AMAG 20 TONY FRETTON online sample PREVIEW

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TONY FRETTON ARCHITECTS

TONY FRETTON ARCHITECTS

20

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VAT NUMBER 513 818 367

SPECIAL THANKS TO Alcino Delgado António Amaral Artur Sousa Christian Richters Filipa Delgado Sousa Hélder Gonçalves Hélène Binet Javier Prado José Manuel Pedreirinho José Maria Ferreira José Orlando Konrad Profanter Peter Cook Rita Leite Castro Sófia Teodósio Thomas Allaert Tony Fretton

AMAG 20 2020 OCTOBER 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 Clémentine Dobbelaar (FR) PRINTING www.lusoimpress.com ISSN I2182-472X ISBN 978-989-54620-9-4 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

NOTE Portuguese published texts are not written under the Orthographic Agreement of 2009, unless indicated by the respective author

ESPAÇO MATÉRIA rua miguel bombarda 257 4050-381 porto

NOVA UNIDADE INDUSTRIAL Zona Industrial da Queijada, Rua do Monte das Valas Lt11 Fornelos e Queijada 4990-685 Ponte de Lima info@bsd.pt T +351 258 743 378

thoughts from the editor XXXXXXXXXXXXXXXXXXXXX josé manuel pedreirinho XXXXXXXXXXXXXXXXXXXXXX richard hall STRAIGHTFORWARDNESS

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DUNANT GARDENS BERNERS STREET HOUTHAVEN THE LISSON GALLERY NEUHAUSEN

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KAPOOR HOUSE Chelsea, London

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To acquire land for a house in a congenial part of London requires ingenuity. For this house the site is fifty metres long and eight wide and extends beneath an apartment building on the street side to small paved alley at the rear. No windows were possible in the long side walls and the ground floor of the house is lit and shaped by courtyards and a garden into a single flowing space for entertaining and family life. The kitchen looks into a star shaped courtyard, with the dining area beyond, from where steps lead down to the lounge and garden. The master bedroom is configured as a pavilion in the garden, reached by a glazed library corridor, with the bathroom and dressing room below it. A stair near the star shaped courtyard leads up to the children’s bedrooms and a study on the first floor arranged around a courtyard with a glass floor that lights the dining area below. Guest rooms and a spa are situated in the basement.

Details and materials are light and restrained to provide good backgrounds for furniture, possessions and artworks. Floors are finished in Hopton Wood with areas of Mandal Fossil, stones that were used by sculptors and architects of the early British Modernism. The enclosure to the star shaped courtyard is polished stainless steel. Doors and cabinets are finished in lacquer. All of the materials are gently reflective to sustain the daylight in the long ground floor. The garden is now mature and the house is a tranquil and magical place in the city.

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Obtenir un terrain pour construire une maison dans une partie agréable de Londres exige de l’ingéniosité. Pour cette maison, le lot de terrain mesure 50 mètres de long sur 8 de large et s’étend sous un immeuble d’habitations côté rue jusqu’à une petite allée pavée à l’arrière. Le placement de fenêtres étant impossible le long des murs latéraux, le rez-de-chaussée est éclairé et façonné par des cours intérieures et un jardin pour en faire un seul espace fluide pour les loisirs et la vie de famille.

La cuisine donne sur une cour en forme d’étoile, avec la salle à manger à l’arrière, d’où des marches mènent au salon et au jardin. La chambre principale est configurée comme un pavillon dans le jardin, accessible par un couloir-bibliothèque vitré, avec la salle de bain et le dressing situés en dessous.

Un escalier près de la cour en forme d’étoile mène vers les chambres d’enfant et un bureau au premier étage, organisé autour d’une cour intérieure avec un sol en verre qui laisse rentrer la lumière dans salle à manger au rez-de-chaussée.

Au sous-sol se trouvent des chambres d’amis et un spa.

Adquirir um terreno para uma casa numa parte agradável de Londres requer engenhosidade. Para esta casa, o terreno tem cinquenta metros de comprimento por oito metros de largura, e estende-se por baixo de um edifício de apartamentos do lado da rua para um pequeno beco pavimentado na parte traseira.

