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INTERNATIONAL ARCHITECTURE AWARD

INTERNATIONAL ARCHITECTURE AWARD BIGMAT 1


BIGMAT INTERNATIONAL ARCHITECTURE AWARD GRAND PRIZE Souto Moura Arquitectos S.A.

NATIONAL PRIZES

BELGIUM Wim Goes Architectuur BVBA CZECH REPUBLIC PETR STOLÍN ARCHITEKT s.r.o. FRANCE Éric Lapierre Experience ITALY Amanzio Farris Architetto SLOVAKIA gutgut, s.r.o. SPAIN RAW/deAbajoGarcia

FINALISTS BELGIUM Binario architectes sciv sprl CZECH REPUBLIC ARCHITEKT Ondřej Tuček FRANCE SEPTEMBRE ITALY Ipostudio Architetti PORTUGAL Andreia Garcia Architectural Affairs and Diogo Aguiar Studio SLOVAKIA JRKVC s.r.o. SPAIN MGM Arquitectos HONORIFIC SPECIAL MENTION YOUNG ARCHITECTS TRANS architectuur stedenbouw

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INTERNATIONAL ARCHITECTURE AWARD



INDEX

BIGMAT INTERNATIONAL ARCHITECTURE AWARD CLAUDE COUTANT

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A PRESTIGIOUS AWARD JESÚS APARICIO

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COMMENTS OF THE JURY 16 WINNING PROJECTS BIGMAT INTERNATIONAL ARCHITECTURE AWARD GRAND PRIZE. PORTUGAL Power Plant for the “FOZ TUA” DAM 46 Souto Moura Arquitectos S.A.

NATIONAL PRIZE. BELGIUM Refugee II: Temporary House 60 Wim Goes Architectuur BVBA NATIONAL PRIZE. CZECH REPUBLIC Kindergarten Nová Ruda 70 PETR STOLÍN ARCHITEKT s.r.o. NATIONAL PRIZE. FRANCE The Chris Marker Student Residence 80 Éric Lapierre Experience NATIONAL PRIZE. ITALY Belvedere per una persona / View for just one person 90 Amanzio Farris Architetto NATIONAL PRIZE. SLOVAKIA Adaptation of the former factory Mlynica 100 gutgut, s.r.o. NATIONAL PRIZE. SPAIN IMPLUVIUM_Community Center in Reinosa 110 RAW/deAbajoGarcia

FINALIST, BELGIUM VISITOR CENTRE Abbey site of Villers-la-Ville 122 Binario architectes sciv sprl FINALIST, CZECH REPUBLIC BMX starting ramp 128 ARCHITEKT Ondřej Tuček FINALIST, FRANCE BELLEVILLE 134 SEPTEMBRE FINALIST, ITALY Museo degli Innocenti 140 Ipostudio Architetti FINALIST, PORTUGAL Pavilion House 146 Andreia Garcia Architectural Affairs and Diogo Aguiar Studio FINALIST, SLOVAKIA AnuAzu 152 JRKVC s.r.o. FINALIST, SPAIN Renovation and Extension 158 of Ramos Carrión Theatre MGM Arquitectos

HONORIFIC SPECIAL MENTION YOUNG ARCHITECTS Balenmagazijn Gent 164 TRANS architectuur stedenbouw

SELECTED PROJECTS

170

BIOGRAPHIES

188


ENGLISH

CLAUDE COUTANT PRESIDENT OF BIGMAT INTERNATIONAL

BIGMAT INTERNATIONAL ARCHITECTURE AWARD

Since the very first edition of the BigMat International Architecture Award in 2013, our brand has worked hard to showcase contemporary architectural talent by drawing attention to some of the most beautiful buildings in the world. By sharing this commitment in such a visible manner, the company has been able to consolidate its reputation and publicise its vision for the future of the construction sector. I am overjoyed that the BMIAA’2019 Grand Prize is to be awarded in Bordeaux, France, the country where the BigMat brand was founded almost 40 years ago. This return to our roots allows us to reflect upon the progress we have made and the major developments which have shaped the history and growth of our brand. Our contribution to the architecture world has always been an ambitious one, but this ambition is matched by the ongoing dedication and participation of all the people involved in our network and our brand. Over the course of successive editions, our Grand Prize has made its mark on Europe: Granada (2013), Berlin (2015), Florence (2017), and now Bordeaux (2019), honouring its original objective through the visibility, credibility and impact it has achieved. While the award is a robust expression of professional recognition, it is also one of symbolic recognition: this year, we are committed to showcasing projects rooted in the urban fabric, which make daily life that little bit better in the countries where BigMat operates. These constructions are important for their architects, but they are also essential for the people who inhabit or use them. They form part of an ongoing ambition to improve the quality of the architecture, landscape and environment in rural and urban areas and to reflect social diversity. The BMIAA has long been inspired by this vision of an everyday architecture and we make sure to reward not only established architects but also up-and-coming architects, so that we play our part in developing the construction sector. Working collectively and powered by human energy, reflecting the society and era in which the brand has developed, BigMat contributes to building tomorrow’s world by promoting strong, bold values. The next edition of our international architecture award will once again be a magnificent illustration of these values.”

CLAUDE COUTANT PRESIDENT OF BIGMAT INTERNATIONAL

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INTERNATIONAL ARCHITECTURE AWARD


FRANÇAIS

ČESKÝ

BIGMAT PRIX INTERNATIONAL D’ARCHITECTURE

BIGMAT MEZINÁRODNÍ CENA ZA ARCHITEKTURU

Depuis la première édition du BigMat International Architecture Award en 2013, notre enseigne a œuvré pour révéler le talent architectural de notre époque en mettant en lumière quelques-uns des plus beaux édifices au monde. En partageant son engagement auprès de tous, elle a contribué à asseoir sa légitimité et sa vision sur le devenir du secteur de la construction.

