Angelo Candalepas

CONTENTS Theory Essays

Buildings Projects

6 THE POETRY OF FORM Laura Harding

20 THE POINT, Pyrmont (1994–1998)

10 ANGELO CANDALEPAS A UNIVERSAL ARCHITECTURE Alberto Campo Baeza

00 PINDARI, Randwick (2002–2008)

12 ANGELO CANDALEPAS UNA ARQUITECTURA UNIVERSAL Alberto Campo Baeza 12 ATHENS SPEECH TRANSCENDENCE INTO BEING Angelo Candalepas 14 ΟΜΙΛΊΑ ΤΗΣ ΑΘΉΝΑΣ ΜΕΤΑΤΌΠΙΣΗ ΚΑΙ ΎΠΑΡΞΗ Ευάγγέλου Κανδαλἐπα

00 MESSY HOUSE, Glebe (2003–2007) 00 ALL SAINTS GRAMMAR SCHOOL, Belmore (2003–2008) 00 FRANCIS STREET, Bondi (2003–2011) 00 NATIONAL GALLERY (2004) 00 PUNCHBOWL MOSQUE (2007–2018) 00 PELICAN STREET, Surry Hills (2010–2015)

Index

00 478 GEORGE STREET, Sydney (2011–2015) 00 SYDNEY MODERN – ART GALLERY OF NSW EXTENSIONS (2014) 00 JADE MUSEUM, Hubei (2017)

179 Buildings 183 Biography

CONTENTS Theory Essays

Buildings Projects

6 THE POETRY OF FORM Laura Harding

20 THE POINT, Pyrmont (1994–1998)

10 ANGELO CANDALEPAS A UNIVERSAL ARCHITECTURE Alberto Campo Baeza

00 PINDARI, Randwick (2002–2008)

12 ANGELO CANDALEPAS UNA ARQUITECTURA UNIVERSAL Alberto Campo Baeza 12 ATHENS SPEECH TRANSCENDENCE INTO BEING Angelo Candalepas 14 ΟΜΙΛΊΑ ΤΗΣ ΑΘΉΝΑΣ ΜΕΤΑΤΌΠΙΣΗ ΚΑΙ ΎΠΑΡΞΗ Ευάγγέλου Κανδαλἐπα

00 MESSY HOUSE, Glebe (2003–2007) 00 ALL SAINTS GRAMMAR SCHOOL, Belmore (2003–2008) 00 FRANCIS STREET, Bondi (2003–2011) 00 NATIONAL GALLERY (2004) 00 PUNCHBOWL MOSQUE (2007–2018) 00 PELICAN STREET, Surry Hills (2010–2015)

Index

00 478 GEORGE STREET, Sydney (2011–2015) 00 SYDNEY MODERN – ART GALLERY OF NSW EXTENSIONS (2014) 00 JADE MUSEUM, Hubei (2017)

179 Buildings 183 Biography

‘emptying of the soul’. I watch the fine, spidery beauty of his lines and ask him about the role that drawing plays in the formation of ideas. He admonishes me – explaining that one must not rely on a drawing to conceive of a building. He talks about drawing as an act of kenosis, decanting formed thoughts from the mind – a way of letting things go and making space for the new. Knowing something of the intensity and passion that he feels, inspires and demands for architecture, acts of catharsis must be very necessary. This exquisite body of work seems deceptively effortless when one can absorb it passively in these beautiful pages yet, to dedicate oneself so deeply to an art is exhausting and demanding as much is it is exhilarating. Both for him, and those who work with him, the challenges are many, and deeply felt. It is my sincere hope that this publication is a moment of kenosis for Angelo Candalepas. That he takes this opportunity to reflect upon the extraordinary achievements of 25 years of dedication, struggle and love for architecture and is filled with pride and optimism. With this beautiful book set forth to feed the public imagination, we feel the greatest anticipation and hope for what will fill the space that he makes through its release, over the decades to come.

ANGELO CANDALEPAS A UNIVERSAL ARCHITECTURE Alberto Campo Baeza April 2014

Melbourne QT

Art Gallery NSW

1 Eliot, T.S (1921) Tradition and the Individual Talent, The Sacred Wood; Essays on Poetry and Criticism 2 Gregotti, V (1996) On Simplicity, Inside Architecture 3 Venturi, R (1966) Complexity and Contradiction in ­Architecture

8

Melbourne QT

On my recent trip to Australia, I discovered in ­Sydney a magnificent architect who belongs to that genre, rare, to be out of time, at the same time modern and at the same time universal, setting up an architecture of extraordinary quality: Angelo Candalepas. Australian, of Greek name and roots, not only owns something of the air of Murcutt and Godsell, the two most prestigious architects of Australia, but also has the air of Callicrates and of Phidias and of Pindar, by its Greek origins. In one of his songs Pindar writes: Be who you are. Candalepas is himself with an architecture that is both universal and very personal: very dense, very strong and very beautiful. On that trip to Australia they took me to give lectures about my work to Sydney, Melbourne and Perth. In the three cities, the auditoriums are crowded with people with enormous interest and with waste of affection. In Sydney, after the conference with Murcutt, we had a dinner at his house with him and with Wendy his wife. An unforgettable evening. In Melbourne the scene was repeated with Sean Godsell and Anne Marie, with the pleasant surprise of the presence of Francesco dal Co, radiant as always; and in Perth, with Simon Pendal and Stephen Neille. Two great young Australian architects. But the real discovery was Angelo Candalepas. There is a fascinating image of his Francis Street, Bondi that every time I come back to it, it fascinates me the most. Concrete seen and stones well agreed as if the words of a poem were treated. With some scarpiano aroma but in a big way: dense, strong, beautiful. The Candalepas method is very clear. It always poses and resolves impeccable structures of rein-

