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SPECIAL THANKS TO Alcino Delgado Andrea Avezzù António Amaral Artur Sousa Ávila e Sousa Daniel Schwartz Eduardo Perez Enrico Cano Erik-Jan Ouwerker Giovanni De Sandre Iwan Baan James Bassett-Cann Javier Prado João Bencatel José Manuel Pedreirinho José Maria Ferreira José Orlando Kéré Architecture Team Konrad Profanter Rita Leite Castro Roberto Fernandez Sofia Teodósio Tim Tiebout Thomas Allaert

AMAG 17 2019 November RUN NUMBER 5.000 copies EDITOR-IN-CHIEF Ana Leal GENERAL MANAGING Filipa Figueiredo Ferreira EDITORIAL TEAM Carolina Feijó Filipa Figueiredo Ferreira João Oliveira Soares Tomás Lobo TRANSLATIONS Lancaster College - Póvoa de Varzim PRINTING www.lusoimpress.com ISSN I2182-472X ISBN 978-989-54098-9-1 ERC REGISTRATION 126 164 LEGAL DEPOSIT 377392/14 NATIONAL DISTRIBUTION | AMAG PUBLISHER info@amagmagazineandbooks.com INTERNATIONAL DISTRIBUTION | IDEA BOOKS idea@idea.nl SUBSCRIPTIONS onlineorders@amagmagazineandbooks.com ADVERTISING adv@amagmagazineandbooks.com

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Passion for Glass.

Curves are beautiful,

Now Tvitec is curved.

thoughts from the editor An immaterial materiality

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josé manuel pedreirinho DRAWING ON THE FLOOR

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joanna helm DIVERSITY AND VERSATILITY…

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kéré architecture

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completed projects GANDO PRIMARY SCHOOL GANDO PRIMARY SCHOOL EXTENSION GANDO TEACHERS’ HOUSING GANDO SCHOOL LIBRARY DANO SECONDARY SCHOOL NATIONAL PARK OF MALI LYCÉE SCHORGE SECONDARY SCHOOL SERPENTINE PAVILION SURGICAL CLINIC AND HEALTH CENTER DOCTORS’ HOUSING BENGA RIVERSIDE SCHOOL

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BENGA RIVERSIDE HOUSING XYLEM

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under construction | in planning OPERA VILLAGE BURKINA FASO NATIONAL ASSEMBLY MOREÖ ROYAL BATHS PROTECTIVE SHELTER KAMWOKYA COMMUNITY PLAYGROUND IT UNIVERSITY WALDORFSHULE WEILHEIM MEMORIAL THOMAS SANKARA TUM TOWER

113 121 127 133 139 145 151 157

temporary installations SENSING SPACES PAVILION CAMPER POP-UP STORE LOUISIANA CANOPY COLORSCAPE ZOÍ PAVILION TUGUNORA SARBALÉ KE product design ZIBA STOOL

163 167 171 175 179 183 187

CREDITS

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KÉRÉ ARCHITECTURE

The Gando Primary School was completed in 2001 and received the Aga Khan Award for Architecture in 2004. More importantly, however, the Gando Primary School became a landmark of community pride and collectivity. As the collective knowledge of construction began to spread and inspire Gando, new cultural and educational projects have since been introduced to further support sustainable development in the village.

L’Ecole Primaire fut achevée en 2001 et reçu le Prix Aga Khan d’Architecture en 2004. Elle est surtout devenue un symbole d’unité et de fierté pour la communauté. Le savoir généré par la construction se répandant et inspirant Gando, de nouveaux projets culturels et d’éducation sont en cours, pour soutenir davantage encore le développement de la communauté.

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A Escola Primária de Gando foi concluída em 2001 e recebeu o Prémio Aga Khan de Arquitectura em 2004. No entanto, mais importante, a Escola Primária de Gando tornou-se um marco de orgulho e colectividade da comunidade. À medida que o conhecimento colectivo da construção começou a espalhar-se e a inspirar Gando, novos projectos culturais e educacionais foram introduzidos desde então para apoiar ainda mais o desenvolvimento sustentável na aldeia.

GANDO PRIMARY SCHOOL

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SITE PLAN

KÉRÉ ARCHITECTURE

GANDO PRIMARY SCHOOL

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01. Roof - Roof membrane of corrugated metal sheets, girders of welded reinforcing steel 02. Suspended ceiling - Clay bricks 03. Ring beam - Reinforced concrete 04. Supporting clay walls 05. Butresses 06. Windows - Steel lamella elements 07. Steps - Natural stone or concrete 08. Continous Foundation - Non-reinforced concrete 09. Permanent shuttering - Edgewise bricked-up adobe 10. Clay and stone filling 11. Compressed clay - Traditional stamped clay 12. Terrace cover - Clay bricks 13. Edge strips terrace - Natural stone masonery 14. Rainwater conductor - Filled with gravel

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KÉRÉ ARCHITECTURE GANDO PRIMARY SCHOOL EXTENSION

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2004 031

GANDO TEACHERS’ HOUSING Gando, Burkina Faso

The teachers’ houses were designed to attract teachers to the countryside, as well as to promote the use of earth as a sustainable and durable building material. The houses were realized as a series of adaptable modules, each of comparable size to the traditional round huts typically found in this region. Single modules can be combined in various ways into a larger composite whole. The simplicity of the design and minimal use of bought materials means that it can easily be adopted by the inhabitants. The six houses for teachers and their families are arranged in a wide arc to the south of the school complex. This curvilinear layout is reminiscent of a traditional Burkinabè compound. The roofs are barrel vaults constructed from stabilized earth blocks. This construction method, previously unheard of in this region, makes use of local resources and is climatically efficient. To protect the building from rising damp, the 40cm thick adobe walls stand on a foundation of cast insitu cement and granite stones. The community produced around 15,000 blocks, each 40x20x10cm, at a rate of between 600 and 1,000 a day. A tie beam connecting the walls bears the roof load in each module. The roof is a layer of reinforced concrete poured in situ into a permanent shuttering of compressed stabilized earth blocks (CSEBs). The roof heights alternate between 100cm and 150cm, therefore when they overlap a sickle-shaped opening is formed and serves as a means of ventilating the interior and providing daylight. Generous roof overhangs protect the walls from moisture. In traditional Burkinabè houses, a special type of thin loam rendering – mixed with vegetable juice and cow dung – is applied to the outer walls as a protective layer of about 3cm against weathering. Unfortunately, these components are of little use in the rainy season and attract termites which can eventually destroy the walls. In the teachers’ housing, the traditional organic components of the rendering were replaced with bitumen. The culmination of the building work is the tamping of the clay floor to create a smooth, homogeneous surface. The enthusiastic involvement of the people of Gando was the key to the success of this project. Everyone gained not only new skills but also a sense of responsibility, awareness and sensitivity to both the traditional and the innovative aspects of building.