Od prvního ročníku BigMat International Architecture Award, který proběhl v roce 2013, naše značka dělala vše pro to, aby odhalila architektonický talent naší doby a ukázala jedny z nejkrásnějších budov světa. Sdílením závazku u všech přispěla k položení základů legitimity a vize budoucnosti pro stavební sektor.

C’est avec beaucoup de joie que je partage avec vous mon enthousiasme de voir la remise du Grand Prix BMIAA’2019 se remettre cette année à Bordeaux, en France, pays où l’enseigne BigMat est née il y a bientôt 40 ans. Un retour aux sources qui nous permet de regarder en perspective le chemin parcouru et les grandes évolutions qui ont ponctué la vie et l’ascension de notre enseigne. Notre contribution au monde de l’architecture est ambitieuse, depuis toujours, et notre ambition est à la hauteur de la participation engagée et continue de l’ensemble des adhérents qui animent notre réseau et notre enseigne. Notre grand prix s’est renforcé au niveau européen au fil des éditions successives : Grenade (2013), Berlin (2015), Florence (2017), puis Bordeaux (2019), et honore aujourd’hui son objectif d’origine de par sa visibilité, sa crédibilité et son impact actuel. S’il est certes une reconnaissance professionnelle forte, il est aussi une reconnaissance symbolique ; et cette année, il s’attachera à valoriser les ouvrages ancrés sur le tissu urbain et qui font vivre notre quotidien dans les pays où BigMat est présent. Ces constructions sont importantes pour les architectes, mais elles sont surtout essentielles pour les habitants et les usagers qu’ils sont. Elles s’inscrivent dans le prolongement d’une ambition qualitative architecturale, paysagère et environnementale sur les territoires ruraux comme urbains et dans une démarche de diversité sociale. Et parce que cette vision d’une architecture du quotidien a toujours été le fil conducteur inspirant du BMIAA, nous avons mis un point d’honneur à récompenser non seulement les architectes reconnus de notre époque mais aussi à soutenir ceux de demain pour être co-acteurs à part entière du secteur de la construction. Animé par la dynamique collective insufflée par l’énergie humaine, reflet de la société et de l’époque dans laquelle l’enseigne évolue, BigMat participe à construire le monde de demain en portant des valeurs fortes et audacieuses, et la prochaine édition de notre grand prix international d’architecture en sera une nouvelle fois une parfaite et magnifique illustration.

S velkou radostí s vámi sdílím své nadšení z toho, že Velká cena za architekturu BMIAA´2019 bude letos udělena v Bordeaux, ve Francii, v zemi, kde značka BigMat před téměř 40 lety vznikla. Je to návrat ke zdrojům, který nám umožňuje podívat se z perspektivy na ušlou cestu a hlavní etapy, které poznamenaly naše životy a vzestup naší značky. Náš příspěvek do světa architektury je ambiciózní, a to byl vždy. Našim cílem je, aby všichni naši členové, kteří představují naši síť a naši značku, se v této oblasti rovněž angažovali. Naše Velká cena za architekturu v průběhu předchozích ročníků značně posílila na evropské úrovni: Granada (2013), Berlín (2015), Florencie (2017), následně Bordeaux (2019) a dnes díky viditelnosti, důvěryhodnosti a současnému dopadu dostává svému původnímu cíli. Jedná se zcela jistě o významné profesní uznání, ale má i svou symbolickou hodnotu. Tento rok oceníme díla, která jsou dobře zakotvena v městském prostředí a která jsou součástí každodenního života v příslušných zemích BigMat. Tyto stavby jsou významné pro architekty, ale také pro obyvatele a jejich uživatele. Jsou jakýmsi prodloužením kvalitativní architektonické tradice, krajiny a životního prostředí ve venkovských i městských oblastech a také v oblasti sociální diverzity. Tato vize každodenní architektury byla vždy vůdčí linkou inspirující BMIAA, proto jsme se rozhodli ocenit nejen známé soudobé architekty, ale zároveň i podpořit budoucí tvůrce a být plnohodnotným spolutvůrcem stavebního sektoru. BigMat využívá kolektivní dynamiky pramenící z lidské energie, jež je odrazem společnosti a období, ve kterém se značka vyvíjí. Podílíme se na utváření budoucnosti založené na silných a odvážných hodnotách. Příští ročník naší Velké mezinárodní ceny za architekturu toho bude skvělým a perfektním důkazem.

CLAUDE COUTANT PREZIDENTKA BIGMAT INTERNATIONAL

CLAUDE COUTANT PRÉSIDENTE BIGMAT INTERNATIONAL

CLAUDE COUTANT PRESIDENT OF BIGMAT INTERNATIONAL

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ITALIANO

PORTUGUÊS

BIGMAT PREMIO INTERNAZIONALE DI ARCHITETTURA

BIGMAT PRÉMIO INTERNACIONAL ARQUITETURA

Sin dalla prima edizione del BigMat International Architecture Award nel 2013, la nostra insegna opera intensamente alla ricerca dei talenti architettonici del nostro tempo, per mettere in luce alcuni dei più straordinari edifici al mondo. Condividendo il suo impegno, contribuiamo a consolidare la legittimità e la visione dell’insegna per il futuro del settore edilizio.

Desde a primeira edição do BigMat International Architecture Award em 2013, a nossa cadeia tem trabalhado para revelar o talento arquitetural da nossa época, destacando alguns dos mais belos edifícios do mundo. Ao tornar amplamente público o seu compromisso, contribuiu para a afirmação da sua legitimidade e da sua visão do futuro do setor da construção.

È con enorme gioia che condivido con tutti voi il mio entusiasmo per la celebrazione del Gran Premio BMIAA’2019, che quest’anno si terrà a Bordeaux, in Francia, paese in cui nacque l’insegna BigMat ormai quasi 40 anni fa. Ritornare alle nostre origini ci consente di mettere in prospettiva la strada percorsa e le grandi evoluzioni che hanno segnato la vita e lo sviluppo della nostra insegna.