forced concrete on which, afterwards, it moves freely with both the form and the materials with which it complements them. Humanizes in a way that air, with only the structure, could seem still unfinished. He thus arrives at a very sensual architecture, almost able to be read with the body, as recently explained to me by an architect on classical Greek architecture. And it is that the Greek, universal roots of Candalepas come to the surface. And also something, or much of his musical training, emerges in his architecture. Not in vain does he play the piano very well. The two projects that he now has on the table, a mosque and a church, are very beautiful. In the mosque, with some inspiration in the architecture of the Alhambra in Granada, but without mimicry, it introduces a dome of alamares that gives glory to see it. The shadow dominated and the drops of light that will give the appropriate counterpoint, are there combined with great wisdom. In the church he uses Renaissance mechanisms. With an octagonal floor that brings to our memory the palatine chapel of Charlemagne in Aachen, or some of the architectures of the painting of Rafael. In both projects, together with Mnemosyne rather than Mimesis, the report is very well used as an effective working tool. When I wrote a text about, Architecture as Poetry, I made a comparison between the words that make up a poem and the materials that made up a work of Architecture. And Candalepas defended precision as a necessary condition for words or materials to produce the desired suspension of time. And here I find that Candalepas makes the exact same comparison with the musical notes: “And so if Music has notes or sound, Architecture has materials” how could I not agree with him? In his text, and in his Architecture, we go hand in hand with KAHN in the way of understanding the light; of SCARPA in the care of the details; of LE CORBUSIER, in how he poses his structures; of TADAO ANDO in the way in which it catches the air; from UTZON, perfection and strength. And behind, I insist, a strong aroma of PIKIONIS and XENAKIS, FIDIAS and CALÍCRATES.

9

‘emptying of the soul’. I watch the fine, spidery beauty of his lines and ask him about the role that drawing plays in the formation of ideas. He admonishes me – explaining that one must not rely on a drawing to conceive of a building. He talks about drawing as an act of kenosis, decanting formed thoughts from the mind – a way of letting things go and making space for the new. Knowing something of the intensity and passion that he feels, inspires and demands for architecture, acts of catharsis must be very necessary. This exquisite body of work seems deceptively effortless when one can absorb it passively in these beautiful pages yet, to dedicate oneself so deeply to an art is exhausting and demanding as much is it is exhilarating. Both for him, and those who work with him, the challenges are many, and deeply felt. It is my sincere hope that this publication is a moment of kenosis for Angelo Candalepas. That he takes this opportunity to reflect upon the extraordinary achievements of 25 years of dedication, struggle and love for architecture and is filled with pride and optimism. With this beautiful book set forth to feed the public imagination, we feel the greatest anticipation and hope for what will fill the space that he makes through its release, over the decades to come.

ANGELO CANDALEPAS A UNIVERSAL ARCHITECTURE Alberto Campo Baeza April 2014

Melbourne QT

Art Gallery NSW

1 Eliot, T.S (1921) Tradition and the Individual Talent, The Sacred Wood; Essays on Poetry and Criticism 2 Gregotti, V (1996) On Simplicity, Inside Architecture 3 Venturi, R (1966) Complexity and Contradiction in ­Architecture

8

Melbourne QT

On my recent trip to Australia, I discovered in ­Sydney a magnificent architect who belongs to that genre, rare, to be out of time, at the same time modern and at the same time universal, setting up an architecture of extraordinary quality: Angelo Candalepas. Australian, of Greek name and roots, not only owns something of the air of Murcutt and Godsell, the two most prestigious architects of Australia, but also has the air of Callicrates and of Phidias and of Pindar, by its Greek origins. In one of his songs Pindar writes: Be who you are. Candalepas is himself with an architecture that is both universal and very personal: very dense, very strong and very beautiful. On that trip to Australia they took me to give lectures about my work to Sydney, Melbourne and Perth. In the three cities, the auditoriums are crowded with people with enormous interest and with waste of affection. In Sydney, after the conference with Murcutt, we had a dinner at his house with him and with Wendy his wife. An unforgettable evening. In Melbourne the scene was repeated with Sean Godsell and Anne Marie, with the pleasant surprise of the presence of Francesco dal Co, radiant as always; and in Perth, with Simon Pendal and Stephen Neille. Two great young Australian architects. But the real discovery was Angelo Candalepas. There is a fascinating image of his Francis Street, Bondi that every time I come back to it, it fascinates me the most. Concrete seen and stones well agreed as if the words of a poem were treated. With some scarpiano aroma but in a big way: dense, strong, beautiful. The Candalepas method is very clear. It always poses and resolves impeccable structures of rein-

forced concrete on which, afterwards, it moves freely with both the form and the materials with which it complements them. Humanizes in a way that air, with only the structure, could seem still unfinished. He thus arrives at a very sensual architecture, almost able to be read with the body, as recently explained to me by an architect on classical Greek architecture. And it is that the Greek, universal roots of Candalepas come to the surface. And also something, or much of his musical training, emerges in his architecture. Not in vain does he play the piano very well. The two projects that he now has on the table, a mosque and a church, are very beautiful. In the mosque, with some inspiration in the architecture of the Alhambra in Granada, but without mimicry, it introduces a dome of alamares that gives glory to see it. The shadow dominated and the drops of light that will give the appropriate counterpoint, are there combined with great wisdom. In the church he uses Renaissance mechanisms. With an octagonal floor that brings to our memory the palatine chapel of Charlemagne in Aachen, or some of the architectures of the painting of Rafael. In both projects, together with Mnemosyne rather than Mimesis, the report is very well used as an effective working tool. When I wrote a text about, Architecture as Poetry, I made a comparison between the words that make up a poem and the materials that made up a work of Architecture. And Candalepas defended precision as a necessary condition for words or materials to produce the desired suspension of time. And here I find that Candalepas makes the exact same comparison with the musical notes: “And so if Music has notes or sound, Architecture has materials” how could I not agree with him? In his text, and in his Architecture, we go hand in hand with KAHN in the way of understanding the light; of SCARPA in the care of the details; of LE CORBUSIER, in how he poses his structures; of TADAO ANDO in the way in which it catches the air; from UTZON, perfection and strength. And behind, I insist, a strong aroma of PIKIONIS and XENAKIS, FIDIAS and CALÍCRATES.

9

All his works are of the highest quality: MELODY STREET/COOGEE The stones, in a sort of rustic bugnato, contrast with the extreme lightness of the steel sheet staircases. The mechanisms of light, to catch it, recognizable, are very personal. TUNSTALL AVENUE/KENSIGTON The impeccable floors are crowned with strong concrete prows. MESSY HOUSE/GLEBE A house with a tree as an excuse, very beautiful. FRANCIS STREET/BONDI Crest + Greece. A strong classic aroma. PYRMONT HOUSING II Beautiful corner of glass. I would like to put here the focus on this architect and his extraordinary work, understanding that sometimes the lack of information produces gaps in our knowledge of architects, which must be overcome. Together with the naturalness of Murcutt or the purity of Godsell, the beauty of Candalepas, they are proof of the high quality of contemporary Australian architecture. Angelo Candalepas is an extraordinary architect. As a person and as an architect. And it is a pleasure to discover in the antipodes, in Australia, how Architecture is, like Poetry or Music, a universal question.