Les logements des professeurs furent conçus pour les attirer à la campagne, ainsi que pour promouvoir l’utilisation de la terre en tant que matériau durable. Les logements furent pensés comme une série de modules adaptables, chacun d’une taille comparable aux huttes circulaires trouvées typiquement dans la région. Combinés de différentes manières, plusieurs modules composent un ensemble plus grand. La simplicité du dessin et l’usage minimal de matériaux achetés impliquent que celui-ci peut facilement être investi par les habitants. Les six maisons des professeurs et de leurs familles sont disposées en un large demi-cercle au sud du complexe scolaire. Cette disposition curviligne est réminiscente des groupements traditionnels de maisons burkinabè. Les toits sont des voûtes construites à partir de blocs de terre stabilisés. Cette méthode de construction, absolument nouvelle dans la région, utilise des ressources locales et présente une très bonne efficacité climatique. Pour protéger le bâtiment de l’humidité, les murs de terre crue de 40cm d’épaisseur reposent sur un socle de blocs de pierre et de ciment coulé sur place. La communauté a produit environ 15000 blocs, de 40x20x10 cm, à un rythme allant de 600 à 1000 par jour. Une poutre de liaison liant les murs entre eux supporte la charge du toit dans chaque module. Celui-ci est une couche de béton armé, coulé sur place dans un coffrage permanent de blocs de terre stabilisés et compressés (CSEBs). Leur hauteur passant de 100 à 150 cm, les toits de deux modules se chevauchent et ménagent une ouverture en croissant de lune, qui sert à la fois à la ventilation naturelle et à l’apport de lumière. Le généreux porte-à-faux du toit protège le mur de l’humidité. Dans les maisons burkinabés traditionnelles une finition particulière à base d’argile fine, de jus végétal et d’excrément de vache est appliquée aux murs extérieurs sur 3 cm d’épaisseur. Malheureusement, ces composants sont peu utiles pendant la saison des pluies et attirent les termites qui peuvent éventuellement s’attaquer aux murs. Dans les logements des professeurs les composés organiques de cet enduit furent remplacés par du bitume. Le point culminant du travail de construction fut atteint lors de la calcination des sols en argile pour obtenir une surface douce et homogène. L’implication enthousiaste des habitants de Gando fut la clé de la réussite de ce projet. Tous acquirent non seulement de nouvelles compétences, mais une certaine responsabilité, une conscience et une sensibilité particulière aux aspects traditionnels autant qu’innovants de la construction.

As casas dos professores foram projectadas para atrair docentes para o campo, bem como para promover o uso da terra como um material de construção sustentável e durável. As casas foram realizadas como uma série de módulos adaptáveis, cada um de tamanho comparável às cabanas redondas tradicionais tipicamente encontradas nesta região. Módulos singulares podem ser combinados de várias maneiras em um maior conjunto. A simplicidade do design e o uso mínimo de materiais comprados significam que pode ser facilmente adoptado pelos habitantes. As seis casas para professores e suas famílias estão dispostas em um amplo arco ao sul do complexo escolar. Este desenho curvilíneo é uma reminiscência de um composto tradicional burquino. Os telhados são abóbadas de barril construídas de blocos de terra estabilizados. Este método de construção, anteriormente desconhecido na região, faz uso de recursos locais e é climaticamente eficiente. Para proteger o edifício da humidade ascendente, as paredes de adobe de 40 cm de espessura repousam sobre uma base de cimento fundido e pedras de granito. A comunidade produziu cerca de 15.000 blocos, cada um com 40x20x10cm, a uma taxa entre 600 e 1.000 por dia. Uma viga que liga as paredes suporta a carga do tejadilho em cada módulo. O telhado é uma camada de betão armado derramado in situ em uma cofragem permanente de blocos de terra comprimidos estabilizados (BTCEs). As alturas do telhado alternam entre 100 cm e 150 cm, pelo que, quando se sobrepõem, forma-se uma abertura em forma de foice que serve como meio para ventilar o interior e proporcionar luz natural. Beirais generosos protegem as paredes contra a humidade. Nas casas tradicionais burquinas, um tipo especial de reboco fino - misturado com suco de vegetais e esterco de vaca - é aplicado nas paredes externas como uma camada protectora de cerca de 3cm contra o intemperismo. Infelizmente, esses componentes são de pouca utilidade na estação chuvosa e atraem térmitas que podem destruir as paredes. Na moradia dos professores, os componentes orgânicos tradicionais da transformação foram substituídos por betume. O ponto culminante do trabalho de construção é o calcamento do piso de argila para criar uma superfície lisa e homogênea. O envolvimento entusiástico do povo de Gando foi a chave para o sucesso deste projecto. Todos ganharam não apenas novas habilidades, mas também um senso de responsabilidade, consciência e sensibilidade para os aspectos tradicionais e inovadores da construção.

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AXONOMETRY

GANDO TEACHERS’ HOUSING

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KÉRÉ ARCHITECTURE GANDO SCHOOL LIBRARY

AXONOMETRY

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SECTION B

KÉRÉ ARCHITECTURE

2006 - 2007 043

DANO SECONDARY SCHOOL Dano, Burkina Faso

The primary objective of this project was to design a sustainable building appropriate for the climatic conditions in this part of Africa. Laterite stone, which is abundant in this region, was chosen as the main building material. The building is oriented along an East-West axis and the roof has a substantial overhang in order to reduce the amount of sunlight received by the walls. The building consists of three classrooms, a computer room and office space. There is also a covered outdoor “conversation pit”, of comparable size to a classroom. The students can sit here during break times. Natural ventilation is achieved by means of slits in the suspended ceiling, the incline of the corrugated metal roof and the shuttered windows. This is a more sustainable solution than the often-copied western model of construction, for which artificial air-conditioning would be required in this part of the world. This entire project was carried out in cooperation with young people who were trained in previous projects sponsored by Francis Kéré’s foundation, Kéré Foundation e.V. Through this working model, the local workforce gained not only a newfound appreciation of traditional building materials, but also further experience, training and education.

L’objectif principal de ce projet était de concevoir un bâtiment durable adapté aux conditions climatiques de cette partiede l’Afrique. La pierre de latérite, qui est abondante dans cette région, a été choisie comme matériau de construction principal. Le bâtiment est orienté selon un axe est-ouest et le toit présente un important surplomb afin de réduire la quantité de lrayonnement reçu par les murs. Le bâtiment comprend trois salles de classe: une salle informatique et des bureaux. D’autre part, un décaissement abrité occupe l’espace d’une salle de classe, comme un « puit de conversation » dans lequel les étudiants peuvent s’asseoir entre deux cours. La ventilation naturelle est obtenue au moyen de fentes dansle plafond suspendu, de l’inclinaison du toit en tôle ondulée et des fenêtres à volets. Il s’agit d’une solution plus durable que le modèle de construction occidental, souvent copié, pour lequel, dans cette partie du monde, une climatisation artificielle serait nécessaire. L’ensemble de ce projet a été réalisé en coopération avec des jeunes formés lors de projets antérieurs parrainés par la fondation de Francis Kéré. À travers ce modèle de travail, les artisans locaux ont acquis non seulement une nouvelle appréciation des matériaux de construction traditionnels, mais également une expérience, une formation et un enseignement complémentaires.