Não sendo possível instalar janelas nas longas paredes laterais, o piso térreo da casa é iluminado e moldado por pátios e um jardim em um único espaço fluido para lazer e vida familiar.

A cozinha tem acesso para um pátio em forma de estrela, com a zona de jantar mais adiante, de onde uma escada leva ao salão e ao jardim. O quarto principal configura-se como um pavilhão no jardim, acedido por um corredor envidraçado da biblioteca, tendo por baixo a casa de banho e o vestiário.

Uma escada perto do pátio em forma de estrela leva aos quartos das crianças e um escritório no primeiro andar organizado em torno de um pátio com pavimento de vidro que ilumina a área de jantar inferior. Os quartos e um spa estão situados no subsolo.

Les détails et les matériaux sont légers et sobres pour pouvoir fournir une base pour les meubles, les objets et les œuvres d’art. Les sols sont finis en pierre de Hopton Wood avec des zones en Mandal Fossil, des pierres utilisées par les sculpteurs et architectes au début du modernisme britannique. L’enceinte de la cour en forme d’étoile est en acier inoxydable poli. Les portes et les armoires sont laquées. Tous les matériaux reflètent doucement la lumière du jour pour pouvoir la distribuer tout au long du rez-dechaussée. Le jardin a mûri et la maison est devenu un lieu apaisant et magique en pleine ville.

Os detalhes e materiais são leves e estão contidos para fornecer fundos agradáveis para o mobiliário, objectos e obras de arte. Os pisos têm acabamento em pedra Hopton Wood com áreas em Mandal Fossil, pedras que foram usadas por escultores e arquitectos do início do Modernismo Britânico.

O recinto para o pátio em forma de estrela é de aço inoxidável polido. As portas e armários têm acabamento em laca. Todos os materiais são suavemente reflexivos para sustentar a luz do dia no longo pavimento térreo. O jardim tornou-se maduro e a casa é um lugar tranquilo e mágico na cidade.

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DETAIL 01. Solid stone landing Spec ref – L30/270 02. Steelwork structure to landing to structure to landing to structural engineers’ details and specification 03. Stone lining to soffit of landing 04. Cantilevered stone stair in elevation beyond (spec ref. – L30/270) with glass balustrade and stainless steel handrail (spec. Ref L30/552) 05. Solid stone treads to lower flight Spec ref – L30/271 06. Mass concrete infill beneath stair to Structural details & specification 07. Underslab insulation beneath mass concrete infill. Spec ref – E20/200 08. Stone flooring Spec ref – M40/115 09. 75mm floating screed. Spred ref. M13/110 10. 50mm insulation and separating layer. Spec ref. M13/262 11. Cavity drain waterproofing to new ground slab. Spec ref. J40/290

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DETAIL 1. Anodised aluminium automatic ventilation louvre – heated air out 2. Perforated anodised aluminium cladding 3. Anodised aluminium grillage – walkway for maintenance access 4. Expansion joint to anodised aluminium glazing mullion 5. Stainless steel bracket to support outer glazing 6. Anodised aluminium sheet cladding 7. Semi-rigid insulation 8. Reinforced in situ cast concrete 9. Anodised aluminium glazing mullion 10. Toughened glass with ‘Supersilver’ coating 11. Anodised aluminium glazing transom 12. Laminated blast resistant glass with argon filled cavity 13. Anodised aluminium automatic ventilation louvre – cooler air in

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Where the new building faces Store Kongensgade, the street outside the square, its facade again forms a pair with the pavilion opposite but n a style that is developed from the flat-fronted stucco buildings that lie on its other side. To draw the two different buildings into a composition, the new building is given three lines of windows, a cornice and an attic that match the roof of the pavilion.

The buildings of the square are of unpainted stucco, a traditional Copenhagen material, which is sometimes used in combination with stone of the same colour and wood painted to look like stone or stucco, which suggested a materials regime for the building on Tietgens Ærgrelse that was technically proven and had familiar and useful associations. In Tietgens Ærgrelse, natural stucco is placed over a layer of high-performing thermal insulation. The cornice is of a mixture of Obernkirchen stone – also used in the restoration of the Frederiksstaden palaces – and Glass Reinforced Concrete (GRC) that looks like stone.