10

ANGELO CANDALEPAS UNA ARQUITECTURA UNIVERSAL Alberto Campo Baeza April 2014 En mi reciente viaje a Australia, descubrí en Sydney a un arquitecto magnífico que pertenece a ese género, rara avis, de estar fuera del tiempo, a la vez moderno y a la vez universal, poniendo en pié una arquitectura de calidad extraordinaria: Angelo Candalepas. Australiano, de nombre y raíces griegas, no sólo posee algo del aire de Murcutt y de Godsell, los dos arquitectos más prestigiosos de Australia, sino que también tiene el aire de Calícrates y de Fidias y de Píndaro, por sus orígenes griegos. En uno de sus cantos Píndaro escribe: Sé el que eres. Candalepas es él mismo con una arquitectura que es a la vez universal y además muy personal: muy densa, muy fuerte y muy hermosa. En aquel viaje a Australia me llevaron a dar conferencias sobre mi obra a Sydney, Melbourne y Perth. En las tres ciudades, los auditorios abarrotados de gente con enorme interés y con derroche de cariño. En Sydney, tras la conferencia con Murcutt, tuvimos una cena en su casa con él y con Wendy su mujer. Una velada inolvidable. En Melbourne se repitió la escena con Sean Godsell y Anne Marie. Con la agradable sorpresa de la presencia de Francesco dal Co, radiante como siempre. Y en Perth, con Simon Pendal y Stephen Neille. Dos estupendos arquitectos australianos jóvenes. Pero el verdadero descubrimiento fue Angelo Candalepas. Hay una imagen fascinante de su Francis Street/Bondi que cada vez que vuelvo a ella más me fascina. Hormigón visto y piedras bien acordados como si de las palabras de un poema se tratara. Con algo de aroma scarpiano pero a lo grande: denso, fuerte, hermoso. El método de Candalepas es bien claro. Plantea y resuelve siempre estructuras impecables de

Francis Street

Messy House

Pyrmont II

hormigón armado sobre las que, después, se mueve con libertad tanto en la forma como en los materiales con que las plementa. Humaniza así ese aire que con sólo la estructura podría parecer todavía inacabado. Llega así a conseguir una arquitectura muy sensual, casi capaz de ser leída con el cuerpo, como recientemente me explicaba una arquitecta sobre la arquitectura clásica griega. Y es que las raíces griegas, universales, de Candalepas le salen a flor de piel. Y también algo, o mucho de su formación musical, aflora en su arquitectura. No en vano toca muy bien el piano. Los dos proyectos que ahora tiene sobre la mesa, una mezquita y una iglesia, son muy hermosos. En la mezquita, con algo de inspiración en las arquitecturas de la Alhambra de Granada, pero sin mimetismos, introduce una cúpula de alamares que da gloria verla. La sombra dominada y las gotas de luz que darán el oportuno contrapunto, están allí combinadas con gran sabiduría. En la iglesia utiliza mecanismos renacentistas. Con una planta octogonal que trae a nuestro recuerdo la capilla palatina de Carlomagno en Aachen, o algunas de las arquitecturas de la pintura de Rafael. En ambos proyectos, de la mano de Mne­mosine más que de la Mimesis, la Memoria está muy bien utilizada como eficaz instrumento de trabajo. Cuando escribí un texto sobre, La Arquitectura como Poesía, hacía una comparación entre las palabras que componen un poema y los materiales que componían una obra de Arquitectura. Y defendía la precisión como condición necesaria para que, las palabras o los materiales fueran capaces de producir la deseada suspensión del tiempo. Y hete aquí que me encuentro con que Candalepas hace la misma comparación, exacta, con las notas musicales: “And so if Music has notes or sound, Architecture has materials” ¿cómo podría yo no estar de acuerdo con él? En su texto, y en su Arquitectura, vamos de la mano de KAHN, en la manera de entender la luz, de SCARPA, en el cuidado de los detalles, de LE CORBUSIER en cómo plantea sus estructuras, de TADAO ANDO, en el modo en que atrapa el aire. Y

11

All his works are of the highest quality: MELODY STREET/COOGEE The stones, in a sort of rustic bugnato, contrast with the extreme lightness of the steel sheet staircases. The mechanisms of light, to catch it, recognizable, are very personal. TUNSTALL AVENUE/KENSIGTON The impeccable floors are crowned with strong concrete prows. MESSY HOUSE/GLEBE A house with a tree as an excuse, very beautiful. FRANCIS STREET/BONDI Crest + Greece. A strong classic aroma. PYRMONT HOUSING II Beautiful corner of glass. I would like to put here the focus on this architect and his extraordinary work, understanding that sometimes the lack of information produces gaps in our knowledge of architects, which must be overcome. Together with the naturalness of Murcutt or the purity of Godsell, the beauty of Candalepas, they are proof of the high quality of contemporary Australian architecture. Angelo Candalepas is an extraordinary architect. As a person and as an architect. And it is a pleasure to discover in the antipodes, in Australia, how Architecture is, like Poetry or Music, a universal question.

10

ANGELO CANDALEPAS UNA ARQUITECTURA UNIVERSAL Alberto Campo Baeza April 2014 En mi reciente viaje a Australia, descubrí en Sydney a un arquitecto magnífico que pertenece a ese género, rara avis, de estar fuera del tiempo, a la vez moderno y a la vez universal, poniendo en pié una arquitectura de calidad extraordinaria: Angelo Candalepas. Australiano, de nombre y raíces griegas, no sólo posee algo del aire de Murcutt y de Godsell, los dos arquitectos más prestigiosos de Australia, sino que también tiene el aire de Calícrates y de Fidias y de Píndaro, por sus orígenes griegos. En uno de sus cantos Píndaro escribe: Sé el que eres. Candalepas es él mismo con una arquitectura que es a la vez universal y además muy personal: muy densa, muy fuerte y muy hermosa. En aquel viaje a Australia me llevaron a dar conferencias sobre mi obra a Sydney, Melbourne y Perth. En las tres ciudades, los auditorios abarrotados de gente con enorme interés y con derroche de cariño. En Sydney, tras la conferencia con Murcutt, tuvimos una cena en su casa con él y con Wendy su mujer. Una velada inolvidable. En Melbourne se repitió la escena con Sean Godsell y Anne Marie. Con la agradable sorpresa de la presencia de Francesco dal Co, radiante como siempre. Y en Perth, con Simon Pendal y Stephen Neille. Dos estupendos arquitectos australianos jóvenes. Pero el verdadero descubrimiento fue Angelo Candalepas. Hay una imagen fascinante de su Francis Street/Bondi que cada vez que vuelvo a ella más me fascina. Hormigón visto y piedras bien acordados como si de las palabras de un poema se tratara. Con algo de aroma scarpiano pero a lo grande: denso, fuerte, hermoso. El método de Candalepas es bien claro. Plantea y resuelve siempre estructuras impecables de