O objectivo principal deste projeto foi projectar um edifício sustentável apropriado para as condições climáticas nesta parte da África. A laterita, que é abundante nesta região, foi escolhida como principal material de construção. O edifício é orientado ao longo de um eixo Leste-Oeste e o telhado tem um beiral substancial para reduzir a quantidade de luz solar recebida pelas paredes. O edifício é composto por três salas de aula, uma sala de informática e um escritório. Há também um “poço de conversação” ao ar livre coberto, de tamanho comparável a uma sala de aula. Os alunos podem se sentar aqui durante os intervalos. A ventilação natural é obtida a partir do uso de fendas no tecto suspenso, a inclinação do tecto de metal corrugado e as janelas com portadas. Esta é uma solução mais sustentável do que o modelo ocidental de construção, muitas vezes copiado, para o qual seria necessário ar-condicionado artificial nesta parte do mundo. Todo este projecto foi realizado em cooperação com jovens formados em projectos anteriores patrocinados pela fundação de Francis Kéré, Fundação Kéré e.V. Através deste modelo de trabalho, os trabalhadores locais ganharam não só uma nova apreciação pelos materiais de construção tradicionais, mas também mais experiência, formação e educação.

KÉRÉ ARCHITECTURE

SECTION B

DANO SECONDARY SCHOOL

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KÉRÉ ARCHITECTURE

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NATIONAL PARK OF MALI

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SITE PLAN

2015 - 2016 061

LYCÉE SCHORGE SECONDARY SCHOOL Koudougou, Burkina Faso

Located in the third most populated city in Burkina Faso, the Lycée Schorge Secondary School not only sets a new standard for educational excellence in the region, it also provides a source of inspiration by showcasing locally-sourced building materials in an innovative and modern way. The design for the school consists of 9 modules which accommodate a series of classrooms and administration rooms. One of these modules also houses a dental clinic which provides a new source of dental care for the students.

Située dans la troisième ville la plus peuplée du Burkina Faso, lelycée Schorge établit une nouvelle norme d’excellence en matière d’enseignement dans la région et fournit une source d’inspiration en mettanten valeur des matériaux de construction locaux, mis en œuvre de manière innovante et moderne. L’école se compose de neuf modules qui accueillent une série de salles de classe et de salles d’administration. L’un de ces modules abrite également une clinique dentaire qui offre une nouvelle source de soins aux étudiants.

The walls of these modules are made from locally-harvested laterite stone, which, when first extracted from the earth, can be easily cut and shaped into bricks. When the stone is left exposed to the atmosphere above ground, it begins to harden. The material functions really well as a wall system for the classrooms because of its thermal mass capabilities. This, in combination with the unique wind-catching towers and overhanging roofs, lowers the temperature of the interior spaces exponentially.

Les murs de ces modules sont fabriqués à partir de pierre de latérite récoltée localement, qui, une fois extraite, peut être facilement découpée et taillée en briques. Lorsque la pierre est exposée à l’air libre, elle commence à durcir. En raison de son inertie thermique, ce matériau fonctionne très bien dans un système de mur pour les salles de classe. Combiné avec les singulières « tours à vent » et les toits en surplomb, il réduit exponentiellement la température des espaces intérieurs.

Another major factor that helps naturally ventilate and illuminate the interiors is a massive undulating ceiling. The wave-like pattern of plaster and concrete components are slightly offset from each other, allowing the interior space to breathe and expel hot stagnant air. The off-white color of the ceiling serves to diffuse and spread around indirect daylight, providing ample illumination during the day while keeping the interior learning space protected from direct solar heat gain.

Un autre facteur important qui aide à ventiler et à illuminer naturellement les espaces intérieurs est le plafond massif ondulé. Afin de réaliser ce motif, les éléments de plâtre et de béton sont légèrement décalés les uns par rapport aux autres, ce qui laisse respirer l’espace intérieur et permet l’expulsion de l’air chaud. La couleur blanc cassé du plafond diffuse la lumière naturelle indirecte, produisant un éclairage suffisant pendant la journée tout en protégeant les salles de classe de la chaleur des rayons du soleil.

Wrapping around these classrooms like a transparent fabric is a system of wooden screens. This secondary façade is made of eucalyptus wood and acts as a shading element for the spaces immediately surrounding the classrooms. The screens not only function to protect the earthen classrooms from corroding dust and winds, they also help to create a series of secondary informal gathering spaces for the students as they wait to attend their classes.

Comme un tissu drapé, une paroi de bois translucide entoure les salles de classe. Cette façade secondaire, faite de troncs d’eucalyptus, fournit l’ombre aux espaces entourant les salles de classe. Non seulement la paroi protège les murs de terre de l’agressivité de la poussière et du vent, mais elle aide également à créer une série d’espaces informels où se réunissent les étudiants en attendant le début des cours.

In order to minimize the material transported to the site, the school furniture inside the classrooms is made from local hardwoods and leftover elements from the main building construction such as steel scraps from the roof. This way, the economy of the building is extended by reducing waste adding additional value to the cost of construction. Creating a sort of autonomous ‘village’ condition, the radial layout of the classroom modules is wrapped around a central public courtyard. This configuration not only creates privacy from the main public domain, it also shelters and protects the inner courtyard from wind and dust. An amphitheater-like condition at the center of the courtyard will accommodate informal gatherings as well as formal assemblies and celebrations for the school and community as a whole.

Afin de minimiser les transports de matériaux sur site, les meubles des classes sont réalisés à partir de bois local et des restes des matériaux de chantier, par exemple les chutes du métal des toits. La réduction des coûts de construction par la limitation des déchets ajoute encore à la valeur du bâtiment. Créant une sorte de village autonome, la disposition radiale des modules autour d’une cour centrale installe un degré d’intimité supplémentaire vis-à-vis de l’espace public exposé à l’extérieur et ménage un lieu protégé des vents et de la poussière. Au centre de cette cour, une disposition en amphithéâtre accueille les réunions informelles aussi bien que les assemblées et célébrations de l’école en tant que communauté unie.

Localizada na terceira cidade mais populosa de Burkina Faso, a Escola Secundária Lycée Schorge não estabelecerá apenas um novo padrão de excelência educacional na região, como será também uma fonte de inspiração ao apresentar materiais de construção de origem local, de uma forma inovadora e moderna. O projecto da escola consiste em 9 módulos que acomodam uma série de salas de aula e de administração. Um desses módulos abriga também uma clínica dentária, que irá proporcionar turma nova fonte de cuidado odontológico para os alunos.

As paredes desses módulos são feitas de pedra de laterita explorada localmente, que, quando extraída da terra, pode ser facilmente cortada e moldada em tijolos. Quando a pedra fica exposta à atmosfera acima do solo, começa a endurecer. O material funciona muito bem como um sistema de parede para as salas de aula devido às suas capacidades de massa térmica. Isto, em combinação com as torres únicas de captura de vento e os telhados suspensos, reduz exponencialmente a temperatura dos espaços interiores. Outro factor importante que ajuda a ventilar e a iluminar naturalmente os interiores é um enorme tecto ondulado. Os componentes de gesso e betão com padrão ondulado estão levemente desfasados uns dos outros, permitindo que o espaço interior respire e expulse o ar quente estagnado. A cor esbranquiçada do tecto serve para difundir e espalhar a luz indirecta do dia, fornecendo iluminação ampla durante o dia, enquanto mantêm o espaço de aprendizagem interior protegido do aumento de calor solar direto. A envolver essas salas de aula como um tecido transparente está um sistema de painéis de madeira. Esta fachada secundária é feita de madeira local de rápido crescimento e actua como um elemento de sombreamento para os espaços imediatamente ao redor das salas de aula. Os painéis funcionam não só para proteger as salas de aula em terra da corrosão da poeira e ventos, mas também ajudam a criar uma série de espaços de convívio informais secundários para os alunos enquanto esperam para assistir às aulas. A fim de maximizar o material transportado para o local, o mobiliário escolar dentro das salas de aula é feito de madeiras locais e restos de elementos da construção do prédio principal, como sucatas de aço do telhado. Desta forma, a economia do edifício é aumentada pela redução do desperdício, acrescentando valor adicional ao custo de construção. Criando uma espécie de condição de “aldeia” autónoma, a disposição radial dos módulos de sala de aula envolve um pátio público central. Esta configuração cria não só privacidade a partir do domínio público principal, mas também acomoda e protege o pátio interior contra o vento e a poeira. Uma condição semelhante a um anfiteatro no centro do pátio acomodará reuniões informais, bem como assembleias formais e celebrações para a escola e a comunidade como um todo.