Balconies are GRC that looks like stucco. Penthouses are clad in Belgian Blue Stone that looks like the slate on the roofs of the apartments.

The existing apartments in Frederiksgade have come to be occupied in a very informal way, some as residences and others as workplaces. Their forecourts are used as entrances, gardens and bicycle parks. An ad-hoc garden has been built on the roof of the small houses that remains on Tietgens Ærgrelse, which suggested the loggia gardens in our scheme.

A café is planned on the ground floor that will be entered from Store Kongensgade and look out onto the Marble Church, and a professional office is in the first floor. Above this are apartments , two per floor, one facing the Marble Church, the other a loft looking out to Store Kongensgade. A penthouse occupies the whole of the attic and has extensive views over Copenhagen and the cupola and statues of the church.

By their outlook, the interiors of the building have social and physical continuity with the neighbourhood. Not only is the geometric Marble Church part of their view, but also other older buildings, whose organic qualities come from successive modification. While cities can be given beauty and order by architecture, their character also comes from the impact of events and the effect of people on them living their daily lives. From this perspective, the delay to the completion of the building that has been caused by the construction of the Metro is part of that process. In order that the final appearance of the building can be understood, the balconies and cornice have been superimposed on the photos shown here. When the building is finished and its entrance opened into Frederiksgade, the unfinished corner of the square will be resolved, finally bringing Frederiksstaden to completion, not in terms of its original intentions but through what is has become.

Là où le nouveau bâtiment fait face au magasin Kongensgade, la rue à l’extérieur de la place, sa façade forme à nouveau un conjoint avec le pavillon d’en face mais dans un style ayant comme base les bâtiments en stuc à façade plane qui se trouvent de l’autre côté. Pour rassembler les deux bâtiments différents dans une composition, le nouveau bâtiment est doté de trois rangées de fenêtres, d’une corniche et d’un grenier qui rappellent le toit du pavillon.

Onde o novo edifício fica de frente para a Store Kongensgade, a rua fora da praça, a sua fachada forma novamente um par com o pavilhão oposto, mas num estilo que é desenvolvido a partir dos edifícios de fachada plana em estuque que ficam do outro lado. Para desenhar os dois edifícios diferentes em uma composição, o novo edifício recebe três linhas de janelas, uma cornija e um sótão que combinam com a cobertura do pavilhão.

Les bâtiments du square sont en stuc brut, un matériau traditionnel de Copenhague qui est parfois utilisé en combinaison avec de la pierre de la même couleur et du bois peint pour ressembler à de la pierre ou du stuc, ce qui a suggéré un ensemble de matériaux pour le bâtiment de Tietgens Ærgrelse qui étaient déjà prouvés techniquement et qui avaient des associations familières et pratiques. Sur Tietgens Ærgrelse, le stuc naturel est placé sur une couche d’isolation thermique de haute performance. La corniche est constituée d’un mélange de pierre Obernkirchen – aussi utilisée dans la restauration des palais de Frederiksstaden - et de composite ciment verre (CCV) qui ressemble à de la pierre. Les balcons sont en CCV qui ressemble à du stuc. Les penthouses sont revêtus de pierre bleue belge qui ressemble à l’ardoise des toits des appartements.

Os edifícios da praça são de estuque sem pintura, um material tradicional de Copenhague, que às vezes é usado em combinação com pedra da mesma cor e madeira pintada para parecer pedra ou estuque, o que sugere um regime de materiais para a construção em Tietgens Ærgrelse que foi tecnicamente comprovado e tinha associações familiares e úteis. Em Tietgens Ærgrelse, o estuque natural é colocado sobre uma camada de isolamento térmico de alto desempenho. A cornija é feita de uma mistura de pedra Obernkirchen - também usada na restauração dos palácios de Frederiksstaden - e Betão Armado com Vidro (BAV) que parece pedra. As varandas são em BAV que parecem estuque. As coberturas são revestidas com pedras azuis belgas que se parecem com a ardósia nos telhados dos apartamentos.