Francis Street

Messy House

Pyrmont II

hormigón armado sobre las que, después, se mueve con libertad tanto en la forma como en los materiales con que las plementa. Humaniza así ese aire que con sólo la estructura podría parecer todavía inacabado. Llega así a conseguir una arquitectura muy sensual, casi capaz de ser leída con el cuerpo, como recientemente me explicaba una arquitecta sobre la arquitectura clásica griega. Y es que las raíces griegas, universales, de Candalepas le salen a flor de piel. Y también algo, o mucho de su formación musical, aflora en su arquitectura. No en vano toca muy bien el piano. Los dos proyectos que ahora tiene sobre la mesa, una mezquita y una iglesia, son muy hermosos. En la mezquita, con algo de inspiración en las arquitecturas de la Alhambra de Granada, pero sin mimetismos, introduce una cúpula de alamares que da gloria verla. La sombra dominada y las gotas de luz que darán el oportuno contrapunto, están allí combinadas con gran sabiduría. En la iglesia utiliza mecanismos renacentistas. Con una planta octogonal que trae a nuestro recuerdo la capilla palatina de Carlomagno en Aachen, o algunas de las arquitecturas de la pintura de Rafael. En ambos proyectos, de la mano de Mne­mosine más que de la Mimesis, la Memoria está muy bien utilizada como eficaz instrumento de trabajo. Cuando escribí un texto sobre, La Arquitectura como Poesía, hacía una comparación entre las palabras que componen un poema y los materiales que componían una obra de Arquitectura. Y defendía la precisión como condición necesaria para que, las palabras o los materiales fueran capaces de producir la deseada suspensión del tiempo. Y hete aquí que me encuentro con que Candalepas hace la misma comparación, exacta, con las notas musicales: “And so if Music has notes or sound, Architecture has materials” ¿cómo podría yo no estar de acuerdo con él? En su texto, y en su Arquitectura, vamos de la mano de KAHN, en la manera de entender la luz, de SCARPA, en el cuidado de los detalles, de LE CORBUSIER en cómo plantea sus estructuras, de TADAO ANDO, en el modo en que atrapa el aire. Y

11

de UTZON, la perfección y la fuerza. Y detrás, insisto, un fuerte aroma a PIKIONIS y a XENAKIS, a FIDIAS y a CALÍCRATES. Todas sus obras son de altísima calidad: MELODY STREET/COOGEE Las piedras, en un a modo de bugnato rustico contrastan con la extrema ligereza de las escaleras de chapa de acero. Los mecanismos de luz, para atraparla, reconocibles, son muy personales. TUNSTALL AVENUE/KENSIGTON Las plantas impecables se coronan con unas fuertes proas de hormigón. MESSY HOUSE/GLEBE Una casa con un árbol como excusa, muy her­mosa. FRANCIS STREET/BONDI Cresta + Grecia. Un fuerte aroma clásico. PYRMONT HOUSING II Preciosa esquina de vidrio. Yo querría poner aquí el foco sobre este arquitecto y su obra extraordinaria, entendiendo que a veces la falta de información produce lagunas en nuestro conocimiento de los arquitectos, que deben ser superadas. Junto a la naturalidad de Murcutt o la pureza de Godsell, la hermosura de Candalepas, son muestra de la altísima calidad de la arquitectura australiana contemporánea. Angelo Candalepas es un arquitecto extraordinario. Como persona y como arquitecto. Y es un disfrute el poder descubrir en las antípodas, en Australia, cómo la Arquitectura es, como la Poesía o la Música, una cuestión universal.

12

ATHENS SPEECH TRANSCENDENCE INTO BEING (Translation) Angelo Candalepas Cyprus Embassy, Syntagma Square, Athens 22 June 2017 (7pm) There is a need to always examine what it is that we are doing, and occasions such as this lecture ­provide an opportunity to discuss or perhaps to only present, a position as at least one of us sees it. I suppose any observation of the world relies upon a reading of the world. Any present understanding would need to take into consideration the terrible state of affairs that have always characterised the human condition. And certain things that seem today to be more present in our lives and consciousness than ever before. I don’t mean the usual candidates for such a discussion, rather I suggest that it is the absence of certain elements that should be found to be troubling. The absence, for instance, for a need to find beauty in things and the absence, also, of a need to not know where things comes from. The absence of mystery, the lack of seeking wonder and the lack of understanding the enormous worth of abstract thinking takes something away from us all. Science, as the solution is not enough and we, in the world of architecture, the world that exists between science and art, must develop a language that transmits with power, a message about those aspects of the human condition that are not meant to be understood; those parts of our life that can only be experienced with wonder. There is no virtue in having placed objects upon this earth that represent our time and our civilisation, without offering within those objects insights into who we are; the value of our existence and what we can offer as a message for our future. To do this, what we have learnt from our history must be a starting point. The end-game must have

something to do with transforming our present knowledge of the world into a meditation of positive intentions. Architecture, I believe, can make this transition from the cruel world, to a world which can fulfil the now-present requirement for emotion and the indefinite. This will allow us to not be bored by the endless apathy in the world; the lack of seeking a higher order of things has indeed become debilitating. And architecture, in my opinion, can provide these things; in a language with no words, in a language where spaces resonate with concurrent meanings, scientific and artistic together. We are able to see anew that the human condition remains responsive to eternal proportions and this will make ancient ideas, present ones. Ancient architecture is also eternal. It occupies itself with the weaknesses and vulnerabilities of the human condition in general and also understands the strength of the individual. We can see that if we also lovingly embrace abstraction it can deliver our generation into the future within the vessel of the aspirations of our time; presented to those future generations in a somewhat more positive manner , one which allows our generation to be remembered as being of merit; one of offering. These are my positive meditations for today and this is what I aspire to offer in my work; no more and no less.

