Traces

Page 1

TRACES LAN Part 1

TRACES

Foreword +++++++++++++++++++++++++++++++ 02 Barcelona ++++++++++++++++++++++++++++++ 08 Ikaria ++++++++++++++++++++++++++++++++++++ 14 Moscow +++++++++++++++++++++++++++++++++ 18 Istanbul +++++++++++++++++++++++++++++++++ 22 Roa +++++++++++++++++++++++++++++++++++++++ 32 Rotterdam ++++++++++++++++++++++++++++++ 38 Porto +++++++++++++++++++++++++++++++++++++ 44

Part 2

Density and Empty Space +++++++++ 50 Architecture and Power ++++++++++++ 74

Part 3

In architecture, cities are points of departure and arrival. They are fact and abstraction, a tangible exterior and the pure product of the mind. To understand them, one must venture along the path that travels between these two separate realities. This book attempts to reproduce this trajectory and to describe it through the traces it has produced.

Naples+++++++++++++++++++++++++++++++++++ 98 Fribourg ++++++++++++++++++++++++++++++ 104 Beirut +++++++++++++++++++++++++++++++++ 108 Innsbruck ++++++++++++++++++++++++++++ 116 Syros ++++++++++++++++++++++++++++++++++ 120 Brussels, Antwerp +++++++++++++++++ 126 Helsinki +++++++++++++++++++++++++++++++ 130 Timisoara +++++++++++++++++++++++++++++ 134 Florence ++++++++++++++++++++++++++++++ 140

Part 4

This book’s structure and shape hinge on two different perspectives on urban planning: the city as the site of experience and thought, and the city as the locus of architectural endeavor and change. The white notebooks contain writings, reflections, and observations about the urban experiences we have collected over a ten-year period. They are arranged by the names of the cities that inspired them. These notes were often written during trips to conferences or projects. They do not aspire to certainty, but are instead to be read as a series of questions and hypotheses. The black notebooks, on the other hand, seek to lay out the scope of our research and to describe architecture as we practice it, namely by discussing the major themes that run through our projects. In them, we have tried to develop the idea that projects are not ends in and of themselves, rather tools at the service of a vision. There are no direct connections between these different parts, aside from the ones that readers may of course decide to make.

Urban forms+++++++++++++++++++++++++ 146 Application of a generic grid +++ 150

Part 5

Athens ++++++++++++++++++++++++++++++++ 194 Atacama ++++++++++++++++++++++++++++++ 200 Copenhagen +++++++++++++++++++++++++ 206 Dublin ++++++++++++++++++++++++++++++++ 212 Capri ++++++++++++++++++++++++++++++++++ 220 Sifnos ++++++++++++++++++++++++++++++++++ 226 Graz ++++++++++++++++++++++++++++++++++++ 232 Roma ++++++++++++++++++++++++++++++++++ 236

Part 6

Dealing with climate ++++++++++++++ 241 Models ++++++++++++++++++++++++++++++++ 251

Part 7

Bordeaux +++++++++++++++++++++++++++++ Strasbourg +++++++++++++++++++++++++++ Geneva ++++++++++++++++++++++++++++++++ Valence +++++++++++++++++++++++++++++++ Paris +++++++++++++++++++++++++++++++++++ Yangon ++++++++++++++++++++++++++++++++ Île d’Yeu ++++++++++++++++++++++++++++++ Le Touquet +++++++++++++++++++++++++++ Neufchâteau +++++++++++++++++++++++++ Cannes ++++++++++++++++++++++++++++++++ Melun +++++++++++++++++++++++++++++++++

290 294 298 302 308 312 316 320 324 328 332

Part 8

Testing the space +++++++++++++++++++ 338 Testimonials +++++++++++++++++++++++++ 340

Part 9

London ++++++++++++++++++++++++++++++++ Bratislava, Vienna ++++++++++++++++++ Lens ++++++++++++++++++++++++++++++++++++ Cardiff +++++++++++++++++++++++++++++++++ Cambridge +++++++++++++++++++++++++++ Salt Lake City +++++++++++++++++++++++ Venice +++++++++++++++++++++++++++++++++

386 392 398 404 410 414 424

Part 10

Lowest common denominator++ 434 Catalogue ++++++++++++++++++++++++++++ 436

Part 11

Vals +++++++++++++++++++++++++++++++++++++ Singapour ++++++++++++++++++++++++++++ New York +++++++++++++++++++++++++++++ H ++++++++++++++++++++++++++++++++++++++++ ISBN