É com grande prazer que partilho com todos vos o meu entusiasmo de ver a entrega do Grande Prémio BMIAA’2019 a ser realizada este ano em Bordéus, França, país onde a BigMat nasceu há daqui a pouco 40 anos. Um regresso às origens que nos permite olhar com perspetiva para o caminho percorrido e as grandes evoluções que pontuaram a vida e o ascenso da nossa marca.

Il nostro contributo al mondo dell’architettura è da sempre ambizioso e la nostra ambizione rispecchia la partecipazione impegnata e costante di tutti i nostri soci nella promozione della rete e dell’insegna BigMat.

A nossa contribuição para o mundo da arquitetura é, desde sempre, ambiciosa, e a nossa ambição está à altura da participação comprometida e contínua do conjunto dos aderentes que animam a nossa rede e a nossa empresa.

Il nostro gran premio si è rafforzato a livello europeo con il susseguirsi delle sue diverse edizioni di Granada (2013), Berlino (2015), Firenze (2017) e quindi Bordeaux (2019), facendo onore al suo obiettivo originale di visibilità, credibilità e impatto sull’attualità.

O nosso grande prémio reforçou-se a nível europeu, ao longo das sucessivas edições: Granada (2013), Berlim (2015), Florência (2017) e Bordéus (2019), e honra hoje o seu objetivo original pela sua visibilidade, a sua credibilidade e o seu impacto atual.

Si tratta di un importante riconoscimento professionale, ma anche simbolico, che quest’anno punta a valorizzare opere legate al tessuto urbano, che fanno vivere la quotidianità nei paesi in cui è presente BigMat.

Sendo sem dúvida um reconhecimento profissional forte, é também um reconhecimento simbólico, e este ano, terá o intuito de valorizar obras inseridas no tecido urbano e que dão vida ao dia-a-dia nos países em que a BigMat está presente.

Queste costruzioni sono importanti per gli architetti, ma sono essenziali soprattutto per abitanti e utenti. Rispecchiano l’ambizione qualitativa architettonica, paesaggistica e ambientale dei territori rurali e urbani, nell’ottica della diversità sociale. Poiché questa visione di un’architettura quotidiana è sempre stata il filo conduttore da cui prende ispirazione il BMIAA, abbiamo deciso non solo di premiare noti architetti contemporanei, ma anche di sostenere gli architetti del futuro, quali co-protagonisti a pieno diritto del settore edile. Ispirata dalla dinamica collettiva che ci infonde l’energia umana, riflesso della società e dell’epoca in cui si evolve la nostra insegna, BigMat partecipa alla costruzione del mondo di domani trasmettendo valori forti e audaci e la prossima edizione del nostro gran premio internazionale d’architettura ne sarà ancora una volta la perfetta e straordinaria dimostrazione.

Estas construções são importantes para os arquitetos, mas são sobretudo essenciais para os habitantes e os usuários que são. Inscrevem-se como prolongamento de uma ambição qualitativa arquitetural, paisagística e ambiental nos territórios rurais como urbanos e como abordagem da diversidade social. E porque esta visão de uma arquitetura do quotidiano foi sempre o fio condutor que inspirou o BMIAA, foi especialmente importante para nós recompensar não só os arquitetos reconhecidos da nossa época, mas também os de amanhã por serem coautores de pleno direito do setor da construção. Animada pela dinâmica coletiva criada pela energia humana, reflexo da sociedade da época na qual a nossa cadeia evolui, a Big Mat participa na construção do mundo de amanhã incarnando valores fortes e audaciosos, cuja magnífica ilustração será mais uma vez a próxima edição do nosso grande prémio internacional de arquitetura.”

CLAUDE COUTANT PRESIDENTE BIGMAT INTERNATIONAL CLAUDE COUTANT PRESIDENTE DA BIGMAT INTERNATIONAL

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INTERNATIONAL ARCHITECTURE AWARD


SLOVENSKÝ

ESPAÑOL

BIGMAT MEDZINÁRODNÁ CENA ARCHITEKTÚRY

BIGMAT PREMIO INTERNACIONAL DE ARQUITECTURA

Od prvého ročníka BigMat International Architecture Award v roku 2013 naša značka pracuje na odhalení talentov architektúry našej doby a snaží sa sústrediť pozornosť na niektoré z najkrajších budov sveta. Zdieľaním svojho záväzku so všetkými prispieva k upevneniu svojej legitímnosti a vízie o budúcnosti stavebného sektoru.

Desde la primera edición del BigMat International Architecture Award en 2013, nuestra marca ha actuado para descubrir el talento arquitectónico de nuestra época y dar luz a algunos de los edificios más bonitos del mundo. Al compartir su compromiso con todos, contribuye a asentar su legitimidad y su visión sobre el futuro del sector de la construcción.