13

de UTZON, la perfección y la fuerza. Y detrás, insisto, un fuerte aroma a PIKIONIS y a XENAKIS, a FIDIAS y a CALÍCRATES. Todas sus obras son de altísima calidad: MELODY STREET/COOGEE Las piedras, en un a modo de bugnato rustico contrastan con la extrema ligereza de las escaleras de chapa de acero. Los mecanismos de luz, para atraparla, reconocibles, son muy personales. TUNSTALL AVENUE/KENSIGTON Las plantas impecables se coronan con unas fuertes proas de hormigón. MESSY HOUSE/GLEBE Una casa con un árbol como excusa, muy her­mosa. FRANCIS STREET/BONDI Cresta + Grecia. Un fuerte aroma clásico. PYRMONT HOUSING II Preciosa esquina de vidrio. Yo querría poner aquí el foco sobre este arquitecto y su obra extraordinaria, entendiendo que a veces la falta de información produce lagunas en nuestro conocimiento de los arquitectos, que deben ser superadas. Junto a la naturalidad de Murcutt o la pureza de Godsell, la hermosura de Candalepas, son muestra de la altísima calidad de la arquitectura australiana contemporánea. Angelo Candalepas es un arquitecto extraordinario. Como persona y como arquitecto. Y es un disfrute el poder descubrir en las antípodas, en Australia, cómo la Arquitectura es, como la Poesía o la Música, una cuestión universal.

12

ATHENS SPEECH TRANSCENDENCE INTO BEING (Translation) Angelo Candalepas Cyprus Embassy, Syntagma Square, Athens 22 June 2017 (7pm) There is a need to always examine what it is that we are doing, and occasions such as this lecture ­provide an opportunity to discuss or perhaps to only present, a position as at least one of us sees it. I suppose any observation of the world relies upon a reading of the world. Any present understanding would need to take into consideration the terrible state of affairs that have always characterised the human condition. And certain things that seem today to be more present in our lives and consciousness than ever before. I don’t mean the usual candidates for such a discussion, rather I suggest that it is the absence of certain elements that should be found to be troubling. The absence, for instance, for a need to find beauty in things and the absence, also, of a need to not know where things comes from. The absence of mystery, the lack of seeking wonder and the lack of understanding the enormous worth of abstract thinking takes something away from us all. Science, as the solution is not enough and we, in the world of architecture, the world that exists between science and art, must develop a language that transmits with power, a message about those aspects of the human condition that are not meant to be understood; those parts of our life that can only be experienced with wonder. There is no virtue in having placed objects upon this earth that represent our time and our civilisation, without offering within those objects insights into who we are; the value of our existence and what we can offer as a message for our future. To do this, what we have learnt from our history must be a starting point. The end-game must have

something to do with transforming our present knowledge of the world into a meditation of positive intentions. Architecture, I believe, can make this transition from the cruel world, to a world which can fulfil the now-present requirement for emotion and the indefinite. This will allow us to not be bored by the endless apathy in the world; the lack of seeking a higher order of things has indeed become debilitating. And architecture, in my opinion, can provide these things; in a language with no words, in a language where spaces resonate with concurrent meanings, scientific and artistic together. We are able to see anew that the human condition remains responsive to eternal proportions and this will make ancient ideas, present ones. Ancient architecture is also eternal. It occupies itself with the weaknesses and vulnerabilities of the human condition in general and also understands the strength of the individual. We can see that if we also lovingly embrace abstraction it can deliver our generation into the future within the vessel of the aspirations of our time; presented to those future generations in a somewhat more positive manner , one which allows our generation to be remembered as being of merit; one of offering. These are my positive meditations for today and this is what I aspire to offer in my work; no more and no less.

13

ΟΜΙΛΊΑ ΤΗΣ ΑΘΉΝΑΣ ΜΕΤΑΤΌΠΙΣΗ ΚΑΙ ΎΠΑΡΞΗ Cyprus Embassy, Syntagma Square, Athens 22 Ιουνίου 2017 (19:00) Ευάγγέλου Κανδαλἐπα Υπάρχει ανάγκη πάντα να επανεξετάζουμε το τί κάνουμε, και περιπτώσεις όπως η διαλεξη αυτή δίνουν την ευκαιρία να συζητήσουμε ή εστω να παρουσιάσουμε μια θέση όπως τουλάχιστον ένας από μας την βλέπει. Υποθέτω μια έντονη παρατήρηση του κοσμου βασίζεται στην ανάγνωση του κόσμου. Και κάθε σημερινή κατανόηση θα πρέπει να λαμβάνει υπόψη την τρομερή κατάσταση των πραγμάτων που χαρακτήρισε πάντα την ανθρώπινη κατάσταση. Και ορισμένα στοιχειά φαίνονται, σήμερα, να είναι πιο πολυ παρόν στη συνείδησή μας από ποτέ άλλοτε. Δεν εννοώ τα συνηθισμένα θέματα για μια τέτοια συζήτηση. Αντιθέτως, προτείνω πως είνα η απουσία ορισμένων στοιχείων που θα επρεπε να μας ανησυχήσει. Η απουσία, για παράδειγμα, της αναζήτησης της ομορφιάς και την ανθρώπινη αναγκη να μην γνωριζουμε тην προέλεζση των πραγμάτων. Η απουσία του μυστηρίου, επομένως και η έλλειψη αναζήτησης και αναρώτησης: η έλλειψη της κατανόησης της τεράστιας αξίας της αφηρημένης σκέψης. Αυτές οι απουσίες αφίνουν κάτι καινο στην ανθρώπινη εμπειρία. Κατόπιν, η επιστήμη, ώϛ η λύση και εκπλήρωση δεν προσφερει αρκετά. Εμειϛ στον τομεα της αρχιτεκτονικής, στον δικό μας κόσμο, ο οποίος υπάρχει κάπου μεταξί της επιστήμης και της τέχνης , θα πρέπει να αναπτύξουμε μια θεση που μεταδίδει με δύναμη, ένα μήνυμα για εκείνες τις πτυχές της ανθρώπινης κατάσταρης που δεν προορίζονται να γίνουν κατανοητές εκείνα τα αγνωστα, τα πνευματικα μέρη της ζωής μας που μπορούμε να βιώσουμε και μόνο. Δεν υπάρχει λογική στο να τοποθέτουμε αντικειμένα πάνω σ ‘αυτή τη γη που αντιπροσωπεύουν την εποχη μας, χωρίς να προσφέρουμε μέσα σε αυτά ενδείξεις 14