978 - 1 - 940291 - 02 - 4

482 490 496 504

Part 12

Observations ++++++++++++++++++++++++ 530

Appendices

Projects +++++++++++++++++++++++++++++++ 578 Office +++++++++++++++++++++++++++++++++ 604

TRACES LAN



TRACES

LAN


“If you can just get your mind together Then come on across to me We’ll hold hands and then we’ll watch the sunrise From the bottom of the sea

PA RT 1

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F O REWO RD

But first, are you experienced? Have you ever been experienced? Well, I have I know, I know you probably scream and cry That your little world won’t let you go But who in your measly little world Are you trying to prove that You’re made out of gold and, eh, can’t be sold So, are you experienced? Have you ever been experienced? Well, I have Let me prove it to you... Trumpets and violins I can hear them in the distance I think they’re calling our names Maybe now you can’t hear them, but you will If you just take hold of my hand Oh, but are you experienced? Have you ever been experienced? Not necessarily stoned, but beautiful...”

The Jimi Hendrix Experience, ‘Are You Experienced?’, Are You Experienced?, Track Records, 1967.


Jimi Hendrix’s magnificent album is key to understanding the development of rock music from the 1960’s to the present day. I’ve always wondered what he meant when he sang those words. Are you experienced? Have you ever been experienced? What exactly does this mean? Given who Hendrix was and the life he led, the first thing that comes to mind is, of course, drugs. But he himself frequently rejected this suggestion. According to him, Are You Experienced? is about a sense of inner peace.

3 -

Some album titles have had a huge impact on me. Wish You Were Here – It’s Only Rock and Roll – London Calling – Nevermind – The Dark Side of the Moon, and many others hit me with the same force as the occasional advertisement that you just can’t get out of your mind. One title in particular has come back to me again and again at every point of my life: Are You Experienced?

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FOREWORD


PA RT 1

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F O REWO RD

Personally, I’ve always thought that these words should be taken more broadly, as an expression of how we as humans relate to experience. Experience is what we use to demonstrate an abstraction – “putting something to the test.” It is a situation we face (you “have an experience”), but it is also the knowledge we acquire through this contact and these tests (we also say that we “have experience”.) So, it is a point of both departure and arrival, something completely outside us and also a product of our minds. The scientific method consists of testing hypotheses by experimentation. When an experiment proves a pre-established hypothesis, it becomes valid… until a further experiment refutes it. Every model validated by experience forms the basis for new hypotheses; this is how science progresses. Whether an experience is positive or negative, it provides us with new information or it can instruct us as to what might have led to failure. Either way, it will help the next time around. Experiences undeniably leave traces. So, for our studio’s tenth anniversary, we decided to reflect on the idea of experience and to try to bring it to life. After a number of attempts, we came to the conclusion that cities are points of departure and arrival. They are fact and abstraction, a tangible exterior and the pure product of the mind. This book attempts to reproduce this trajectory and to describe how this interaction between the mind and the world has affected us. We could have called this book About Cities and for Cities, but, to be honest, it didn’t sound right.


This book’s structure and shape hinge on two different perspectives on urban planning: the city as the site of experience and thought, and the city as the locus of architectural endeavor and change.

There are no direct connections between these different parts, aside from the ones that readers may decide to make.

Umberto Napolitano

5 -

The black notebooks, on the other hand, seek to lay out the scope of our research and to describe architecture as we practice it, namely by discussing the major themes that run through our projects. In them, we have tried to develop the idea that projects are not ends in and of themselves, rather tools at the service of a vision.

-

The white notebooks contain writings, reflections, and observations about the urban experiences we have collected over a ten-year period. They are arranged by the names of the cities that inspired them. These notes were often written during trips to conferences or projects. They do not aspire to certainty, but are instead to be read as a series of questions and hypotheses.



CIT IE S - PA RT 1 U M B ER T O

Barcelona SPAIN

Ikaria GREECE

Moscow RUSSIA

Istanbul TURKEY

Roa SPAIN

Rotterdam THE NETHERLANDS

Porto PORTUGAL


SPAIN

PA RT 1

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CI TI ES / BA RCELO N A


Barcelona –

Books on Architecture 2012

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9

-

october

Ricardo proposed that we publish a book with Actar. We gladly accepted as we had already planned to write something to mark the studio’s 10th anniversary, and I flew to Barcelona to discuss the project in more detail. I met Ricardo a few years ago at a dinner at Palo Alto, an extraordinary artist space in Barcelona where a Medicilike sense of patronage fills the air. I have very fond memories of my time there, particularly of our very engaging discussion about what separates architecture from reality and theory from practice in places such as Spain’s Costa Brava. I arrived at Actar’s offices and, after the various meet and greets, we began to talk about what form the book take.