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KÉRÉ ARCHITECTURE LYCÉE SCHORGE SECONDARY SCHOOL

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AXONOMETRY

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SERPENTINE PAVILION 2017

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ELEVATION

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GROUND FLOOR PLAN

SECTION A

SECTION B

KÉRÉ ARCHITECTURE

This project was completely carried out with a Mozambican construction team, who was taught the project building techniques. To make this learning and construction process as efficient as possible, all building units were based on the same building techniques.

Ce projet fut mené à son terme par une équipe de construction mozambicaine, qui fut formée aux techniques de construction du projet ; afin de faciliter ce processus, toutes les unités de construction reprennent les mêmes techniques.

Este projecto foi completamente realizado com uma equipa de construção moçambicana, a quem foram ensinadas as técnicas de construção de projectos. Para tornar este processo de aprendizagem e construção tão eficiente quanto possível, todas as unidades de construção foram baseadas nas mesmas técnicas de construção.

BENGA RIVERSIDE SCHOOL

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GROUND FLOOR PLAN

partially under construction

2015 099

BENGA RIVERSIDE HOUSING Tete, Mozambique

Located on the picturesque banks of the Revuboe and Zambezi Rivers, the aim of the Benga Riverside Residential Community is to introduce a new neighbourhood typology for the growing community of Tete, Mozambique. As various industries continue to invest in the region, there is a growing demand for quality and economic housing solutions for migrant and local families alike. The Benga Riverside Community will pioneer a new method of planning and building for the residential sector in the area, fostering an atmosphere of social inclusion among residents of diverse cultural backgrounds and of ecological symbiosis with buildings that blend effortlessly within the original natural environment. Educational, civic, and recreational needs will be supported by a variety of mixeduse public and private functions, including a primary school, sporting facilities, a restaurant, a public square, a resident’s clubhouse, and up to 100 housing units of different typology. Home to a wide range of wildlife and vegetation, Benga Riverside will celebrate the heritage of its site by preserving elements such as old-growth Baobab trees, shrubs, and native grasses which will also help to shade and protect the area from dusty winds. To further establish this new architectural identity, the built interventions will utilize local rock, wood, clay, and will be developed as a high-quality, low maintenance modular system. Private courtyard space, scenic landscape views, passive ventilation, and grey water management will also contribute to provide the best sustainable, economic, and long-term housing solution for future residents.

Située sur les berges pittoresques des rivières Revuboe et Zambèze, la communauté résidentielle de Benga Riverside a pour objectif de présenter une nouvelle typologie de quartier pour la communauté en pleine croissance de Tete, au Mozambique. Alors que diverses industries continuent d’investir dans la région, il existe une demande croissante de solutions de logement économiques et de qualités pour les familles immigrées et locales. La communauté de Benga Riverside va mettre au point une nouvelle méthode de planification et de construction pour le secteur résidentiel de la région, en favorisant une atmosphère d’inclusion sociale parmi les résidents de divers contextes culturels et en symbiose écologique avec des bâtiments se fondant sans effort dans l’environnement naturel d’origine. Les besoins éducatifs, civiques et récréatifs seront soutenu par une variété de fonctions publiques et privées à usage mixte, compris une école primaire, des installations sportives, un restaurant, une place publique, un clubhouse de résidents et jusqu’à 100 unités de logement de typologie différente. Abris d’une grande variété d’animaux sauvages et de végétation, le Benga Riverside célèbrera le patrimoine de son site en préservant des éléments comme les vieux arbres baobab, les arbustes et les herbes indigènes, qui contribueront également à ombrager et à protéger la région des vents poussiéreux. Pour renforcer davantage cette nouvelle identité architecturale, les interventions construites utiliseront de la roche, du bois et de l’argile locaux et seront développées en tant que système modulaire de haute qualité et nécessitant peu d’entretien. Les espaces privés, les paysages panoramiques, la ventilation passive et la gestion des eaux grises contribueront également à fournir la meilleure solution de logement durable, économique et à long terme aux futurs résidents.

Localizado nas margens pitorescas dos rios Revuboé e Zambeze, o objectivo da Comunidade Residente Riverside de Benga é introduzir uma nova tipologia de bairro para a crescente comunidade de Tete, Moçambique. Como várias indústrias continuam a investir na região, existe uma demanda crescente de soluções de habitação de qualidade e económica para famílias migrantes e locais. A Comunidade Riverside de Benga será pioneira em um novo método de planeamento e construção para o sector residencial na região, promovendo uma atmosfera de inclusão social entre os moradores de diversas origens culturais e de simbiose ecológica com edifícios que se misturam sem esforço ao ambiente natural original. As necessidades educacionais, cívicas e recreativas serão apoiadas por uma variedade de funções públicas e privadas de uso misto, incluindo uma escola primária, instalações desportivas, um restaurante, uma praça pública, um clube de residentes e até 100 unidades habitacionais de tipologia diferente. Lar de uma grande variedade de vida selvagem e vegetação, Riverside Benga vai celebrar a herança do seu terreno, preservando elementos como árvores Baobab de crescimento antigo, arbustos e gramíneas nativas que também ajudará a sombrear e proteger a área dos ventos empoeirados. Para estabelecer ainda mais essa nova identidade arquitectónica, as intervenções construídas utilizarão rocha local, madeira, argila e serão desenvolvidas como um sistema modular de alta qualidade e baixa manutenção. O espaço privado no pátio, as vistas panorâmicas da paisagem, a ventilação passiva e a gestão das águas cinzas também contribuirão para fornecer a melhor solução sustentável, económica e de longo prazo para os futuros residentes.