συναισθήματως . Δηλαδή, ενδείξεις της αξίας της ύπαρξής μας και τί μπορούμε να προσφέρουμε ως μήνυμα για το μέλλον μας. Αυτο που έχουμε μάθει από την ιστορία πρέπει να είνα ένα σημείο εκκίνησης και να μην το αγνοουμε. Το αποτέλεσμα κάθε πραγματικόυ τεχνίτη αρχιτέκτονα πρέπει να έχει κάτι να κάνει με τη μετατροπή της σημερινής μας γνώσης στον κόσμο σε διαλογισμό με θετικές προθέσεις. Η αρχιτεκτονική, νομίζω, μπορεί να κάνει αυτή τη μετάβαση από έναν σκληρό κόσμο, σε έναν κόσμο που μπορεί να εκπληρώσει τις συνεχώς υπάρχουσες απαιτήσεις του ανθρωπου για συγκίνηση και κάτι το ποιό αοριστο. Και έτσι θα επιτραπή να μην βαρεθούμε ποτέ από την απέραντη απάθεια του σημερινού χώρου. Η έλλειψη αναζήτησης υψηλότερης τάξης πραγμάτων έχει πράγματι κατασταθεί ως εξουθεvωτική. Και η αρχιτεκτονική, κατά τη γνώμη μου, μπορεί να προσφέρει κατι το αισιόδοξο. Με μια γλώσσα χωρίς λόγια, με μια γλώσσα όπου τα διαστήματα και οι κλήσεις αντηχούν με πολύ νόημα, ταυτοχρόνως με επιστημονικό αλλα και ποιό σημαντικα, με καλλιτεχνικό νόημα. Μπορούμε εμεις στο επάγγελμά μας να δούμε εκ νέου ότι η ανθρώπινη κατάσταση εξακολουθεί να ανταποκρίνεται στις αιώνιες αναλογίες και αυτή η επιδίωξη μπορεί να παρουσιάσει νεόυς χωρους αλλα με αρχαίες ιδέες. Η αρχαία αρχιτεκτονική ειναι και αιώνια, αυτη, καταλαμβάνει τις αδυναμίες, τα τρωτά σημεία και τα όρια της ανθρώπινης κατάστασης. Κατανοεί επίσης τα δυνατά σημεία του μεμονωμένου ατόμου. Μπορούμε να δούμε ότι αν ασπαστούμε επίσης με αγάπη την αφαίρεση στην τεχνη μας, η ίδια μπορεί θα παραδώσει στη γενιά μας πολλά, μέσα απο το όχημα των προσδοκιών της εποχής μας. Και αυτη η προσφορά που θα μπορούσαμε να φέρουμε ετσι, θα παρουσιαστή στις μελλοντικές γενιές καπως καλήτερα απο το σημερινό της προορισμό, ίσως ώστε να επιτρέψει τη γενιά μας να μνημονευθει στο μελλον ως, καπως, πιο αξια. Αυτοί είναι οι θετικοί μου διαλογισμοί για σήμερα και αυτό φιλοδοξώ να προσφέρω με το έργο μου. Όχι περισσότερο και όχι λιγότερο.

Temple of Hephaestus (2014)

Panthenon from the base (2014)

Panthenon from the base (2014)

Hydra (2014)

15

ΟΜΙΛΊΑ ΤΗΣ ΑΘΉΝΑΣ ΜΕΤΑΤΌΠΙΣΗ ΚΑΙ ΎΠΑΡΞΗ Cyprus Embassy, Syntagma Square, Athens 22 Ιουνίου 2017 (19:00) Ευάγγέλου Κανδαλἐπα Υπάρχει ανάγκη πάντα να επανεξετάζουμε το τί κάνουμε, και περιπτώσεις όπως η διαλεξη αυτή δίνουν την ευκαιρία να συζητήσουμε ή εστω να παρουσιάσουμε μια θέση όπως τουλάχιστον ένας από μας την βλέπει. Υποθέτω μια έντονη παρατήρηση του κοσμου βασίζεται στην ανάγνωση του κόσμου. Και κάθε σημερινή κατανόηση θα πρέπει να λαμβάνει υπόψη την τρομερή κατάσταση των πραγμάτων που χαρακτήρισε πάντα την ανθρώπινη κατάσταση. Και ορισμένα στοιχειά φαίνονται, σήμερα, να είναι πιο πολυ παρόν στη συνείδησή μας από ποτέ άλλοτε. Δεν εννοώ τα συνηθισμένα θέματα για μια τέτοια συζήτηση. Αντιθέτως, προτείνω πως είνα η απουσία ορισμένων στοιχείων που θα επρεπε να μας ανησυχήσει. Η απουσία, για παράδειγμα, της αναζήτησης της ομορφιάς και την ανθρώπινη αναγκη να μην γνωριζουμε тην προέλεζση των πραγμάτων. Η απουσία του μυστηρίου, επομένως και η έλλειψη αναζήτησης και αναρώτησης: η έλλειψη της κατανόησης της τεράστιας αξίας της αφηρημένης σκέψης. Αυτές οι απουσίες αφίνουν κάτι καινο στην ανθρώπινη εμπειρία. Κατόπιν, η επιστήμη, ώϛ η λύση και εκπλήρωση δεν προσφερει αρκετά. Εμειϛ στον τομεα της αρχιτεκτονικής, στον δικό μας κόσμο, ο οποίος υπάρχει κάπου μεταξί της επιστήμης και της τέχνης , θα πρέπει να αναπτύξουμε μια θεση που μεταδίδει με δύναμη, ένα μήνυμα για εκείνες τις πτυχές της ανθρώπινης κατάσταρης που δεν προορίζονται να γίνουν κατανοητές εκείνα τα αγνωστα, τα πνευματικα μέρη της ζωής μας που μπορούμε να βιώσουμε και μόνο. Δεν υπάρχει λογική στο να τοποθέτουμε αντικειμένα πάνω σ ‘αυτή τη γη που αντιπροσωπεύουν την εποχη μας, χωρίς να προσφέρουμε μέσα σε αυτά ενδείξεις 14