10

Windows PAG ES 4 33 - 480


PA RT 10

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WI N D O WS

INTERIOR / EXTERIOR INSIDE / OUTSIDE ENTRY / EXIT PRIVATE / PUBLIC OPAQUE / TRANSPARENT EMPTY / FULL OPEN / CLOSED DAY / NIGHT SHOW / HIDE SEE / BE SEEN

Notes [1] [1] V Hugo, Les Misérables, Penguin Books, London, 1976. pg. 29. [2]

G. Wajcman, Fenêtre, Chroniques du regard et de l’intime, [Window, Tales of the gaze and intimacy], Verdier, coll. Philia, Paris, 2004, pg. 240.


“There are thirteen hundred and twenty thousand peasants' dwellings in France which have but three openings; eighteen hundred and seventeen thousand hovels which have but two openings, the door and one window; and three hundred and forty-six thousand cabins besides which have but one opening, the door. And this arises from a thing which is called the tax on doors and windows. Just put poor families, old women and little children, in those buildings, and behold the fevers and maladies which result! Alas! God gives air to men; the law sells it to them.” Victor Hugo, Les Misérables[1]

An anthropomorphic approach would regard windows as being to architecture what faces are to humans; they gaze out and they are subject to the gaze of others. It is an interface between two antithetical spaces, between two others. It delineates these others (a closed window, false transparency) or, on the contrary, it abolishes them (open window, transparency). It is a place of desire and a meeting point that reveals the beauty and essence of things. “One must grant windows the greatest possible attention and respect, because they have been a major agent of change in the world.” Gérard Wajcman[2]

435

If we recall that the size and number of windows were taxed until the beginning of the 20th-century, we may understand the fundamental nature of this architectural element better. French, Spanish, and English taxes were modern versions of the ostiarium, the ancient Roman tax on doors and windows. It was a way of associating a social value to the size of openings, and to mark for all the difference between the rich and everyone else. This tax no longer exists, but the bourgeois dream associated with windows lives on. Can we not affirm that glass houses are simply a display of their owners’ status? This is certainly a radical proposition, but there is definitely more to a window design than merely the functional aspects of this architectural element.

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H

ow many times have we heard these words? Can we consider them to be the lowest common denominator for all forms of architecture? The answer is probably yes. These words define opposing notions that sometimes echo each other, for architecture is a discipline that allows you to move freely between one of these words to its opposite. The entire meaning of a project comes down to how this movement is managed, in the gradual nature of the transition. Architecture must therefore be thought of as an interface. So, should we consider windows to be the defining element of this interface? If so, can we then state that windows are the basis of architecture, in the same way that words are the origin of literature?


PA RT 10

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WI N D O WS


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437

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0.93 x 2.04 x 0.03 m – Bricks, Steel, Aluminium, HR Inox webnet

fig. 1


A P P E N D ICE S

The Projects / The Practice


#1

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2 MAR

3 PAJ

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P RO J ECTS

1 - 25

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1

30 collective housing units

Situation plan

WINDOWS

Program: 30 social low energy housing units Location: Paris 20th arrondissement, France Client: Paris Habitat Budget: 5,5M € excl.VAT Year: 2006 Status: completed in 2013 Surface: 2,706m² Team: LAN, LGX Ingénierie (Construction engineering), Franck Boutté Consultants (sustainable design & engineering) General contractor: Fayolle

WINDOWS pg. 438-439 pg. 446-447 pg. 468-471.

Plot 3 building plan

6C building plan

6A building plan

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579

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6B building plan

Fontarabie St. facade


2

Marchesini Headquarters

Situation plan

LANDSCAPE

Program: Headquarters Location: Saint-Mesmes, France Client: Marchesini France S.A. Budget: 1,7M € excl.VAT Year: 2006 Status: completed in 2008 Surface: 1,000m² Team: LAN, Batiserf Ingénierie (structural engineer), Choulet (fluids+sustainability engineering) General contractor: Dutheil Construction

LANDSCAPE

Ground floor plan

North facade

A P P EN D I CES

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P RO J ECTS

pg. 532-533536-537, 544-545, 550-551, 556-557, 564-565, 567, 569-571.