KÉRÉ ARCHITECTURE

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BENGA RIVERSIDE HOUSING

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SITE PLAN

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GROUND FLOOR PLAN

SECTION A

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KÉRÉ ARCHITECTURE

KÉRÉ ARCHITECTURE OPERA VILLAGE

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SITE PLAN

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KÉRÉ ARCHITECTURE OPERA VILLAGE

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SCHOOL - GROUND FLOOR PLAN

SCHOOL - SECTION B

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SCHOOL - SECTION A

KÉRÉ ARCHITECTURE BURKINA FASO NATIONAL ASSEMBLY

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ELEVATION

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AXONOMETRY

MEROË ROYAL BATHS PROTECTIVE SHELTER

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KAMWOKYA COMMUNITY PLAYGROUND

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IT UNIVERSITY

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MEMORIAL THOMAS SANKARA

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temporary installation

2014 163

SENSING SPACES PAVILION London, UK

With a focus towards exploring the experiential qualities of architecture, the Sensing Spaces: Architecture Reimagined exhibition enlisted architects such as Kengo Kuma, Álvaro Siza, and Eduardo Souto de Moura to produce site-specific installations at the Royal Academy of Arts in London. In order to provoke a more direct encounter with materials, light and space, Francis Kéré sought to disrupt the perceived barrier between architectural form and the viewer by creating an interactive environment. The pavilion consisted of 34 overlapping arches made of translucent honeycomb sheets, a widely available and often overlooked building material which reflected the industrialized nature of London. Creating a cavernous tunnel-like condition from one room to another, the pavilion highlighted an area of a building which is normally ignored: the doorway. The lightdiffusing qualities of the material imparted an ethereal effect, while the perforated structure of the honeycomb became a medium for visitors to manipulate. Upon entering the space, visitors where given access to multi-colored drinking straws which could then be inserted at any part of the pavilion’s surface. By encouraging people to participate in the architecture, the experience becomes less about a personal visual understanding and more about communal interactions and aesthetic negotiations. As more visitors passed through and interacted with the pavilion, more straws began to accumulate on the interior and exterior. As the walls became filled with colorful straws, the interior space began to dim and constrict. In this way, the pavilion itself became a record of the countless interactions and encounters happening in the space. A series of limited edition furniture pieces made of honeycomb plastic sheet and local timber provided areas for visitors to relax and contemplate the activities of the pavilion.

Dans l’objectif d’explorer l’architecture comme générateur d’expériences sensibles, l’exposition SensingSpaces : Architecture Reimagined engagea des architectes tels que Kengokuma, Alvaro Siza et Eduardo Souto de Moura pour concevoir spécifiquement des installations pour la Royal Academy of Arts de Londres. Afin de provoquer une rencontre plus directe avec les materiaux, la lumière et l’espace, Francis Kéré chercha à troubler la frontière perçue entre la forme architecturale et le visiteur en créant un environnement interactif.

Com foco na exploração das qualidades experienciais da arquitectura, a exposição Sensing Spaces: Architecture Reimagined contractou arquitectos como Kengo Kuma, Álvaro Siza e Eduardo Souto de Moura para produzir instalações específicas na Royal Academy of Arts em Londres. Para provocar um encontro mais directo com materiais, luz e espaço, Francis Kéré procurou romper a barreira percebida entre a forma arquitectónica e o espectador, criando um ambiente interactivo.

Le pavillon était constitué de 34 arches superposées, faites de feuilles en nid d’abeille translucides, un matériau largement disponible et souvent ignoré, reflétant le caractère industriel de Londres. En installant entre deux pièces un espace concave en forme de tunnel, le pavillon met en avant un élément des bâtiments généralement ignoré : l’entrée. La lumière diffuse, produite par le matériau, générait un effet éthéré, en même temps que la structure perforée devenait le moyen pour les visiteurs de manipuler le pavillon.

O pavilhão consistia em 34 arcos sobrepostos feitos de folhas honeycomb translúcidas, um material de construção amplamente disponível e muitas vezes esquecido, que reflectia a natureza industrializada de Londres. Criando uma condição cavernosa do tipo túnel de uma sala para outra, o pavilhão destacou uma área de um edifício que normalmente é ignorada: a porta. As qualidades de difusão da luz do material conferiam um efeito etéreo, enquanto a estrutura perfurada do honeycomb se tornava num meio para os visitantes manipularem.

A l’entrée, les visiteurs avaient accès à des pailles multicolores qui pouvaient être insérées à n’importe quel point de la surface du pavillon. En encourageant la participation, l’expérience architecturale devient moins une question de compréhension visuelle, qu’une série d’interactions communes et de négociations d’ordre esthétique. A mesure que de plus en plus de visiteurs traversaient le pavillon et rentraient en interaction avec lui, de plus en plus de pailles commencèrent de s’accumuler à l’intérieur comme à l’extérieur du pavillon. A mesure que les murs se chargeaient de pailles colorées, l’espace intérieur devenait sombre et contraint. De cette façon, le pavillon lui-même fut le témoignage des innombrables interactions et rencontres qui y prirent place.

Ao entrar no espaço, os visitantes tiveram acesso a palhinhas multicoloridas que poderiam ser inseridas em qualquer parte da superfície do pavilhão. Ao incentivar as pessoas a participar na arquitectura, a experiência torna-se menos sobre um entendimento visual pessoal e mais sobre interações comunitárias e negociações estéticas. À medida que mais visitantes passavam e interagiam com o pavilhão, mais palhinhas começaram a se acumular no interior e no exterior. Quando as paredes ficaram cheias de palhinhas coloridas, o espaço interior começou a escurecer e contrairse. Dessa forma, o próprio pavilhão se tornou num registo das inúmeras interações e encontros que aconteceu no espaço.

Une série de meubles en édition limitée, construits à partir des feuilles en nid d’abeille translucides et de bois local, permettaient aux visiteurs de se détendre et de contempler l’activité du pavillon.

Uma série de peças de mobiliário de edição limitada feitas de folhas honeycomb de plástico e madeira local proporcionou áreas para os visitantes relaxarem e contemplarem as actividades do pavilhão.

temporary installation

2015 171

LOUISIANA CANOPY Humlebæk, Denmark

Common in African as well as Nordic mythologies, the powerful symbol of the great tree is used as a bridge between two seemingly contrasting cultures. Just like the canopy of a great tree, the design provides the most basic form of shelter from the elements while remaining open and accessible. The wooden terrain below the canopy provides informal seating where visitors can gather, reflect, and encounter each other in an intimate setting. The articulated ceiling structure is dramatized by a programmed high-intensity daylighting system that mimics the arc and movement of the sun throughout the day. The installation highlights the powerful ability of architecture to embody cultural narratives, traditions, and aspirations.

L’arbre, symbole puissant que l’on retrouve aussi bien dans la mythologie nordique qu’africaine, jette un pont entre deux cultures apparemment si contrastées. Le projet, comme la canopée d’un grand arbre, installe une forme élémentaire pour abriter des éléments, tout en restant ouvert et accessible. Sous la canopée, le sol de bois fournit des éléments d’assise informells grâce auxquels les visiteurs peuvent se réunir, réfléchir et se rencontrer dans des conditions plus intimes. La toiture articulée est exposée de manière dramatique par un éclairage programmé à haute densité, simulant la course du soleil dans le ciel. L’installation met en valeur la capacité qu’a l’architecture, d’incarner une culture à travers ses narratifs, des traditions et ses aspirations.

Comum nas mitologias africana e nórdica, o símbolo poderoso da grande árvore é usado como uma ponte entre duas culturas aparentemente contrastantes. Assim como o dossel de uma grande árvore, o design fornece a forma mais básica de protecção contra os elementos, mantendo-se aberto e acessível. O terreno de madeira abaixo do dossel oferece assentos informais onde os visitantes se podem reunir, reflectir e se encontrar num ambiente íntimo. A estrutura do tecto articulado é dramatizada por um sistema programado de iluminação diurna de alta intensidade que imita o arco e o movimento do sol ao longo do dia. A instalação destaca a poderosa capacidade da arquitectura de incorporar narrativas culturais, tradições e aspirações.