Je pre mňa veľkým potešením podeliť sa s vami o moje nadšenie z možnosti odovzdať tento rok Veľkú cenu BMIAA’2019 v Bordeaux, Francúzsku, krajina, kde značka BigMat pred takmer 40 rokmi vznikla. Návrat ku koreňom nám umožňuje pozorovať s perspektívou prejdenú cestu a veľký vývoj, ktorý poznačil existenciu a rast našej značky. Náš príspevok do sveta architektúry bol odjakživa ambiciózny. A naše ambície zdieľajú všetci spoločníci našej siete, ktorí našu značku tvoria, svojou zodpovednou a stálou účasťou. Naša veľká cena sa každým ročníkom posilňuje na európskej úrovni. Granada (2013), Berlín (2015), Florencia (2017) a Bordeaux (2019) sú výsledkom nášho počiatočného cieľa zviditeľniť sa, dosiahnuť dôveryhodnosť a reálny dopad. Skutočne existuje veľké uznanie, tak profesionálne ako aj symbolické. Tento rok chceme oceniť diela zasadené do mestského prostredia a ktoré každodenne spolunažívajú v krajinách, kde je skupina BigMat prítomná. Tieto stavby sú dôležité pre architektov, ale najmä sú nevyhnutné pre obyvateľov a užívateľov. Sú pokračovaním kvalitatívnej ambície architektúry, krajinnej a životného prostredia v zónach dedinských a mestských a v procese sociálnej rôznorodosti. Okrem toho, naša predstava každodennej architektúry bola vždy hlavnou ideou inšpirujúcou BMIAA. Preto sme chceli odmeniť nielen uznávaných architektov našej doby, ale tiež podporiť architektov zajtrajška, aby sa stali plnoprávnymi účastníkmi stavebného sektoru. BigMat, inšpirovaná kolektívnou dynamikou, ktorú jej vdychuje ľudská energia, je odrazom spoločnosti a doby, v ktorej sa značka vyvíja a zúčastňuje na budovaní sveta zajtrajška, opierajúc sa o silné a odvážne hodnoty. Budúci ročník našej veľkej medzinárodnej ceny architektúry bude toho opäť novým dokonalým a veľkolepým príkladom.

CLAUDE COUTANT PREZIDENTKA BIGMAT INTERNATIONAL

Para mí es una gran satisfacción compartir con vosotros mi entusiasmo por entregar el Gran Premio BMIAA’2019 este año en Burdeos, Francia, país donde la marca BigMat nació hace casi 40 años. Una vuelta a las raíces que nos permite observar con perspectiva el camino recorrido y las grandes evoluciones que han marcado la vida y el crecimiento de nuestra marca. Desde siempre, nuestra contribución al mundo de la arquitectura es ambiciosa, y nuestra ambición se comparte a través de la participación comprometida y continua de todos los socios que componen nuestra red y nuestra marca. Nuestro gran premio se ha ido reforzando a nivel europeo edición tras edición: Granada (2013), Berlín (2015), Florencia (2017) y Burdeos (2019) encarnan hoy su objetivo inicial de visibilidad, credibilidad e impacto real. Si ciertamente hay un gran reconocimiento profesional, también hay un reconocimiento simbólico; y este año, queremos valorar las obras ancladas en el tejido urbano y que conviven en el día a día en los países en los que BigMat está presente. Estas construcciones son importantes para los arquitectos, aunque sobre todo son esenciales para los habitantes y los usuarios. Se inscriben en la prolongación de una ambición cualitativa arquitectónica, paisajística y medioambiental en los territorios rurales y urbanos y en un proceso de diversidad social. Y además esta visión de una arquitectura del día a día siempre ha sido el hilo conductor que inspira el BMIAA; por esa razón, hemos querido premiar no solo a los arquitectos reconocidos de nuestra época, sino también respaldar a los del mañana para que sean co-actores plenos del sector de la construcción. BigMat, inspirado por la dinámica colectiva insuflada por la energía humana, reflejo de la sociedad y de la época en la que la marca evoluciona, participa en la construcción del mundo del mañana basándose en valores fuertes y atrevidos. La próxima edición de nuestro gran premio internacional de arquitectura será de nuevo un ejemplo perfecto y magnífico.”

CLAUDE COUTANT PRESIDENTA DE BIGMAT INTERNATIONAL

CLAUDE COUTANT PRESIDENT OF BIGMAT INTERNATIONAL

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ENGLISH

JESÚS APARICIO PRESIDENT OF THE AWARD

A PRESTIGIOUS AWARD

Fifteen years after it began, the biennial BigMat Architecture Award is now in its seventh edition. Participation was very high this year, as any architect from a European country where the BigMat Group is present was able to submit their work if it had been completed within the time limits set out in the terms and conditions. More than 600 projects were received from the European countries participating in the award: Belgium, Czech Republic, France, Italy, Portugal, Slovakia and Spain. Like previous editions, the success of the latest edition is reflected not only in the number of entries but also in their quality. There can be no doubt that the project which best represents architecture and architects, completed within the time frame set out in the terms and conditions for the competition, is among the projects submitted for this edition. The prestigious nature of the award derives, most importantly, from the unconditional support of the BigMat Group, which works to safeguard the intellectual autonomy of the prize, and from the impressive professional reputation of the members of the international juries for the various editions. The jury for this edition, which I was honoured to lead, is made up of Stéphane Beel, Fuensanta Nieto, Petr Pelčák, Philippe Prost and Paolo Zermani. Our task was to select fifteen major architecture projects located in the European countries participating in this edition of the prize. Projects with all kinds of budgets, concepts and uses. Projects which shape the land and the city. Projects which adapt existing constructions or are newly built. Projects which are all great works of contemporary architecture.

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INTERNATIONAL ARCHITECTURE AWARD


BELGIUM The three finalists in Belgium include an ephemeral structure constructed inside an existing garage in a detached house, which is used for residential purposes and for providing care for a sick family member. The second project selected is an intervention in the landscape, which aims to recover an old Cistercian abbey for visitors. Finally, the jury selected a project which focused on a 19th century former industrial warehouse made from hand-baked brick, adding a public community use to the building by constructing an aluminium box to house the more private areas. The jury praised the strength and sensitivity with which the project was implemented. CZECH REPUBLIC Two finalists were selected from the Czech Republic. One is the Nová Ruda nursery, which establishes an interesting succession of public-private boundaries, housing the proposed function within them. The second finalist is the exit ramp for a BMX circuit on the outskirts of Prague, under which several essential services have been built. FRANCE Both of the finalists from France focus on the same use and location, collective residences in Paris, but at different scales. The first is a large building, the Chris Marker Student Residence, which creates an interesting relationship between public and private areas and circulation elements. This relationship is expressed in the structure of the building. The second finalist is the Belleville building. The jury highlighted the sensitivity with which the architects had worked on this small collective residence, recovering the façade from another building and integrating it into the structure very successfully. ITALY The finalists in Italy worked with the existing heritage. The first, Belvedere for one person, creates a stone balcony overlooking the countryside in a small Italian village near Rome. The jury emphasised the great sensitivity of the project approach and the way in which it took advantage of an existing opportunity, describing it as a clear example of the way in which architecture can improve people’s lives and relationships with place, even on a low budget. The second finalist is a project which provides access and exhibition solutions at the iconic Innocenti Museum in Florence, a building with great heritage value which is enhanced by this highly professional intervention.