4

West facade

Cross section


3

Student Residence, Pajol

Situation plan

Program: 143 student housing units Location: Paris 18th arrondissement, France Client: RIVP Budget: 8M € excl.VAT Year: 2007 Status: completed in 2011 Surface: 3,950m² Team: LAN, LGX Ingénierie (Construction engineering), Franck Boutté Consultants (sustainable design & engineering) General contractor: Eiffage Île-de-France

ABSTRACTIONS

FEEDBACK

WINDOWS

pg. 55, pg. 68-69.

pg. 356-371.

pg. 436-437, pg. 458-459, pg. 464-467.

First floor plan

Fourth floor plan

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581

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Ground floor plan

ABSTRACTIONS FEEDBACK WINDOWS

North facade from the courtyard

East facade


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LAN

2011 PRIX AMO 2011 – Special Prize Fondation d'Entreprise Excellence SMA EQUERRE D'ARGENT 2011 – Nomination LEAF AWARDS 2011 – Best Sustainable Development in Keeping with its Environment SAIE SELECTION AWARDS 2011 – First Prize:Young Architects, Section bricks 2010 EUROPE 40 UNDER 40 AWARDS – Europe's emerging young architects and designers SAIE SELECTION AWARDS 2010 – Second Prize MIPIM AR FUTURE PROJECT AWARDS – First Prize: residential category

2008 WORLD ARCHITECTURE COMMUNITY AWARDS – Honorary mention 10 BEST ITALIANYOUNG ARCHITECTS – N.I.B. – First Prize BEST ITALIAN ARCHITECTS UNDER 36 EXPERIENCIAS 36 – Prizewinners RIZOMA ARCHITECTURAL – Prizewinners: Biennal of new generation 2005 COGEDIM AWARDS – Second prize: Première œuvre 2004 NOUVEAUX ALBUMS DES JEUNES ARCHITECTES – Price winners: French Culture Ministry

619

2009 SAIE SELECTION AWARDS – Second Prize INTERNATIONAL ARCHITECTURE AWARDS 2009 INTERARCH 2009 – Special prize of the society of Architects in Sofia INTERARCH 2009 – First Prize: Books and Magazine on Architecture ARCHI-BAU AWARDS – First Prize: Green Building

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2013 BIGMAT NATIONAL FIRST PRIZE FRANCE WAN RESIDENTIAL AWARD 2013 CIVIC TRUST AWARDS 2013 – Commendation Award 2012 EUROPÄISCHE ARCHITEKTUR PREIS 2012 – Distinction LES GRANDS PARIS DU LOGEMENT 2012 – First prize:“Architecture et Urbanisme” LES 24H D'ARCHITECTURE 2012 – First Prize: “Equipements et Activité Lieux de travail & activités” INTERNATIONAL PRIZE FOR SUSTAINABLE ARCHITECTURE FASSA BORTOLO 2012 – Silver Medal: Built Projets INTERARCH 2012 – Special Prize of the American Embassy of Sofia

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Local Architecture Network was created by Benoit Jallon and Umberto Napolitano in August 2002, with the idea of exploring architecture as an area of activity at the intersection of several disciplines. This attitude has developed into a methodology enabling LAN to explore new territories and forge a vision encompassing social, urban, functional and formal questions. LAN has received several awards.


BIBLIOGRAPHY AMC Le Moniteur Architecture, Hors-série, Jean Nouvel, « Entretien avec Jean Nouvel », Interview by E Allain-Dupré, JF Drevon, P Joffroy and E Lapierre, pg. 15 Archibooké, S Daudet, JV Gaultier, P Soethoudt, J Valnet, Yearbook étudiant – numéro 6, Open me! éd. ENSA Versailles,Versailles, 2011. archiSTORM n°50, septembre-octobre 2011. archiSTORM n°51, novembre-décembre 2011 archiSTORM n°52, janvier-février 2012. Aristotle, Metaphysics V, 1, 1012b-1013a A Baricco, I barbari, Fandango, Rome, 2006. J Baudrillard, J Nouvel, Les objets singuliers, Architecture et philosophie, Calmann-Lévy, coll. Petite bibliothèque des idées, Paris, 2000. Baukuh, « Notes on contextual architecture », San Rocco, 4. summer 2012, pg. 86-87 L Boltanski, E Chiapello, Le nouvel esprit du capitalisme, Gallimard, Paris, 1999. BIG, Yes is More, An archicomic on architectural evolution, Evergreen, Cologne, 2009. I Calvino, Le città invisibili, Mondadori, coll. Oscar opere di Italo Calvino, Segrate, 1996. G Clément, Communiqué, May 7, 2007. <http ://www.gillesclement.com>