Taking cues from traditional architectural forms and practices from Francis Kéré’s home village in rural West Africa, this architectural installation aims to highlight the importance of shading and sheltering as a form of protection from overexposure to the sun as well as an inherent space-making device for community gathering. The design makes use of two major elements that are characteristic of Francis Kéré’s work: an over-hanging ceiling component and an open communal gathering space underneath. The entirety of the installation is made of locally sourced unbarked willow branches and logs.

Suggérée par les pratiques et formes traditionnelles de l’architecture du village natal de Francis Kéré en Afrique de l’ouest, l’installation architecturale cherche à mettre en valeur le rôle des dispositifs d’ombrage et de protection, à la fois comme une défense contre la surexposition au soleil, mais également comme la source d’espaces de réunion pour la communauté. Le projet emploie deux éléments majeurs, caractéristiques du travail de Francis Kéré : un espace communale d’une part, qui recouvre d’autre part une toiture suspendue. L’intégralité de l’installation est constituée de branche et de bûches de saule sourcées localement.

Tirando pistas das formas e práticas arquitectónicas tradicionais da vila natal de Francis Kéré, na zona rural da África Ocidental, esta instalação arquitectónica visa destacar a importância do sombreamento e do abrigo como forma de protecção contra a exposição excessiva ao sol, bem como a criação de espaço inerente para reunião da comunidade. O design faz uso de dois elementos principais que são característicos do trabalho de Francis Kéré: um componente de tecto suspenso e um espaço de encontro comunitário por baixo. A totalidade da instalação é feita de ramos e troncos de salgueiros não descascados de origem local.

temporary installation

2016 175

COLORSCAPE Philadelphia, Pennsylvania, USA

Much like the architecture of Francis Kéré, this installation is an example of how aggregating a simple material can produce an extraordinary structure that has the power to unite and inspire the community. Inspired by Philadelphia’s rich tradition of textiles and woven crafts, the main material used to creat Colorscape is a locally-sourced lightweight cord made of interwoven strands. Wrapped around prefabricated steel components and hung from the ceiling of the Perelman Atrium space, the colorful cord becomes both a massive volume and a unifying element that encloses the visitors. In the spirit of communal building practices in rural Western Africa, the detailing of the installation was designed so that it could be built by individuals with little or no construction experience. Threading the components required no tools or complicated techniques, making the assembly process so safe and simple that children could participate. Conceptually, the formal expression of the installation was generated using a combination of organic and rectilinear geometries inspired by the contrasting layouts of the typical Burkinabé village and American city. By overlaying the organic grid of Kéré’s home village Gando with the rectilinear grid of William Penn’s Philadelphia, visual as well as conceptual parallels between the types and geometries of spaces begin to appear. Philadelphia is a modern and industrial city whose busy citizens regularly bus, drive, or train to and from work or school. Gando on the other hand, is mainly an agriculturebased society that lives in close context to the natural rhythm of the seasonal landscape. If you look beyond these differences, you might begin to find similarities in how these two societies use architecture to form social gradients ranging from the individual and private to the collective and public. Integrated within Colorscape, the Sounds of the Village are a collection of audio samples recorded both in Burkina Faso and Philadelphia. The sounds communicate atmosphere, an often elusive aspect of villages and cities that enrich our experience of them just as much as the visual and physical. Sounds of the Village was produced in collaboration with University of Pennsylvania Undergraduate Architecture students. This installation was produced as part of the Creative Africa series, specifically supporting the monographic exhibition The Architecture of Francis Kéré: Building for Community.

Cette installation, comme l’architecture de Francis Kéré, est un exemple de la façon dont la répétition d’un matériau simple peut donner naissance à une structure extraordinaire, capable d’unifier et d’inspirer la communauté. Inspirée par la riche tradition de tissage et de filage de Philadelphie, le matériau principal utilisé dans Colorscape est une corde légère, tissée localement à partir de fils entrelacés. Enroulée autour d’éléments préfabriqués en acier et pendue au plafond de l’atrium Pelerman, le cordon coloré devient le vecteur d’un volume massif, en même temps qu’un élément unificateur qui entoure les visiteurs. Dans l’esprit des pratiques de construction par les communautés de l’Afrique de l’ouest rurale, le détail de l’installation a été pensé de façon à pouvoir être construit par des personnes peu, voir pas du tout expérimentées. Le filage des composants ne nécessitait aucun outil particulier et l’assemblage était si simple et sécure que des enfants purent y participer. L’expression formelle de l’installation était générée par une combinaison de géométries rectilignes et organiques, inspirées par le contraste existant entre les plans d’un village burkinabè typique, et la ville américaine. En superposant la grille organique de Gando, le village de Francis Kéré, à celle rectiligne de la Philadelphie de William Penn, des parallèles entre les typologies et les géométries des espaces commencèrent à émerger. Philadelphie est une ville moderne et industrielle, dont les citoyens affairés pour rejoindre leur lieu de travail ou d’étude, conduise, prennent le bus ou le train. Gando, en revanche, est avant tout une société basée sur l’agriculture, proche du rythme naturel que les saisons diffusent dans le paysage. Si le regard porte au-delà de ces différences, pourtant il peut entrevoir des similitudes dans la façon dont ces deux sociétés utilisent l’architecture pour installer une gradation, une série de degrés d’intimité au sein des formes qui l’abritent, allant du plus privé au plus public. Intégrés au Colorscape, les Sounds of the Village sont une collection d’échantillons audio enregistrés à la fois au Burkina Faso et à Philadelphie. Les sons communiquent une atmosphère, souvent insaisissable dans les villes et villages, qui pourtant enrichit l’expérience que nous en avons, au même niveau que leurs manifestation physiques et visuelles. Sounds of Village est issu d’une collaboration avec les étudiants en Bachelor of Architecture de l’Université de Pennsylvanie. Cette installation fut réalisée dans le cadre de la série Creative Africa, en plus particulièrement en support de l’exposition monographique The Architecture of Francis Kéré : Building for Community.

Assim como a arquitectura de Francis Kéré, esta instalação é um exemplo de como a agregação de um material simples pode produzir uma estrutura extraordinária que tem o poder de unir e inspirar a comunidade. Inspirado na rica tradição de tecidos e artesanato da Filadélfia, o principal material usado para criar o Colorscape é um cordão leve de origem local, feito de fios entrelaçados. Enrolado em componentes de aço pré-fabricados e pendurado no tecto do espaço do átrio de Perelman, o cordão colorido se torna num volume enorme e num elemento unificador que envolve os visitantes. No espírito das práticas de construção comunitária na África Ocidental rural, o detalhamento da instalação foi projectado para que pudesse ser construído por indivíduos com pouca ou nenhuma experiência em construção. Roscar os componentes não requer ferramentas ou técnicas complicadas, tornando o processo de montagem tão seguro e simples que as crianças podem participar. Conceptualmente, a expressão formal da instalação foi gerada usando uma combinação de geometrias orgânicas e rectilíneas inspiradas nos layouts contrastantes de uma típica vila burquina e de uma cidade americana. Ao sobrepor a grelha orgânica da vila natal de Kéré, Gando, com a grelha retilínea da Filadélfia de William Penn, paralelos visuais e conceptuais entre os tipos e geometrias de espaços começam a aparecer. Filadélfia é uma cidade moderna e industrial, cujos cidadãos ocupados regularmente apanham o autocarro, comboio ou conduzem para o trabalho ou escola. Gando, por outro lado, é principalmente uma sociedade de base agrícola que vive em um contexto próximo ao ritmo natural da paisagem sazonal. Se você olhar além dessas diferenças, poderá começar a encontrar semelhanças em como essas duas sociedades usam a arquitectura para formar gradientes sociais que variam do individual e privado ao colectivo e público. Integrados ao Colorscape, os Sounds of the Village são uma colecção de amostras de áudio gravadas em Burkina Faso e na Filadélfia. Os sons comunicam atmosfera, um aspecto muitas vezes esquivo de aldeias e cidades que enriquecem nossa experiência tanto quanto visual e física. Sounds of the Village foi produzido em colaboração com estudantes de Arquitectura da Universidade da Pensilvânia. Esta instalação foi produzida como parte da série Creative Africa, apoiando especificamente a exposição monográfica The Architecture of Francis Kéré: Building for Community.