PORTUGAL The two finalists in Portugal are projects located in the landscape. One can be found at the Foz Tua power station, constructing a number of objects which are integrated into the plant as part of the landscape. The jury described it as an architectural intervention, as necessary as it is unusual in the field, which takes advantage of the existing setting to construct a new industrial acropolis in the midst of nature. The other Portuguese project is a small residential building built on top of a small existing wine cellar. The jury highlighted its geometric and material relationship with the surrounding area and the residential space. SLOVAKIA In Slovakia, one of the finalists recovered a former Mlynica prefabricated concrete factory as a space for events, offices and apartments. The jury emphasised the clarity of the intervention, which restored a disused industrial building. The other finalist from Slovakia was a small shelter. The jury highlighted the distribution of space informed by energy concerns, with the services placed around the main area, which was opened up with a conservatory to the south. The project was completed on a very small budget. SPAIN Two finalists were selected from Spain. The first is a community centre in Reinosa, where the jury emphasised the use of materials to characterise the space, combining the classic lines of an off-centre impluvium courtyard with a contemporary use which helps to dynamise the town. The second finalist is a contemporary project which restores and extends a theatre in the city of Zamora. The jury considered that the project succeeds in constructing a diaphragm which accentuates the urban character of the theatre, while adding new programmes.

JESÚS Mª APARICIO GUISADO ARCHITECT PRESIDENT OF THE AWARD

JESÚS APARICIO PRESIDENT OF THE AWARD

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FRANÇAIS

UN PRIX PRESTIGIEUX Créé il y a quinze ans, le Prix biennal BigMat d’architecture en est désormais à sa septième édition. S’agissant d’un concours ouvert à tous les architectes des territoires européens où le groupe BigMat exerce ses activités, et compte tenu des dates limites de présentation des œuvres fixées dans le règlement, les inscriptions ont été très nombreuses. Nous avons reçu plus de 600 projets, en provenance des nations européennes où le concours est organisé : Belgique, République Tchèque, France, Italie, Portugal, Slovaquie et Espagne. Toutefois, comme pour les éditions précédentes, le succès de cette convocation n’est pas uniquement quantitatif, mais aussi et surtout qualitatif. En effet, on peut affirmer sans l’ombre d’un doute que parmi les projets présentés à cette édition, certains ont été créés par les plus grands architectes et représentent ce qui se fait de mieux en architecture, dans le cadre spatio-temporel défini par le règlement du concours. Ce concours bénéficie d’un prestige qui s’explique d’une part par l’aide inconditionnelle du groupe BigMat, qui garantit toujours le respect de son autonomie intellectuelle et, d’autre part, par l’excellente réputation professionnelle des membres des jurys internationaux des différentes éditions. Cette année, j’ai eu l’honneur de présider le jury, constitué de Stéphane Beel, Fuensanta Nieto, Petr Pelčák, Philippe Prost et Paolo Zermani. Le verdict, choisir cinq œuvres architecturales primordiales, situées dans les pays d’Europe où le concours est organisé cette année. Des œuvres qui englobent tout type de budget, de concept et d’usage. Des œuvres ayant un impact sur le territoire et la ville. Des œuvres qui peuvent être des interventions sur l’existant ou de nouvelles constructions. Mais ce qui est sûr, c’est qu’il s’agit de grandes œuvres d’architecture contemporaine. BELGIQUE Les projets finalistes de la Belgique sont, en premier lieu, une architecture éphémère construite dans le garage existant d’un logement individuel, destinée à un usage résidentiel et aux soins d’un malade. Ensuite, nous avons sélectionné une intervention sur le paysage qui tente de récupérer une ancienne abbaye cistercienne pour les visiteurs. Enfin, le jury a souhaité choisir un projet d’intervention sur un ancien entrepôt industriel en briques moulées à la main du XIXe siècle, dans lequel a été intégrée une utilisation publique communautaire grâce à la construction d’une boîte en aluminium qui accueille les parties les plus privées. Le jury a apprécié la fermeté et la sensibilité qui caractérisent cette intervention. RÉPUBLIQUE TCHÈQUE Les finalistes de la République Tchèque sont deux. L’un d’entre eux est la crèche Novà Ruda, qui établit une succession intéressante de limites entre le public et le privé, en accueillant entre elles la fonction envisagée. L’autre finaliste est la rampe de départ d’un circuit de vélo BMX dans la banlieue de Prague, sous laquelle il est proposé de construire un certain nombre de services nécessaires. FRANCE En France, les deux finalistes concernent un même emplacement et une même utilisation, une résidence collective à Paris, mais à deux échelles différentes. Le premier d’entre eux est un bâtiment à grande échelle, The Chris Marker Student Residence, qui définit un rapport intéressant