συναισθήματως . Δηλαδή, ενδείξεις της αξίας της ύπαρξής μας και τί μπορούμε να προσφέρουμε ως μήνυμα για το μέλλον μας. Αυτο που έχουμε μάθει από την ιστορία πρέπει να είνα ένα σημείο εκκίνησης και να μην το αγνοουμε. Το αποτέλεσμα κάθε πραγματικόυ τεχνίτη αρχιτέκτονα πρέπει να έχει κάτι να κάνει με τη μετατροπή της σημερινής μας γνώσης στον κόσμο σε διαλογισμό με θετικές προθέσεις. Η αρχιτεκτονική, νομίζω, μπορεί να κάνει αυτή τη μετάβαση από έναν σκληρό κόσμο, σε έναν κόσμο που μπορεί να εκπληρώσει τις συνεχώς υπάρχουσες απαιτήσεις του ανθρωπου για συγκίνηση και κάτι το ποιό αοριστο. Και έτσι θα επιτραπή να μην βαρεθούμε ποτέ από την απέραντη απάθεια του σημερινού χώρου. Η έλλειψη αναζήτησης υψηλότερης τάξης πραγμάτων έχει πράγματι κατασταθεί ως εξουθεvωτική. Και η αρχιτεκτονική, κατά τη γνώμη μου, μπορεί να προσφέρει κατι το αισιόδοξο. Με μια γλώσσα χωρίς λόγια, με μια γλώσσα όπου τα διαστήματα και οι κλήσεις αντηχούν με πολύ νόημα, ταυτοχρόνως με επιστημονικό αλλα και ποιό σημαντικα, με καλλιτεχνικό νόημα. Μπορούμε εμεις στο επάγγελμά μας να δούμε εκ νέου ότι η ανθρώπινη κατάσταση εξακολουθεί να ανταποκρίνεται στις αιώνιες αναλογίες και αυτή η επιδίωξη μπορεί να παρουσιάσει νεόυς χωρους αλλα με αρχαίες ιδέες. Η αρχαία αρχιτεκτονική ειναι και αιώνια, αυτη, καταλαμβάνει τις αδυναμίες, τα τρωτά σημεία και τα όρια της ανθρώπινης κατάστασης. Κατανοεί επίσης τα δυνατά σημεία του μεμονωμένου ατόμου. Μπορούμε να δούμε ότι αν ασπαστούμε επίσης με αγάπη την αφαίρεση στην τεχνη μας, η ίδια μπορεί θα παραδώσει στη γενιά μας πολλά, μέσα απο το όχημα των προσδοκιών της εποχής μας. Και αυτη η προσφορά που θα μπορούσαμε να φέρουμε ετσι, θα παρουσιαστή στις μελλοντικές γενιές καπως καλήτερα απο το σημερινό της προορισμό, ίσως ώστε να επιτρέψει τη γενιά μας να μνημονευθει στο μελλον ως, καπως, πιο αξια. Αυτοί είναι οι θετικοί μου διαλογισμοί για σήμερα και αυτό φιλοδοξώ να προσφέρω με το έργο μου. Όχι περισσότερο και όχι λιγότερο.

Temple of Hephaestus (2014)

Panthenon from the base (2014)

Panthenon from the base (2014)

Hydra (2014)

15

THE POINT Pyrmont NSW, Australia 1994–1998

Fig. 1

18

I was 26 years old when I won an international competition to commence the state housing project for the entirety of Pyrmont, the first peninsular to the west parallel with the City of Sydney. I had touched this land twice before. In my first year class at University, I had designed a shelter on the park opposite this site and when I was working with Graham Jahn Architect, he had created drawings for the peninsular to the west for his idea as to what would be the next big space of Sydney. Graham, as has been evident in his work ever since, was most prescient. We may all be thinking constantly in our subconscious about topics that emerge to the surface from time to time. This housing development was the result of a desire to include every architectural thought, ethic, position and attitude I had hitherto kept inside me. The drawings I had created, I see on reflection, represented attempts to supress a tidal wave of ideas that seemed to be within me at that time. I still don’t believe in a hierarchy of importance in design. Everything is equally as important to the universal thinker and as a consequence, nothing is important also. I therefore would spend the hours thinking of what to do and found myself disappointed with the way the drawings never really represented the ideas. I remain always disappointed with the chasm between that which is thought and that which is drawn. I do not favour working with models and always have done. Models are even more disappointing as they don’t allow one to occupy spaces in the truth of light, always objectifying things by definition. For me drawings and models are not the places where imagination can be vested. Models stop three-dimensional imagining and drawings seduce too much. I always like the concept of experiencing my work blindfolded and in my imagination where all the senses can behold. I can be attracted to other sensory stimuli and I command the context of attractive buildings distorting my judgement. When I start, I like to think and write about the ideas in the work. In this way, there is a presence of a prospect of communicating something open to many offerings later. In the beginning, my designing must start

this way. To start this project, I remember a series of rather basic word-remarks on white paper in blue ink ball-point pen that I must have lost. These were the first ideas about the design. They spoke enthusiastically and concur- Fig. 2 rently about what the building should feel like, what the building would be made of and how the building should behave against the landscape. They also spoke about how the section should be against the rock and the values of Fig. 3 the structure as would be required to make the building environmental and sustainable. I remember later asking a photographer to capture the thinness of the building and to somehow capture its furriness too. I was keen to ensure that the drawings were crafted as best I could and this ethic seems to have been a trait I developed with Col Madigan and Graham Jahn, both of whom had taught me that drawing with precision was vital to communicate subtlety, and with thin, delicately placed line-work, a part of yourself was left on the page for all to judge. The drawings for this project, therefore, represent an aspiration to not do what was obvious for the site; rather, to learn from the site that even here, in this long, thin sliver of land facing only east and west, one was able to orient all units toward the ‘all-day’ sun to the north. For everything here has a thickness in which activity could develop. One is also able to seek a dialogue with the landscape of Sydney’s sandstone. Those days I remember the sense I had that everything was possible; something I admit is a waning sense these days. I was able to turn myself on a dime and look toward the future, to the work I was about to do, and never ever turn back; Fig. 4