temporary installation

2017 - 2018 179

ZOÍ PAVILION Berlin, Germany & Venice, Italy

ZOÍ is freespace. A minimal, non-prescriptive space that accommodates any creative use of its inhabitants. For the Biennale di Architettura 2018, Francis Kéré explores the possible human reactions to a space open to free and unplanned appropriations. Refugee camps, where every primary need is covered with standardized solutions, could be the places that most need unexpected freespaces for improvisation and creativity. With the AtelierKéré students from the Accademia di Architettura di Mendrisio, Kéré Architecture has built ZOÍ in the Tentaja Space, a public area in the former Tempelhof Airport in Berlin where leisure and sports encourage the encounter between refugees and Berliners. A small cocoon aiming at bringing back human dimensions in the gigantic Tempelhof hangar, ZOÍ is used as comforting shelter from the estranging spaces of the airport, as gathering point or quiet spot. Its twin structure, displayed in the Artiglierie dell’Arsenale, plays a new role. The visitor that inhabits ZOÍ in its new configuration can experiment other uses and feel the ideal bond that links the structure to its identical pavilion simultaneously in use in the former airport in Berlin.

ZOI est “freespace”. Un espace minimal, non prescriptif qui laisse le champ libre à la créativité de ses usagers. Pour la 16ème édition de la Biennale d’architecture de Venise, Francis Kéré explore les possibilités d’interactions humaines dans un espace ouvert aux appropriations libres et imprévues. Les camps de réfugiés, où des solutions standardisées répondent à tous les besoins primaires, pourraient bien être les lieux qui nécessitent, plus que tous autres, des “freespaces” inattendus, livrés à l’improvisation et à la créativité. Avec les étudiants de l’atelier Kéré à l’Académie d’architecture de Mendrisio, Kéré Architecture a construit ZOI au sein de l’espace Tentaja, une zone publique située dans l’ancien aéroport de Tempelhof à Berlin où les loisirs et le sport encouragent les rencontres entre les réfugiés et les Berlinois. Cocon à petite échelle, destiné à réintroduire les dimensions humaines au sein du gigantesque hangar de Tempelhof, ZOI fait exister un moment de réconfort au milieu de l’indifférence de la structure qui l’entoure, comme un point de réunion et de tranquillité. Sa structure jumelle exposée dans l’Artiglierie dell’Arsenale de Venise, joue un rôle nouveau. Le visiteur, investissant ZOI dans sa nouvelle configuration, peut faire l’expérience de nouveaux usages, tout en ressentant le lien idéal qui connecte la structure au pavillon identique, simultanément utilisé dans l’ancien aéroport berlinois.

ZOÍ é “freespace”. Um espaço mínimo e não prescritivo que acomoda qualquer uso criativo dos seus habitantes. Para a Bienal de Arquitectura 2018, Francis Kéré explora as possíveis reacções humanas a um espaço aberto a apropriações gratuitas e não planeadas. Os campos de refugiados, onde todas as necessidades primárias são cobertas com soluções padronizadas, podem ser os locais que mais precisam de “freespaces” inesperados para improvisação e criatividade. Com os alunos do AtelierKéré da Accademia di Architettura di Mendrisio, a Kéré Architecture construiu o ZOÍ no Tentaja Space, uma área pública no antigo Aeroporto Tempelhof em Berlim, onde lazer e desportos incentivam o encontro entre refugiados e berlinenses. Pequeno casulo com o objectivo de trazer de volta as dimensões humanas no gigantesco hangar Tempelhof, o ZOÍ é usado como um refúgio reconfortante dos espaços afastados do aeroporto, como ponto de encontro ou local tranquilo. Sua estrutura gémea, exibida no Artiglierie dell’Arsenale, desempenha um novo papel. O visitante que habita o ZOÍ em sua nova configuração pode experimentar outros usos e sentir a ligação ideal que liga a estrutura ao seu pavilhão idêntico simultaneamente em uso no antigo aeroporto de Berlim.

GANDO PRIMARY SCHOOL project: 2001 location: Gando, Burkina Faso built area: 310 sqm images © Erik-Jan Ouwerker © Enrico Cano © Siméon Duchoud GANDO PRIMARY SCHOOL EXTENSION project: 2006-2007 location: Gando, Burkina Faso built area: 318 sqm images © Erik-Jan Ouwerkerk GANDO TEACHERS’ HOUSING project: 2004 location: Gando, Burkina Faso built area: 930 sqm images © Erik-Jan Ouwerkerk GANDO SCHOOL LIBRARY under construction project: 2010 location: Gando, Burkina Faso built area: 640 sqm team: Dominique Mayer, Yasmin Bremer, Claudia Buhmann, Jamie Keats images © Kéré Architecture DANO SECONDARY SCHOOL project: 2006 location: Gando, Burkina Faso built area: 370 sqm images © Erik-Jan Ouwerkerk © Kéré Architecture NATIONAL PARK OF MALI project: 2009 location: Bamako, Mali built area: 3,000 sqm team: Isabelle McKinnon, Claudia Buhmann, Olivier Gondouin, Emanuela Smiglak, Ines Bergdolt images © Iwan Baan LYCÉE SCHORGE SECONDARY SCHOOL project: 2014-2015 location: Koudougou, Burkina Faso built area: 1660 sqm team: Jin-Gul David Jun, Pedro Montero Gosalbez, Dominique Mayer, Diego Sologuren Martin, Marta Migliorini, Jaime Herraiz Martínez, Adriana Arteaga Images © Iwan Baan © Andrea Maretto SERPENTINE PAVILION 2017 project: 2016-2017 location: London, UK built area: 330 sqm team: Blake Villwock, Adriana Arteaga, Greta Nina Tescari, Andrea Maretto, Jaime Herraiz Martínez, Damien Greder, Valeria Molinari, Johanna Lehmann, Laura Bornet images © Iwan Baan SURGICAL CLINIC AND HEALTH CENTER project: 2017 location: Léo, Burkina Faso built area: 1,660 sqm team: Pedro Montero Gosalbez, Emmanuel Dorsaz, Jamie Keats, Dominique Mayer, Yara Pavel, Raquel Font, Diego Sologuren Martin, Jaime Herraiz Martínez images © Iwan Baan © Kéré Architecture © Andrea Maretto