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A Dubet, Qu’est-ce que la lumière pour les architectes ? Archibooks + Sautereau éditeur, Paris, 2013. JW v. Goethe, Maximen und Reflexionen, hrsg. Max Hecker, 21. Band, Weimar 1907, p. 234. P Goulet, Institut français d’architecture, OMA Rem Koolhaas, Lille, catalogue of the exhibition, IFA Paris, Carte Segrete, Coll. Partitions 2, Paris, 1990. J Gracq, La forme d’une ville, José Corti, Paris, 1985. W Gropius, Architecture et société, éditions du Linteau, Paris, 1995. ES Hochman, Architects of fortune: Mies van der Rohe and the Third Reich, Fourth estate, London, 1991. V Hugo, Les Misérables, 1862. <http ://groupugo.div.jussieu.fr/Miserables/Lecture/Final/Partie1.pdf>

LAN + Guests, You can be young and an architect, AAM/AntePrima, Bruxelles/Paris, 2008. J J Larochelle, « La Maison Nouvel vacille sur ses fondations », Le Monde, 07-05-13 Le Corbusier, Vers une Architecture, Flammarion, Paris, 1995. X Malverti, « La grande échelle de Rem Koolhaas. De New York à Lille : la ville délire », dans Les Annales de la recherche urbaine, n°82, 1999, p. 16 H Miller, The Colossus of Maroussi, Secker & Warburg, London, 1945.


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Ph Panerai, J Castex and J-Ch Depaule, Formes urbaines, de l’îlot à la barre, éditions Parenthèses, Marseille, 1997. Th Paquot, Y Masson-Zanussi and M Stathopoulos ed., AlterArchitecture manifesto, Eterotopia, inFolio, Gollion, 2012. J Rifkin, L’âge de l’accès, la révolution de la nouvelle économie, La Découverte, Paris, 2000. A Rossi, A Scientific Autobiography, trans. L Venuti Opposition Books, Cambridge, 2010. A Rossi, The Architecture of the City, trans. L Venuti The Institute for Architecture and Urban Studies and the Massachusetts Institute of Technology, Opposition Books, Cambridge, 1984. FWJ v. Schelling, Philosophie der Kunst §107, 1802-05.

G Wajcman, Fenêtre, Chroniques du regard et de l’intime, Verdier, coll. Philia, Paris, 2004, p. 240 P Zumthor, Atmosphères, Birkhäuser, Basel, 2006. P Zumthor, Thinking Architecture Birkhäuser, Basel, 1998. -

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Ph Ursprung, Herzog & de Meuron, Natural History, CCA et Lars Müller Publishers, Baden, 2002. R Venturi, Complexity and Contradiction in Architecture, The Museum of Modern Art, New York, 1966. L Vignoli « Pourquoi se suicide-t-on plus dans les pays heureux ? » Les inrocks, 29-04-2011. Vitruvius, Ten Books on Architecture, First Book, “1. The Education of the Architect,” §3, trans. M H Morgan

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F Mitterrand, La paille et le grain, Flammarion, Paris, 1975. R Musil, L’homme sans qualités, Éditions du Seuil, Paris, 1956. OMA, Rem Koolhaas and Bruce Mau, S, M, L, XL, Taschen, Cologne, 2003. J Pallister, « Interview with Royal Gold Medallist Peter Zumthor », Architect’s Journal, 05-02-13,