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INTERNATIONAL ARCHITECTURE AWARD

entre les espaces publics, privés et les circulations. Ce rapport s’exprime à travers sa structure. Le second projet finaliste est le bâtiment Belleville. Dans ce projet, le jury a souhaité souligner la sensibilité qui caractérise le travail sur l’échelle de ce petit bâtiment d’habitation collectif, grâce à la récupération de la façade d’un autre bâtiment existant et son intégration judicieuse dans le tracé structurel proposé. ITALIE Les projets finalistes d’Italie sont des interventions sur le patrimoine existant. Le premier d’entre eux, Belvédère pour une personne, est un balcon en pierre qui donne sur le paysage d’un petit village de l’Italie, près de Rome. Le jury a apprécié l’extrême sensibilité de l’intervention et son opportunisme. En effet, le projet illustre bien la façon dont l’architecture est capable, avec un budget limité, d’améliorer la vie des personnes concernées et leur relation avec le lieu. Le second finaliste, qui intervient sur l’emblématique musée des Innocents de Florence, parvient à résoudre avec un grand professionnalisme les problèmes d’accès et d’exposition dans un bâtiment d’une telle valeur patrimoniale. PORTUGAL Les deux projets finalistes du Portugal se situent dans le paysage. L’un d’eux, l’intervention sur la centrale électrique du barrage Foz Tua, construit des objets qui s’inscrivent dans un ensemble de machines à l’intérieur du paysage. Le jury a apprécié une intervention architecturale aussi nécessaire que rare dans ce domaine, qui met à profit cette circonstance pour réussir à construire une nouvelle acropole industrielle dans la nature. L’autre projet portugais est un pavillon résidentiel à petite échelle. Il est construit sur une petite cave en pierre préexistante. Le jury a apprécié d’une part le lien géométrique et matériel avec le lieu, mais aussi l’espace de la maison, construit avec les zones de service. SLOVAQUIE En Slovaquie, l’un des projets finalistes récupère l’ancienne usine de béton préfabriqué Mlynica pour la transformer en espace destiné à l’organisation d’événements, à des bureaux et à des appartements. Le jury a apprécié la clarté de l’intervention qui récupère un bâtiment à usage industriel désaffecté. En ce qui concerne l’autre finaliste de Slovaquie, un petit refuge, le jury a aimé la résolution du projet, car celui-ci a bien pris en compte le problème énergétique en accueillant les services autour de l’espace principal et en l’ouvrant avec une serre au sud. Le tout a été réalisé avec un petit budget. ESPAGNE L’Espagne compte deux projets finalistes. Le premier d’entre eux est un centre communautaire à Reinosa, pour lequel le jury a apprécié l’utilisation du matériau visant à caractériser l’espace. Celui-ci combine les traits classiques d’un impluvium dont la cour est décentrée avec un usage contemporain ayant un effet dynamisant sur la ville. Le deuxième projet finaliste est une intervention contemporaine qui récupère un vaste théâtre de la ville de Zamora. Selon le jury, cette intervention parvient à construire un diaphragme qui accentue le caractère urbain du théâtre en y ajoutant de nouveaux programmes. JESÚS Mª APARICIO GUISADO ARCHITECTE PRÉSIDENT DU PRIX


ČESKÝ

PRESTIŽNÍ CENA Po patnácti letech existence se dostáváme k sedmému ročníku Velké ceny za architekturu. Vzhledem k tomu, že soutěže se může zúčastnit jakýkoli architekt z některé ze zemí, kde působí skupina BigMat, a jediným omezením je datum vytvoření díla tak, jak je stanoveno v pravidlech, přihlásilo se nám do tohoto ročníku opravdu mnoho zájemců. Dorazilo k nám více než 600 projektů z Belgie, České republiky, Francie, Itálie, Portugalska, Slovenska a Španělska. Stejně jako v předchozích ročnících ale úspěchem není pouze počet přihlášených, ale především kvalita děl. Zcela nepochybně je možné tvrdit, že mezi projekty najdeme to nejlepší z architektury a jsou zde zastoupeni ti nejlepší architekti dané doby tak, jak bylo definováno v zadání. Za prestiž této soutěže vděčíme především bezpodmínečné pomoci skupiny BigMat, která plně respektuje intelektuální autonomii soutěže, a zadruhé vysokému profesnímu renomé členů mezinárodní poroty v jednotlivých ročnících. V letošní porotě, které jsem měl tu čest předsedat, zasedli: Stéphane Beel, Fuensanta Nieto, Petr Pelčák, Philippe Prost a Paolo Zermani. Našim cílem bylo vybrat patnáct nejdůležitějších děl, umístěných v evropských zemích, kde se tento ročník ceny odehrává. Jedná se o díla všech rozpočtů, koncepcí a využití. Díla, která ovlivnila danou oblast a město. Díla, která zasahují do již existujících konceptů, nebo jsou zcela nová. U všech je ale možné říci, že se jedná o významná soudobá architektonická díla. BELGIE Belgické finálové projekty jsou v první řadě pomíjivá architektura realizovaná v již existující garáži rodinného domu určeného k rezidenčním účelu a k péči o nemocného. Na druhém místě jsme vybrali zásah do krajiny, který se snaží pro návštěvníka obnovit starý cisterciácký klášter. A nakonec porota chtěla vybrat projekt úpravy staré průmyslové haly z ručně pálených cihel z 19. století, kde byla postavena hliníková schránka, jež ukrývá nejsoukromější části. Dílo by mělo sloužit komunitnímu účelu. Porota ocenila zvučnost a citlivost, s jakou byl proveden tento zásah. ČESKÁ REPUBLIKA V České republice jsou dva finalisté. První je mateřská škola v Nové Rudě, která představuje zajímavé navázání hranic veřejného a soukromého sektoru a zároveň zachování stanovené funkce. Dalším finálovým projektem je startovací rampa BMX cyklistického okruhu na okraji Prahy, pod kterou se navrhuje výstavba potřebného zázemí. FRANCIE Oba francouzští finalisté hovoří o stejném využití a stejném umístění. Jedná se o kolektivní rezidenci v Paříži, ale ve dvou různých měřítkách. Prvním je rozměrní budova, The Chris Marker Student Residence, kde je vytvořen zajímavý vztah mezi veřejným prostorem, soukromými prostory a dopravou. Tento vztah je vyjádřen strukturou. Druhým finálovým projektem je budova v Belville. U tohoto projektu by porota chtěla vyzdvihnout citlivost, se kterou se pracovalo s touto malou budovou určenou pro kolektivní bydlení. Byla převzata fasáda z jiné existující budovy a byla velmi přesně integrována do navrhované struktury konstrukce.