19

THE POINT Pyrmont NSW, Australia 1994–1998

Fig. 1

18

I was 26 years old when I won an international competition to commence the state housing project for the entirety of Pyrmont, the first peninsular to the west parallel with the City of Sydney. I had touched this land twice before. In my first year class at University, I had designed a shelter on the park opposite this site and when I was working with Graham Jahn Architect, he had created drawings for the peninsular to the west for his idea as to what would be the next big space of Sydney. Graham, as has been evident in his work ever since, was most prescient. We may all be thinking constantly in our subconscious about topics that emerge to the surface from time to time. This housing development was the result of a desire to include every architectural thought, ethic, position and attitude I had hitherto kept inside me. The drawings I had created, I see on reflection, represented attempts to supress a tidal wave of ideas that seemed to be within me at that time. I still don’t believe in a hierarchy of importance in design. Everything is equally as important to the universal thinker and as a consequence, nothing is important also. I therefore would spend the hours thinking of what to do and found myself disappointed with the way the drawings never really represented the ideas. I remain always disappointed with the chasm between that which is thought and that which is drawn. I do not favour working with models and always have done. Models are even more disappointing as they don’t allow one to occupy spaces in the truth of light, always objectifying things by definition. For me drawings and models are not the places where imagination can be vested. Models stop three-dimensional imagining and drawings seduce too much. I always like the concept of experiencing my work blindfolded and in my imagination where all the senses can behold. I can be attracted to other sensory stimuli and I command the context of attractive buildings distorting my judgement. When I start, I like to think and write about the ideas in the work. In this way, there is a presence of a prospect of communicating something open to many offerings later. In the beginning, my designing must start

this way. To start this project, I remember a series of rather basic word-remarks on white paper in blue ink ball-point pen that I must have lost. These were the first ideas about the design. They spoke enthusiastically and concur- Fig. 2 rently about what the building should feel like, what the building would be made of and how the building should behave against the landscape. They also spoke about how the section should be against the rock and the values of Fig. 3 the structure as would be required to make the building environmental and sustainable. I remember later asking a photographer to capture the thinness of the building and to somehow capture its furriness too. I was keen to ensure that the drawings were crafted as best I could and this ethic seems to have been a trait I developed with Col Madigan and Graham Jahn, both of whom had taught me that drawing with precision was vital to communicate subtlety, and with thin, delicately placed line-work, a part of yourself was left on the page for all to judge. The drawings for this project, therefore, represent an aspiration to not do what was obvious for the site; rather, to learn from the site that even here, in this long, thin sliver of land facing only east and west, one was able to orient all units toward the ‘all-day’ sun to the north. For everything here has a thickness in which activity could develop. One is also able to seek a dialogue with the landscape of Sydney’s sandstone. Those days I remember the sense I had that everything was possible; something I admit is a waning sense these days. I was able to turn myself on a dime and look toward the future, to the work I was about to do, and never ever turn back; Fig. 4

19

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JADE MUSEUM La Mei Valley Hubei, China 2017

Fig. 1

154

The client for a thirty-six storey tower in Sydney gifted me a trip to China. It is the generosity of Chinese people that reminds me of my own culture and how we were brought up. I have experienced such important reminders through my client, Mr Fu. I have sung at dinner with him, I have travelled through China with him and together we share private moments of an affection that can only be classified as brotherly. On commissioning me for his tower, he gave me a trip to China as a gift. I was taken to a resort he was building in a valley full of beautiful and therapeutic la mei plants. Having faith in his ancient culture’s ideas of medicine and plants, his work in pharmaceuticals aims to find a cure for many ailments. Mr Fu is also a collector of beautiful artefacts and artworks in Jade. After much discussion, he asked me one day to look at designing a Jade Museum. His friend, the artist Qijing Qiu, was brought to Australia in a moment of generosity similar to the ones that enabled me to visit China. We were all instantly friends. I travelled back to China with this artist and we went to the site together. We talked a lot about light, mounds of termites and how sound changes in space. We talked a lot about how the art of jade was one that could be much more engaging if seen against the backdrop of music, the river, the coldness of space, the thinness of light and the forms of architecture. I was asked to respond to the museum brief. The building may or may not be built; regardless, I will love this landscape and honour the incredible scripts of the ancient artists such as Ma Yuan, who engender the elements required to understand that the landscape was here before the culture of people and the culture of people, in turn, has understood and represented this landscape for centuries. In a subsequent visit I was introduced to the incredible composer of music Tan Dun. Perhaps we all can collaborate one day together – Artist, Composer and Architect. The answers cast for this project must therefore respect the landscape, be affected by the culture, be haunted by the art. They put forward my Fig. 2

own expression of how architecture is seen in this context of the land, and in turn how this context has affected the culture which sits precariously upon its landscape.

Fig. 3

p. 156

Fig. 1 Fig. 2 Fig. 3

Timber model of the Jade Museum Timber model showing light pattern Sketch of Jade Museum in section

p. 157 p. 158 p. 159 pp. 160/161

Diagrammatic sketch plan (Angelo Candalepas) Montage of Museum in valley Site Plan Section B Section A

155

JADE MUSEUM La Mei Valley Hubei, China 2017

Fig. 1

154

The client for a thirty-six storey tower in Sydney gifted me a trip to China. It is the generosity of Chinese people that reminds me of my own culture and how we were brought up. I have experienced such important reminders through my client, Mr Fu. I have sung at dinner with him, I have travelled through China with him and together we share private moments of an affection that can only be classified as brotherly. On commissioning me for his tower, he gave me a trip to China as a gift. I was taken to a resort he was building in a valley full of beautiful and therapeutic la mei plants. Having faith in his ancient culture’s ideas of medicine and plants, his work in pharmaceuticals aims to find a cure for many ailments. Mr Fu is also a collector of beautiful artefacts and artworks in Jade. After much discussion, he asked me one day to look at designing a Jade Museum. His friend, the artist Qijing Qiu, was brought to Australia in a moment of generosity similar to the ones that enabled me to visit China. We were all instantly friends. I travelled back to China with this artist and we went to the site together. We talked a lot about light, mounds of termites and how sound changes in space. We talked a lot about how the art of jade was one that could be much more engaging if seen against the backdrop of music, the river, the coldness of space, the thinness of light and the forms of architecture. I was asked to respond to the museum brief. The building may or may not be built; regardless, I will love this landscape and honour the incredible scripts of the ancient artists such as Ma Yuan, who engender the elements required to understand that the landscape was here before the culture of people and the culture of people, in turn, has understood and represented this landscape for centuries. In a subsequent visit I was introduced to the incredible composer of music Tan Dun. Perhaps we all can collaborate one day together – Artist, Composer and Architect. The answers cast for this project must therefore respect the landscape, be affected by the culture, be haunted by the art. They put forward my Fig. 2

own expression of how architecture is seen in this context of the land, and in turn how this context has affected the culture which sits precariously upon its landscape.

Fig. 3

p. 156

Fig. 1 Fig. 2 Fig. 3

Timber model of the Jade Museum Timber model showing light pattern Sketch of Jade Museum in section

p. 157 p. 158 p. 159 pp. 160/161

Diagrammatic sketch plan (Angelo Candalepas) Montage of Museum in valley Site Plan Section B Section A

155