Les appartements existants à Frederiksgade sont habités de façon très informelle, certains comme résidences et d’autres comme lieux de travail. Leurs avant-cours sont utilisées comme entrées, jardins et stationnements de vélos. Un jardin ad hoc a été construit sur le toit des petites maisons qui sont restées sur Tietgens Ærgrelse, ce qui a fait surgir l’idée des jardins de loggia dans notre projet. Un café est prévu au rez-de-chaussée, qui sera accessible depuis le magasin Kongensgade et aura une vue sur l’Église de Marbre, et un bureau professionnel se trouve au premier étage. Au-dessus se trouvent des appartements, deux par étage, l’un face à l’Église de Marbre, l’autre en loft donnant sur la boutique Kongensgade. Un penthouse occupe tout le grenier et offre une vue étendue sur Copenhague et sur la coupole et les statues de l’église.

Os apartamentos existentes em Frederiksgade passaram a ser ocupados de forma bastante informal, alguns como residências e outros como locais de trabalho. Os pátios são usados como entradas, jardins e parques de bicicletas.

Um jardim ad-hoc foi construído no telhado das pequenas casas que permanecem em Tietgens Ærgrelse, o que sugeriu os jardins loggia no nosso projecto. Está previsto um café no rés-do-chão que terá acesso a partir da Store Kongensgade e dá para a Igreja de Mármore e um escritório profissional no primeiro andar. Acima estão os apartamentos, dois por andar, um voltado para a Igreja de Mármore, o outro um sotão voltado para a Store Kongensgade. Uma cobertura ocupa todo o sótão e tem amplas vistas sobre Copenhaga, a cúpula e as estátuas da igreja.

De par leur conception, les intérieurs du bâtiment ont une continuité sociale et physique avec le quartier. Non seulement l’église géométrique en marbre fait partie de leur champ de vision, d’autres bâtiments plus anciens, dont les qualités organiques proviennent de modifications successives, en font aussi partie. Bien que l’architecture puisse donner de la beauté et de l’ordre aux villes, leur caractère provient également de l’impact des événements et de leur effet sur les gens dans leur vie quotidienne. De ce point de vue, le retard dans l’achèvement du bâtiment qui a été causé par la construction du métro fait partie de ce processus. Afin que l’aspect final du bâtiment puisse être visible, les balcons et la corniche ont été superposés aux photos présentées ici. Quand le bâtiment sera terminé et que son entrée sera ouverte sur Frederiksgade, ce coin inachevé du square sera complet, amenant finalement Frederiksstaden à son aboutissement, non pas en fonction de ses intentions d’origine, mais à travers ce qu’il est devenu.

Pela sua perspectiva, os interiores do edifício têm continuidade social e física com a vizinhança. Não só a geométrica Igreja de Mármore faz parte da sua vista, mas também outras construções mais antigas, cujas qualidades orgânicas vêm de modificações sucessivas. Embora as cidades possam receber beleza e ordem pela arquitectura, seu carácter também vem do impacto dos eventos e do efeito das pessoas sobre elas em suas vidas diárias. Nesta perspectiva, faz parte desse processo o atraso na conclusão da obra que a construção do Metro originou. Para que se possa compreender o aspecto final do edifício, as varandas e cornija foram sobrepostas às fotos aqui apresentadas.

Quando o edifício estiver concluído e a sua entrada for aberta em Frederiksgade, o canto inacabado da praça será resolvido, finalmente levando Frederiksstaden à conclusão, não em termos das suas intenções originais, mas pelo meio do que se tornou.

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DEINZE TOWN HALL Brielstraat, Deinze, Belgium

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The town hall is straightforwardly legible to citizens, politicians and functionaries and able to maintain its architecture while absorbing future change. A simple, reconfigurable loft building provides the working spaces, which are daylit, naturally ventilated and temperature controlled by ground sourced heat. A lower building in front provides the Council chamber, a public room in which political decision making is visible to citizens, and weddings and celebrations can take place.

Loggias on all facades shade the interior from sun as part of the environmental strategy, but they also provide places outside the workspaces and council chamber for lunching and informal activity. The two buildings form a public space at the edge of the river, which is part of Marie-Jose van Hee’s landscape plan for the whole area.