ITÁLIE Italské finálové projekty hovoří o zásahu do existujícího kulturního dědictví. První projekt, Belvedere pro jednu osobu, toto vyjadřuje prostřednictvím kamenného balkónu, který se tyčí nad krajinou v malé italské vísce, blízko Říma. Porota ocenila mimořádnou citlivost počínání a využití příležitosti. Jedná se příkladný projekt, který ukazuje, jak i při malém rozpočtu může architektura vylepšit život osob, které ji využívají, a vztah k danému místu. Druhý finalista pracuje v emblematickém muzeu Nevinných ve Florencii. Velmi profesionálně řeší problémy s přístupem a vystavováním v budově, jež má velkou kulturní hodnotu. PORTUGALSKO Dva finálové projekty Portugalska se nacházejí v krajině. Jedním z počinů je dílo v blízkosti elektrárny na řece Foz Tua. Jsou zde vystavěny objekty, jež jsou součástí strojního zařízení v krajině. Porota ocenila architektonický zásah, který byl v této oblasti velmi potřeba, ale zároveň zcela neobvyklý. Využívá okolností a daří se postavit průmyslovou akropoli v přírodě. Dalším portugalským projektem je rezidenční pavilón malého měřítka. Je postaven na již existujícím malém kamenném sklípku. Porota ocenila vztah mezi geometrií, materiálem a místem, které připomíná prostor domu, které je postaveno k služebním účelům. SLOVENSKO Na Slovensku byla jako první finálový projekt vybrána přestavba staré továrny na prefabrikovaný beton Mlynica, kde vznikl prostor pro pořádání akcí, kanceláře a byty. Porota ocenila jasnost zásahu, který obnovuje zanedbanou průmyslovou budovu. Druhým finálovým projektem na Slovensku je malé útočiště, kde porota ocenila řešení prostoru, vypořádání se s energetickým problémem tím, že okolo hlavního prostoru bylo vytvořeno zázemí. Hlavní prostor se otevřel vytvořením jižního skleníku. Vše bylo realizováno s velmi omezeným rozpočtem. ŠPANĚLSKO Španělsko má také dva finálové projekty, Prvním je komunitní centrum v Reinosa, kde porota ocenila využití materiálu jako charakteristického znaku prostředí. Snoubí se zde klasické stopy impluvia vedlejšího dvorku se soudobým využitím, které slouží jako dynamizující prvek města. Druhým finálovým projektem je soudobý počin, který obnovuje a rozšiřuje městské divadlo v Zamoře. Dle poroty se autorům tohoto projektu podařilo postavit diafragma, které podtrhuje městský charakter divadla a přidává nové programy.

JESÚS Mª APARICIO GUISADO ARCHITEKT PREZIDENT CENY

JESÚS APARICIO PRESIDENT OF THE AWARD

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ITALIANO

UN PREMIO PRESTIGIOSO Dopo quindici anni di storia, il Premio biennale BigMat di Architettura giunge ormai alla sua settima edizione. Trattandosi di un Premio a cui partecipano liberamente architetti europei che risiedono nei paesi in cui è presente il gruppo BigMat, con opere realizzate nelle date indicate nei termini legali del concorso, gli iscritti sono stati numerosissimi. Abbiamo ricevuto oltre 600 progetti, provenienti dalle nazioni europee di competenza del Premio: Belgio, Repubblica Ceca, Francia, Italia, Portogallo, Slovacchia e Spagna. Come di consueto, tuttavia, il successo di questo premio non risiede solo nel numero degli iscritti, bensì e soprattutto nella qualità dei progetti presentati. Si può affermare senz’ombra di dubbio che fra i progetti in lizza in questa edizione si trova la migliore rappresentazione dell’architettura e degli architetti dell’ambito spazio-temporale definito dai termini legali del concorso. Il prestigio di questo premio è dovuto in primo luogo al supporto incondizionale del Gruppo BigMat, che ne rispetta sempre l’autonomia intellettuale, e in secondo luogo alla notevole reputazione professionale dei membri delle Giurie Internazionali delle diverse edizioni. In questa edizione, la Giuria che ho avuto l’onore di presiedere è stata composta da Stéphane Beel, Fuensanta Nieto, Petr Pelčák, Philippe Prost e Paolo Zermani. È stato loro compito selezionare quindici opere architettoniche fondamentali, situate nei paesi europei in cui si svolge la presente edizione del premio. Si tratta di opere con diversi budget, concetti e usi. Opere che esercitano un impatto sul territorio e sulla città. Opere che intervengono su ciò che già esiste o che sono completamente nuove. Di tutte però si può affermare che sono grandi opere dell’architettura contemporanea. BELGIO I progetti finalisti del Belgio sono, innanzitutto, un’architettura effimera costruita nel garage esistente di una villetta unifamiliare, destinata all’uso residenziale e alla cura di un malato. In secondo luogo, è stato selezionato un intervento sul paesaggio, che cerca di recuperare per il visitatore un’antica abazzia cistercense. Infine, la giuria ha voluto selezionare un progetto di intervento su un’antico capannone industriale in mattone cotto a mano del XIX secolo, in cui si inserisce un uso pubblico comunitario, costruendo una scatola in alluminio che ospita le parti più private. La giuria ha valutato positivamente la pienezza e la sensibilità con cui è stato realizzato questo intervento. REPUBBLICA CECA I finalisti della Repubblica Ceca sono due. Da una parte l’asilo nido Nová Ruda, che crea un’interessante successione di limiti pubblico-privato, ospitando fra di essi la funzione per cui è stato pensato. Dall’altra, la rampa d’uscita di un circuito ciclistico BMX alla periferia di Praga, sotto la quale si propone la costruzione di alcuni necessari servizi. FRANCIA I due finalisti per la Francia parlano dello stesso uso e ubicazione, la residenza collettiva a Parigi, ma su due diverse scale. Il primo è un edificio a grande scala, il Chris