TRACES PUBLISHED BY Actar Publishers 151 Grand ST, 5th Fl., New York, NY 10013, USA AUTHORS Benoit Jallon, Umberto Napolitano EDITORIAL COORDINATION LAN, Actar Publishers: Ricardo Devesa GRAPHIC DESIGN LAN, Undo-Redo GRAPHIC SUPPORT Fabien Catalano COPY EDITOR Sébastien Fontenelle ENGLISH TRANSLATION Claudio Cambon and Walter Hackman Edited by Simon Pare ACTIVELY PARTICIPATED IN THE COMPLETION OF THE BOOK Anne-Sophie Delaveau (editorial coordination and texts), Maxime Enrico (coordination and graphic design), Camiel Van Noten (graphic design and drawings), Fysal Amirzada (drawings), Katie Browne (translations), Erica Indiveri (drawings), Katja Majcen (drawings), Olivier Puertas (consultant chapter The Comfort Zone), Valentina Rattini (drawings),Yan Roche (drawings), Josepha Russe (drawings), Jennifer Tu-Anh Phan (drawings), Gabriel Verret (drawings). PARTICIPATED IN THE DESIGN AND THE COMPLETION OF THE PROJECTS OF THIS BOOK, AND MANAGE TODAY THEIR PROGRESSES Miguel Andreu Lozano, Thibaut Buisset, Nathalie Cautenet, Grégoire Château, Tiphaine Dugast, Francesca Eandi, Andrea Guazzieri, Yong Il Kim, Mathieu Lebrun, Julia Munarriz Polo, Sebastian Niemann, Giovanna Pasinelli, Philippe Pelletier, Marina Pisica, Renata Raimondi, Dorothée Riou, Catalina Rivera, Ouissem Saoudi, Lisa Taibi, Adis Tatarevic. SPECIAL THANKS Fabrizio Barozzi, James Brett, Francesco Cirillo, Benjamin Colboc, Tamara Corm, Ricardo Devesa, Sébastien Duron, Félicie d’Estiennes d’Orves, Alessandro Fantoni, Alexia Hentsch, Hugues Jallon, the Napolitano family, Lucie Niney, Alberto Veiga, Clément Willemin, all the architects of the project 27…


PRINTING AND BINDING Grafos S.A. – Barcelona, Spain.

ALL RIGHTS RESERVED © of the edition, Actar Publishers and LAN, Barcelona 2013. © of the texts, Umberto Napolitano, pg. 3/48, 51/53, 74/82, 98/143, 147/149,194/239, 338/339, 386/431, 434/435, 482/505, 507/527. Benoit Jallon, pg. 290/335, 507/527. Franck Boutté Consultants, pg. 242/287. Hugues Jallon, pg. 507/527. © all of the graphic documents and images, LAN, excepted the following ones: © LAN - FATCATFILMS, pg. 340/341, 342, 344, 346, 350, 352, 356/357, 358, 362, 366, 368, 372/373, 374, 376, 380, 382. © Bibliothèque Nationale de France, pg. 56.

DISTRIBUTION Actar D, Inc.

151 Grand ST, 5th Fl., - New York, NY 10013, USA www.actar-d.com North America & Asia Innovative Logistics 575 Prospect Street - Lakewood, NJ 08701, USA orders@actar-d.com Europe, Middle East & Japan Marston Book Services Ltd, 160 Milton Park, Abingdon - OX14 4SD, UK trade.orders@marston.co.uk Also Available in French by Archibooks + Sautereau Éditeur 49 boulevard de la Villette - 75010 Paris Tél. : + 33 (0)1 42 25 15 58 - www.archibooks.com

DISCLAIMER All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, recording or otherwise, without the prior written permission of the author.

623

ISBN 978-1-940291-02-4 English

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Photos Iwan Baan, pg. 538/539, 546/547, 572/573. Luc Boegly, pg. 532/533, 536/537, 544/545, 569, 570/571. Julien Lanoo, pg. 37, 343, 345, 347, 348/349, 351, 353, 354/355, 359, 360/361, 363, 364/365, 367, 369, 370/371, 375, 377, 378/379, 381, 383, 462/473, 476/479, 530/531, 540/541, 552/553, 558/559, 562/563, 566, 567, 568. Jean-Marie Monthiers, pg. 474/475, 550/551, 556/557, 564/565. A CIP catalogue record for this book is available from the Library of Congress, Washington D.C., USA.

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Renderings LAN (Mathieu Lebrun and Yong Il Kim), pg. 189, 191, 254, 256, 266, 268, 534/535, 542/543, 548/549, 554/555, 560/561, 574/575. IDA+, pg. 187, 284, 286. Artefactory LAB, pg. 278, 280.