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La mairie est parfaitement évidente pour les citoyens, les hommes politiques et les fonctionnaires et est capable de conserver son architecture tout en absorbant des changements futurs. Un bâtiment en loft simple et reconfigurable fournit les espaces de travail, éclairés par la lumière du jour, aérés naturellement et à température contrôlée par la chaleur du sol.

Un bâtiment plus bas à l’avant fournit la salle de Conseil, une salle publique dans laquelle la prise de décisions politiques est visible pour les citoyens, et des mariages et des célébrations peuvent avoir lieu.

A câmara municipal é legível para os cidadãos, políticos e funcionários e pode manter a sua arquitectura enquanto absorve as mudanças futuras. Um edifício loft simples e reconfigurável fornece os espaços de trabalho, que são iluminados pela luz do dia, ventilados naturalmente e com temperatura controlada pelo calor proveniente do solo.

Um edifício inferior em frente proporciona a câmara do conselho, uma sala pública onde são tomadas decisões políticas, é visível para os cidadãos e também podem ocorrer casamentos e celebrações.

Les loggias sur toutes les façades protègent du soleil à l’intérieur dans un cadre de stratégie environnementale, mais elles fournissent également des espaces en dehors des espaces de travail et de la salle de conseil pour déjeuner et des activités informelles. Les deux bâtiments forment un espace public au bord de la rivière, qui fait partie du plan paysager de Marie-Jose van Hee pour l’ensemble de la zone.

Lógias em todas as fachadas protegem o interior do sol como parte da estratégia ambiental, mas também fornecem locais fora dos espaços de trabalho e da câmara do conselho para almoços e actividades informais. Os dois edifícios formam um espaço público às margens do rio, que faz parte do projecto paisagístico de Marie-Jose van Hee para toda a área.

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DETAIL 01. Poured waterproofing 02. Aluminium roof edge 03. Natural stone 04. Glass balustrade 05. Leather clad column 06. Aluminium cassette 07. Rockwool 08. Exterior ceiling of cement fibreboard, painted off-white

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WESTKAAI Antwerp, Belgium

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As part of the extensive redevelopment of the Antwerp Docks six residential towers are ranged along the waterfront of the Westkaai in a landscape designed by Michel Desvigne.

Dans le cadre du vaste réaménagement des quais d’Anvers, six tours résidentielles sont disposées le long du front de mer du Westkaai dans un paysage conçu par Michel Desvigne.

Como parte da extensa remodelação das Docas da Antuérpia, seis torres residenciais estão distribuídas ao longo da orla de Westkaai numa paisagem projectada por Michel Desvigne.

The two towers closest to the city are by the Basel practice Diener and Diener with irregular fenestration and subtle colour differences in their glass facades. In the centre of the range are a pair of calm and stylistically self-contained towers

by David Chipperfield Architects made in the same fine white pre-cast concrete of their building in the Novartis campus in Basel. Our contribution was a pair of rugged monumentally simple forms in brick, one with a horizontal emphasis that faces the new shopping centre on Limaplein square and the other with a vertical emphasis that looks out across the harbour and finishes the ensemble. Tower 5 is yellow and tower 6 red, the classic colours of brickwork, but chosen in tones that make their colour highly ambiguous. Vertical and horizontal emphases are created simply and obviously by projecting bricks. Corners are left open to animate the profile and give wide views from the apartment over the docklands. The top of tower 6 extends up against the sky and is illuminated at night.

Les deux tours les plus proches de la ville sont du cabinet bâlois Diener and Diener avec un fenêtrage irrégulier et de subtiles différences de couleur dans leurs façades en verre.

Au centre du lot se trouvent une paire de tours calmes et indépendantes du point de vue stylistique, faites par David Chipperfield Architects et réalisées dans le même béton blanc fin préfabriqué que le bâtiment du campus Novartis de Bâle. Notre contribution a été une paire de formes robustes et monumentales en brique, l’une horizontale, qui fait face au nouveau centre commercial sur la place Limaplein et l’autre verticale, qui donne sur le port et termine l’ensemble. La tour 5 est jaune et la tour 6 rouge, les couleurs classiques de la maçonnerie, mais choisies dans des tons qui rendent leur couleur très ambiguë. Les accents verticaux et horizontaux sont créés de façon simple et évidente par la projection des briques. Les coins sont laissés ouverts pour animer le profil et pour pouvoir donner une grande vue sur les docks aux appartements. Le sommet de la tour 6 s’étend dans le ciel et est éclairé la nuit.

