paying attention to new building industry production methods, and with the contribution of new design techniques, to approach the complex nature of the architectural and urban project with smart working strategies: excellence and integration, with a not-banal approach to the context. > WA Profile Italy - 2007 > Official Website SPACELAB ARCHITECTS ( LUCA S I LENZ I , ROBERTO SARGO, ZOÈ CHANTALL MONTERUBB I ANO, G I AMP I ERO LUZ I)
    175. 175. SELECTED BY THE RATINGS XX Building Italy Spacelab A rchitects ( Luca Silenzi, Roberto Sargo, Zoè Chantall Monterubbiano, Giampiero Luzi )
    176. 176. XX Building | Italy | Spacelab A rchitects ( Luca Silenzi, Roberto Sargo, Zoè Chantall Monterubbiano, Giampiero Luzi )
    177. 177. XX Building | Italy | Spacelab A rchitects ( Luca Silenzi, Roberto Sargo, Zoè Chantall Monterubbiano, Giampiero Luzi )
    178. 178. SDES I GN_WORLD N/A > WA Profile Portugal - 1993 > Official Website
    179. 179. SELECTED BY THE RATINGS Moulin Rouge - Dance School France sdesign_world
    180. 180. Moulin Rouge - Dance School | France | sdesign_world
    181. 181. Moulin Rouge - Dance School | France | sdesign_world
    182. 182. NADEEM UL HASAN NUHA, formed in 2001, is a multi disciplinary consulting architectural firm, providing a comprehensive and complete line of architectural and interior design services, from conceptual design to construction management, to a variety of private and public sector clients all over Pakistan and abroad. > WA Profile Pakistan - 1966 > Official Website
    183. 183. SELECTED BY THE RATINGS Ferozsons L aboratories H ead O ffice B uilding Pakistan Nadeem Ul Hasan
    184. 184. Ferozsons Laboratories Head Office Building | Pakistan | Nadeem Ul Hasan
    185. 185. Ferozsons Laboratories Head Office Building | Pakistan | Nadeem Ul Hasan
    186. 186. MARTA KASZUBA N/A > WA Profile Poland - 1982
    187. 187. SELECTED BY THE RATINGS Sudecki House Poland Marta Kaszuba
    188. 188. Sudecki House | Poland | Marta Kaszuba
    189. 189. Sudecki House | Poland | Marta Kaszuba
    190. 190. NORA LAU Nora Lau was born in Potsdam in 1980. Living until 1989 in Eastern Germany, she moved to the Western part prior to the fall of the Berlin Wall. Back to Berlin, she started studying architecture at the University of the Arts Berlin (UdK) in 2000. After a break with studies in Milan (2003-2004) and the collaboration in the art group "bizzim" (with N. Aydogan and C. Keichel), she graduated from University of the Arts Berlin in June 2007. Nora Lau is actually living and working between Berlin and Milan. ___ART EXHIBITIONS: "Maßstabssprünge" ("Jumps in scale"), 5th February - 3rd April 2005, realized project of a living space as a multicultural wickerwork (German - Italian - Turkish). Collaboration between "bizzim" and the art critic P. Herbstreuth for the interdisciplinary exhibition experiment "I House you"; papirossa, Netzmuseum für Sprache and GdK, Galerie der Künste e.v., Berlin. | "Stadt - Raum - Wahrnehmungen" ("City - space – perceptions"), December 2007: Organization of the art-exhibition and participation with the work "Milan, summer 2006 - city imprints" at Projektraum P1, UdK Berlin. ___PUBLICATIONS: "lecture series 03 – Kreativität und Kontrolle" ("lecture series 03 – creativity and control"); edited by S. Eickhoff, E. Gmyrek, M. Kölke, N. Lau and N. Lill, Berlin 2003. | "Stadt - Raum – Wahrnehmungen" ("City - space – perceptions"): A.-M. Kursawe and N. Lau, Berlin 2007. ___AWARDS: "A house for Federico Fellini - The taste of the marvellous", 2008. competition of ideas. Icarch Gallery, Chicago, IL, US. > WA Profile Germany - 1980 > Official Website
    191. 191. SELECTED BY THE RATINGS A house for Federico Fellini Italy Nora Lau
    192. 192. A house for Federico Fellini | Italy | Nora Lau