TRACES LAN Part 1

TRACES

Foreword +++++++++++++++++++++++++++++++ 02 Barcelona ++++++++++++++++++++++++++++++ 08 Ikaria ++++++++++++++++++++++++++++++++++++ 14 Moscow +++++++++++++++++++++++++++++++++ 18 Istanbul +++++++++++++++++++++++++++++++++ 22 Roa +++++++++++++++++++++++++++++++++++++++ 32 Rotterdam ++++++++++++++++++++++++++++++ 38 Porto +++++++++++++++++++++++++++++++++++++ 44

Part 2

Density and Empty Space +++++++++ 50 Architecture and Power ++++++++++++ 74

Part 3

In architecture, cities are points of departure and arrival. They are fact and abstraction, a tangible exterior and the pure product of the mind. To understand them, one must venture along the path that travels between these two separate realities. This book attempts to reproduce this trajectory and to describe it through the traces it has produced.

Naples+++++++++++++++++++++++++++++++++++ 98 Fribourg ++++++++++++++++++++++++++++++ 104 Beirut +++++++++++++++++++++++++++++++++ 108 Innsbruck ++++++++++++++++++++++++++++ 116 Syros ++++++++++++++++++++++++++++++++++ 120 Brussels, Antwerp +++++++++++++++++ 126 Helsinki +++++++++++++++++++++++++++++++ 130 Timisoara +++++++++++++++++++++++++++++ 134 Florence ++++++++++++++++++++++++++++++ 140

Part 4

This book’s structure and shape hinge on two different perspectives on urban planning: the city as the site of experience and thought, and the city as the locus of architectural endeavor and change. The white notebooks contain writings, reflections, and observations about the urban experiences we have collected over a ten-year period. They are arranged by the names of the cities that inspired them. These notes were often written during trips to conferences or projects. They do not aspire to certainty, but are instead to be read as a series of questions and hypotheses. The black notebooks, on the other hand, seek to lay out the scope of our research and to describe architecture as we practice it, namely by discussing the major themes that run through our projects. In them, we have tried to develop the idea that projects are not ends in and of themselves, rather tools at the service of a vision. There are no direct connections between these different parts, aside from the ones that readers may of course decide to make.

Urban forms+++++++++++++++++++++++++ 146 Application of a generic grid +++ 150

Part 5

Athens ++++++++++++++++++++++++++++++++ 194 Atacama ++++++++++++++++++++++++++++++ 200 Copenhagen +++++++++++++++++++++++++ 206 Dublin ++++++++++++++++++++++++++++++++ 212 Capri ++++++++++++++++++++++++++++++++++ 220 Sifnos ++++++++++++++++++++++++++++++++++ 226 Graz ++++++++++++++++++++++++++++++++++++ 232 Roma ++++++++++++++++++++++++++++++++++ 236

Part 6

Dealing with climate ++++++++++++++ 241 Models ++++++++++++++++++++++++++++++++ 251

Part 7

Bordeaux +++++++++++++++++++++++++++++ Strasbourg +++++++++++++++++++++++++++ Geneva ++++++++++++++++++++++++++++++++ Valence +++++++++++++++++++++++++++++++ Paris +++++++++++++++++++++++++++++++++++ Yangon ++++++++++++++++++++++++++++++++ Île d’Yeu ++++++++++++++++++++++++++++++ Le Touquet +++++++++++++++++++++++++++ Neufchâteau +++++++++++++++++++++++++ Cannes ++++++++++++++++++++++++++++++++ Melun +++++++++++++++++++++++++++++++++

290 294 298 302 308 312 316 320 324 328 332

Part 8

Testing the space +++++++++++++++++++ 338 Testimonials +++++++++++++++++++++++++ 340

Part 9

London ++++++++++++++++++++++++++++++++ Bratislava, Vienna ++++++++++++++++++ Lens ++++++++++++++++++++++++++++++++++++ Cardiff +++++++++++++++++++++++++++++++++ Cambridge +++++++++++++++++++++++++++ Salt Lake City +++++++++++++++++++++++ Venice +++++++++++++++++++++++++++++++++

386 392 398 404 410 414 424

Part 10

Lowest common denominator++ 434 Catalogue ++++++++++++++++++++++++++++ 436

Part 11

Vals +++++++++++++++++++++++++++++++++++++ Singapour ++++++++++++++++++++++++++++ New York +++++++++++++++++++++++++++++ H ++++++++++++++++++++++++++++++++++++++++ ISBN

978 - 1 - 940291 - 02 - 4

482 490 496 504

Part 12

Observations ++++++++++++++++++++++++ 530

Appendices

Projects +++++++++++++++++++++++++++++++ 578 Office +++++++++++++++++++++++++++++++++ 604

TRACES LAN


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