DOCTORS’ HOUSING project: 2016-2018 location: Léo, Burkina Faso built area: 950 sqm team: Jaime Herraiz Martínez, Diego Sologuren Martin images © Andrea Maretto © Jaime Herraiz Martínez © Kéré Architecture BENGA RIVERSIDE SCHOOL project: 2017 location: Tete, Mozambique built area: 900 sqm team: Jaime Herraiz Martínez, Andrea Maretto images © Jaime Herraiz Martínez BENGA RIVERSIDE HOUSING partially under construction project: 2014 location: Tete, Mozambique built area: 10,000 sqm team: Raquel Font, Jaime Herraiz Martínez, Fabian Klemp, Monica Lamela Blazquez, Matthew MacKay-Lyons, Dominique Mayer, Diego Sologuren Martin, Blake Villwock images © Jaime Herraiz Martínez XYLEM project: 2019 location: Fishtail, Montana, USA built area: 256 sqm team: Vincenzo Salierno, Nina Tescari images © Iwan Baan OPERA VILLAGE partially under construction project: 2010 location: Laongo, Burkina Faso built area: 14,230 sqm images © Erik-Jan Ouwerkerk © Kéré Architecture BURKINA FASO NATIONAL ASSEMBLY in planning project: 2015 location: Ouagadougou, Burkina Faso built area: 25,000 sqm team: Blake Villwock, Adriana Arteaga, Andrea Maretto, Diego Sologuren Martin, Jaime Herraiz Martínez, Damien Greder images © Kéré Architecture MEROË ROYAL BATHS PROTECTIVE SHELTER under construction project: 2015 location: Meroë, Sudan built area: 680 sqm team: Dominique Mayer, Diego Sologuren Martin, Alice Busani, Daniel Heuermann, Jaime Herraiz Martínez, Johanna Lehmann, Valentin Billhardt images © Kéré Architecture KAMWOKYA COMMUNITY PLAYGROUND in planning project: 2016 location: Kampala, Uganda built area: 1,600 sqm team: Nina Tescari, Vincenzo Salierno, Jaime Herraiz Martínez, Johanna Lehmann images © Kéré Architecture IT UNIVERSITY under construction project: 2017 location: Koudougou, Burkina Faso built area: 1,000 sqm team: Jaime Herraiz Martínez, Andrea Maretto, Valentin Billhardt images © Kéré Architecture © Jaime Herraiz Martínez WALDORFSCHULE WEILHEIM in planning project: 2017 location: Weilheim, Deutschland built area: 9,000 sqm team: Juan Carlos Zapata Baldrich, Johanna Lehmann, Andrea Zaia, Alexandra Zervudachi images © Kéré Architecture

MEMORIAL THOMAS SANKARA in planning project: 2017 location: Ouagadougou, Burkina Faso built area: 1,000 sqm team: Jeanne Autran-Edorh, Orsola Carraro, Cloé Collet, Andrea Maretto, Maysha Mussonghora, Kinan Deeb, N’Faly Ismaël Camara, Roberto Rodríguez Martínez, Javier Mola Cárdenes, Valentin Billhardt, Linda Heiß, Vincenzo Salierno, Nina Tescari images © Kéré Architecture TUM TOWER in planning project: 2019 location: Munich, Germany built area: 11.700 sqm team: Jeanne Autran-Edorh, Kinan Deeb, Jérôme Byron images © Kéré Architecture SENSING SPACES PAVILION temporary installation project: 2013-2014 location: London, UK built area: 45 sqm team: Dominique Mayer images © James Harris CAMPER POP-UP STORE temporary installation project: 2015 location: Weil am Rhein, Germany built area: 476 sqm team: Dominique Mayer, Samuel Perea Diaz, Diego Sologuren, Ines Bergdolt, Fabian Klemp, Raquel Font, Adriana Arteaga images © Eduardo Perez LOUISIANA CANOPY temporary installation project: 2014-2015 location: Humlebæk, Denmark built area: 90 sqm team: Adriana Arteaga, Dominique Mayer, Samuel Perea Díaz, Diego Sologuren Martín, Matt Mackay-Lyons, Blake Villwock, Fabian Klemp images © Erik-Jan Ouwerkerk COLORSCAPE temporary installation project: 2015-2016 location: Philadelphia, Pennsylvania, USA built area: 45 sqm team: Adriana Arteaga, Blake Villwock, Nanna Friis, Jaime Herraiz Martínez, Daniel Heuermann images © Tim Tiebout ZOÍ PAVILION temporary installation project: 2017-2018 location: Berlin, Germany & Venice, Italy built area: 10 sqm team: Nina Tescari, Vincenzo Salierno; AtelierKéré images © Andrea Avezzù © Andrea Maretto TUGUNORA temporary installation project: 2018 location: Miami Beach, Florida, USA built area: 200 sqm team: Linda Franken, Andrea Maretto images © Andrea Maretto SARBALÉ KE temporary installation project: 2019 location: Indio, California, USA built area: 200 sqm team: Johanna Lehmann, Kinan Deeb, Andrea Zaia, Andrea Maretto images © Iwan Baan ZIBA STOOL product design project: 2014-2015 team: Nina Tescari images © Andrea Maretto

FRANCIS KÉRÉ The internationally acclaimed architect Francis Kéré garnered critical praise from the beginning of his architectural practice when awarded the prestigious Aga Khan Award for Architecture (2004) 195 for his first ever building - a primary school he designed, raised the funds for and realised in collaboration with the residents of his native Gando, Burkina Faso. Kéré has gone on to become one of the most distinguished contemporary architects thanks to his pioneering of a communal approach to design and his commitment to sustainable materials, as well as modes of construction. Inspired by a curiosity for the particularities of any given locality and its social tapestry, he has gathered a diverse, agile team at his Berlin-based Kéré Architecture offices, to take on projects across four continents. Most prominently these include his design for the Burkina Faso National Assembly, the Léo Surgical Clinic & Health Centre (2014), the Lycée Schorge Secondary School (2016), the Serpentine Pavilion (2017) and Xylem (2019), a gathering pavilion for the Tippet Rise Art Center. Underpinning his architectural practice are his past and current teaching engagements at TU München, the Harvard Graduate School of Design, the Accademia di Architettura di Mendrisio, and Yale University as well as his participation in solo and group exhibitions including at the Venice Biennale of Architecture, the Museo ICO in Madrid, the Architekturmuseum in Munich, the MoMA in New York, the Royal Academy in London and the Philadelphia Museum of Art.

SPECIAL THANKS TO Alcino Delgado António Amaral Artur Sousa Javier Prado João Bencatel José Manuel Pedreirinho José Maria Ferreira José Orlando Konrad Profanter Miguel Coutinho Pedro Silva Rita Leite Castro Roberto Fernandez Rui Ramos Xévi Roca

AMAG 17 2019 October RUN NUMBER 5.000 copies EDITOR-IN-CHIEF Ana Leal GENERAL MANAGING Filipa Figueiredo Ferreira EDITORIAL TEAM Filipa Figueiredo Ferreira João Oliveira Soares Tomás Lobo TRANSLATIONS Lancaster College - Póvoa de Varzim PRINTING www.lusoimpress.com

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