    193. 193. A house for Federico Fellini | Italy | Nora Lau
    194. 194. KH I ENSAK SEANGKL I ENG Khiensak Seangklieng, born 1964, is the principal of Khiensak+M.L. Varodom Architects Design Studio, a practice which specializes in resort, residential, and religious project. Khiensaks projects are mainly approached with research-based design as well as the design development through integration of modern Thai architecture. Kent graduated from Institute of Architecture, University of Northern Philippines,Vigan Ilocos Sur, with a Bachelor of Science in Architecture, Master of Architecture from Chulalongkorn University and Ph.D. in Architecural Heritage Management and Tourism from Silpakorn University. From 2003-present, he lectured full-time at the Faculty of Architecture and Planning, Thammasat University. > WA Profile Thailand - 1964 > Official Website
    195. 195. SELECTED BY THE RATINGS The Local Hero House: Re-interpreting Modern Thai House Thailand Khiensak Seangklieng
    196. 196. The Local Hero House: Re-interpreting Modern Thai House | Thailand | Khiensak Seangklieng
    197. 197. The Local Hero House: Re-interpreting Modern Thai House | Thailand | Khiensak Seangklieng
    198. 198. MUNKACSOPORT.NET N/A > WA Profile Hungary - 2005 > Official Website
    199. 199. SELECTED BY THE RATINGS Single- F amily H ouse by the Balaton Hungary munkacsoport.net
    200. 200. Single- F amily H ouse by the Balaton | Hungary | munkacsoport.net
    201. 201. Single- F amily H ouse by the Balaton | Hungary | munkacsoport.net
    202. 202. OPENLAB ARCH I TECTS (JENN I FER GOMES AND GONÇALO GUERRE I RO) Openlab architects is a multidisciplinary laboratory motivated by experimental work to reflect ultimate design solutions. We aim to create new concepts and creative solutions in architecture and interior design, with particular attention to environmental issues. > WA Profile Portugal - 1979 > Official Website
    203. 203. SELECTED BY THE RATINGS Walking Flowing Portugal Openlab Architects (Jennifer Gomes and Gonçalo Guerreiro)
    204. 204. Walking Flowing | Portugal | Openlab Architects (Jennifer Gomes and Gonçalo Guerreiro)
    205. 205. Walking Flowing | Portugal | Openlab Architects (Jennifer Gomes and Gonçalo Guerreiro)
    206. 206. ADAM WOJTAL I K N/A > WA Profile Poland - 1985
    207. 207. SELECTED BY THE RATINGS Bouwkunde Netherlands Adam Wojtalik
    208. 208. Bouwkunde | Netherlands| Adam Wojtalik
    209. 209. Bouwkunde | Netherlands| Adam Wojtalik
    210. 210. PEDRO GONÇALVES & PEDRO MOSCA INERTE ARQU I TECTURA N/A > WA Profile Portugal - 1978 > Official Website
    211. 211. SELECTED BY THE RATINGS I.N. House Portugal Pedro Gonçalves & Pedro Mosca Inerte Arquitectura
    212. 212. I.N. House | Portugal | Pedro Gonçalves & Pedro Mosca Inerte Arquitectura
    213. 213. I.N. House | Portugal | Pedro Gonçalves & Pedro Mosca Inerte Arquitectura
    214. 214. N I CK KAR I NTZA I D I S Nick Karintzaidis is an architect. > WA Profile Greece - 1982
    215. 215. SELECTED BY THE RATINGS Museum & Research Center for Russian Avant-garde (Kostakis Collection) in Thessaloniki Greece Nick Karintzaidis
    216. 216. Museum & Research Center for Russian Avant-garde (Kostakis Collection) in Thessaloniki Greece | Nick Karintzaidis
    217. 217. Museum & Research Center for Russian Avant-garde (Kostakis Collection) in Thessaloniki Greece | Nick Karintzaidis
    218. 218. Register free at the World Architecture Community so that the world can find you. Submit your work to be appreciated and discussed worldwide. WA Portal is the unique comprehensive international directory and catalog of contemporary architecture where all architects, scholars, and institutions submit their work and links to share with the whole world. You should be in too. www.worldarchitecture.org