As duas torres mais próximas da cidade são da autoria do grupo Diener & Diener, com uma fenestração irregular e diferenças de cores nas fachadas de vidro. No centro do local está um par de torres calmas e estilisticamente independentes projectadas por David Chipperfield, feitas a partir do mesmo betão pré-moldado branco fino do seu edifício no campus da Novartis em Basel. Nossa contribuição foi um par de formas robustas e monumentalmente simples em tijolo, uma com ênfase horizontal voltada para o novo shopping na praça Limaplein e a outra com ênfase vertical voltada para o porto e finalizando o conjunto. A torre 5 é amarela e a torre 6 vermelha, as cores clássicas da alvenaria, mas escolhidas em tons que tornam a sua cor altamente ambígua. As ênfases verticais e horizontais são criadas de maneira simples e óbvia através da projecção de tijolos. Os cantos são deixados abertos para animar o perfil e dar uma vista ampla do apartamento sobre as docas. O topo da torre 6 se estende contra o céu e é iluminado à noite.

Our hope is that the towers will seem both real and unreal, and will compensate for submerging of the individual identities of the apartments by having an identity that invites curiosity and even affection. Seen from the city they are a troubling icon while close up they part of the visual fabric of the dockyard, their height reflecting the placid horizontality of the water in the dock.

Notre espoir est que les tours semblent à la fois réelles et irréelles, et compenseront pour le fait d’avoir noyé les identités individuelles des appartements en ayant une identité qui invite à la curiosité et même à l’affection. Vu de la ville, elles forment une icône troublante tandis que de près, elles font partie du tissu visuel du chantier naval, leur hauteur reflétant l’horizontalité apaisante de l’eau dans le quai.

Nossa intenção é que as torres pareçam reais e irreais, e compensem a submersão das identidades individuais dos apartamentos por terem uma identidade que convida à curiosidade e até ao afecto. Vistas pela cidade, elas são um ícone preocupante enquanto de perto fazem parte do tecido visual do estaleiro, a altura delas reflecte a horizontalidade plácida da água no cais.

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GROUND FLOOR PLAN

TONY FRETTON architects

DUNANT GARDENS

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CREDITS cover WESTKAAI images © Peter Cook index WESTKAAI images © Peter Cook

KAPOOR HOUSE project: 2007 location: Chelsea, London architect: Sandy Rendel team: Tony Fretton, Jim McKinney, Sandy Rendel, Nina Lundvall, Don Matheson, Michael Lee, Simon Jones and Max Lacey images © Peter Cook FUGLSANG KUNSTMUSEUM project: 2008 location: Fuglsang, Lolland, Denmark architect: Donald Matheson team: Tony Fretton, Jim McKinney, Donald Matheson, Guy Derwent, Annika Rabi, Sandy Rendel, Matt Barton, Nina Lundvall and Simon Jones. images © Hélène Binet pages 032, 042 and 043 images © Peter Cook pages 036, 038 and 040 DE PRINSENDAM project: 2009 location: Amsterdam, Netherlands architect: David Owen team: Tony Fretton, Jim McKinney, David Owen, Steinthor Kari Karason, Donald Matheson, Sandy Rendel, Martin Nässén, Annika Rabi, Matt Barton and Guy Derwent images © Peter Cook NEW BRITISH EMBASSY project: 2009 location: Warsaw, Poland architect: Donald Matheson project coordinator: José Carlos Oliveira team: Tony Fretton, Jim McKinney, Matthew Barton, Nina Lundvall, Frank Furrer, Laszlo Csutoras, Martin Nassen, Max Lacey, Tom Grieve, Piram Banpabutr, Chris Snow and Chris Neve images © Peter Cook TIETGENS ÆRGRELSE project: 2010 location: Frederiksgade Square, Copenhagen architect: Chris Snow team: Tony Fretton, Jim McKinney, Chris Snow, Don Matheson, Sandy Rendel, David Owen, Clemens Nuyken, Annika Rabi, Guy Derwent, Michael Lee, Martin Nässén, Nina Lundvall and Gabor Zomdor images © Christian Richters

PEWSEY ONE project: 2012 location: Pewsey, Wiltshire, united Kingdom architect: Guy Derwent team: Tony Fretton, Guy Derwent, Sandy Rendel and Michael Lee images © Peter Cook

THE LISSON GALLERY under construction project: 2022 location: London, United Kingdom architect: Guy Derwent team: Tony Fretton, Jim Mckinney, David Owen, Guy Derwent, Henry Lau and Liam Madden

DEINZE TOWN HALL project: 2016 location: Brielstraat, Deinze, Belgium architect: Tom Appels team: Tony Fretton, Jim McKinney, David Owen, Chris Snow, Io Schønherr, Piram Banpabutr, Martin Nassen, Nina Lundvall, Guy Derwent and Tom Appels images © Peter Cook

NEUHAUSEN ongoing project: 2022 location: Neuhausen, Switzerland architect: Liam Madden team: Tony Fretton, Jim Mckinney, David Owen, Guy Derwent and Henry Lau

WESTKAAI project: 2016 location: Antwerp, Belgium architect: Tom Appels and David Owen team: Tony Fretton, Jim McKinney, David Owen, Tom Appels, Guy Derwent, Daniel Buckley, Liam Madden, Neil Ferries, Henry Lau and David Kennedy images © Peter Cook DUNANT GARDENS under construction project: 2013 location: Gent, Belgium architect: David Owen and Tom Appels team: Tony Fretton, Jim Mckinney, David Owen, Bernard Brennan and Tom Appels images © Peter Cook BERNERS STREET under construction project: 2014 location: London, United Kingdom architect: David Kennedy team: Tony Fretton, David Owen, Bernard Brennan, Henry Lau, Guy Derwent, Louise McGinley, and Liam Madden HOUTHAVEN under construction project: 2017 location: Amsterdam, Netherlands architect: David Owen team: Tony Fretton, Jim Mckinney, David Owen and Liam Madden images © Peter Cook

TONY FRETTON Tony Fretton is a principal, with James McKinney and David Owen of Tony Fretton Architects London.

The practice has built a series of exemplary works across Europe, including the Lisson Gallery, the Red House Chelsea, Fuglsang Kunstmuseum in Denmark, the British Embassy in Warsaw, Solid 11 multi-functional building in Amsterdam, apartment towers 5 and 6 in Antwerp Harbour and the City Hall of Deinze in Belgium. While practicing Tony Fretton was Professor, Chair of Architectural Design-Interiors at the Technical University of Delft 1999-2013, and visiting professor at GSD Harvard in 2005-2006, ETH Zurich in 2011-2012, AHO Norway in 2015-16, University of Navarre, Spain 2016 and ETSAB Barcelona 2017-8. Currently he is Master of Diploma Unit 2 at the Cass School London and visiting professor at University of East London. His sketch books and drawings are in the collection of the Victoria and Albert Museum in London, and the Drawing Matter Trust. The Drawing Matter publication ‘Volume III Fretton’ in their series ‘Opening Lines I-IV’ gives a detailed account of the development of the Lisson Gallery through sketches. Other publications included ‘Buildings and their Territories ‘ a monograph by Birkhauser and ‘A E I OU: Articles Essays Interviews and Out-takes by Tony Fretton’ by Jap Sam Books the Netherlands.

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SPECIAL THANKS TO Alcino Delgado António Amaral Artur Sousa Christian Richters Filipa Delgado Sousa Hélder Gonçalves Hélène Binet Javier Prado José Manuel Pedreirinho José Maria Ferreira José Orlando Konrad Profanter Peter Cook Rita Leite Castro Sófia Teodósio Thomas Allaert Tony Fretton

AMAG 20 2020 OCTOBER 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 Clémentine Dobbelaar (FR) PRINTING www.lusoimpress.com ISSN I2182-472X ISBN 978-989-54620-9-4 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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TONY FRETTON ARCHITECTS

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