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Marker Student Residence, in cui si stabilisce un’interessante relazione fra gli spazi pubblici, quelli privati e la circolazione. Una relazione espressa attraverso la sua struttura. Il secondo progetto finalista è l’edificio Bellville. Di questo progetto va evidenziata, secondo la Giuria, la sensibilità con cui è stata lavorata la scala ridotta del piccolo condominio, che recupera la facciata di un edificio pre-esistente e la integra con grande abilità nel tracciato strutturale proposto. ITALIA I progetti finalisti dell’Italia parlano di interventi sul patrimonio esistente. Il primo, Belvedere per una persona, lo fa con un balcone in pietra sul paesaggio di un paesino italiano vicino a Roma. La Giuria ne ha apprezzato l’estrema sensibilità e opportunità. Si tratta di un esempio di come, con un budget ridotto, l’architettura possa migliorare la vita delle persone che ne usufruiscono e la loro relazione con il luogo in cui vivono. Il secondo finalista interviene sull’emblematico Museo degli Innocenti a Firenze, con un’azione che risolve con enorme professionalità i problemi di accesso ed esposizione in un edificio dall’alto valore patrimoniale. PORTOGALLO I due progetti finalisti del Portogallo sono immersi nel paesaggio. Uno di essi, l’azione sulla centrale elettrica sul fiume Foz Tua, costruisce oggetti che sono pezzi di un macchinario, nel paesaggio. La Giuria ha apprezzato questo intervento architettonico molto necessario e nel contempo poco frequente in questo settore, che sfrutta la circostanze per riuscire a costruire una nuova acropoli industriale in mezzo alla natura. L’altro progetto portoghese è un padiglione residenziale, a piccola scala. Viene costruito su una piccola cantina in pietra già esistente. La Giuria ha valutato positivamente sia la sua relazione geometrica e materiale con il luogo, sia lo spazio della casa, costruito con gli usi funzionali. SLOVACCHIA In Slovacchia uno dei progetti finalisti costituisce il recupero dell’antica fabbrica di calcestruzzo Mlynica come spazio per eventi, uffici e appartamenti. La Giuria ha valutato positivamente la chiarezza dell’intervento, che recupera un edificio industriale caduto in disuso. L’altro finalista slovacco è un piccolo rifugio di cui la Giuria ha apprezzato la risoluzione dello spazio, che tiene conto del problema energetico, giacché ospita i servizi intorno allo spazio principale, aprendolo con una serra verso sud. Il tutto è stato realizzato con un minimo budget. SPAGNA I progetti finalisti per la Spagna sono due. Il primo è un centro comunitario a Reinosa, di cui la Giuria ha apprezzato l’uso del materiale, che carattezza lo spazio, e in cui si coniugano i tracciati classici di un patio-impluvio, con un uso contemporaneo che serve a rendere più dinamica la città. Il secondo progetto finalista è un intervento contemporaneo che recupera e amplia un teatro della città di Zamora, riuscendo, secondo la Giuria, a costruire un diaframma che accentua il carattere urbano del teatro, aggiungendovi nuovi programmi. JESÚS Mª APARICIO GUISADO ARCHITETTO PRESIDENT DELLA GIURIA DEL PREMIO DI ARCHITETTURA


PORTUGUÊS

UM PRÉMIO DE PRESTÍGIO Após um percurso de quinze anos, o Prémio bienal BigMat de Arquitetura chega à sua sétima edição. Ao ser um Prémio de livre participação para os arquitetos do âmbito europeu onde o grupo BigMat desenvolve a sua atividade, com a limitação de datas para as obras, estabelecida nas bases, a inscrição foi muito numerosa. Foram recebidos mais de 600 projetos, provenientes das nações da Europa onde se convoca o Prémio -Bélgica, República Checa, França, Itália, Portugal, Eslováquia e Espanha. Mas como já era habitual nas convocatórias anteriores, o sucesso desta edição é não só numérico como também e, sobretudo, qualitativo. É sem dúvida possível afirmar que, entre os projetos apresentados a esta convocatória se encontra a melhor representação da arquitetura e dos arquitetos na circunscrição espaço temporal que se definia nas bases do concurso. O prestígio que este prémio ostenta é devido, por um lado e em primeiro lugar, à incondicional ajuda do Grupo BigMat salvaguardando o respeito à autonomia intelectual do mesmo e, por outro, à alta reputação profissional dos membros do Júri Internacional das diferentes edições. Nesta edição, o Júri que tive a honra de presidir, foi composto por Stéphane Beel, Fuensanta Nieto, Petr Pelčák, Philippe Prost e Paolo Zermani. A decisão, a escolha de quinze obras primordiais indispensáveis de arquitetura, situadas nos países da Europa onde o prémio se estabelece na presente edição. Obras que correspondem a todo o tipo de orçamento, conceito e utilização. Obras que afetam o território e a cidade. Obras que intervêm sobre o existente ou de nova construção. Mas de todas elas é possível afirmar que são grandes obras de arquitetura contemporânea. BÉLGICA Os projetos finalistas da Bélgica são, em primeiro lugar, uma arquitetura efémera, construída dentro da garagem existente de uma casa unifamiliar, que se destina ao uso residencial e de cuidados de um doente. Em segundo lugar, foi selecionada uma intervenção na paisagem que procura recuperar para o visitante uma antiga abadia cisterciense. Por último, o júri quis selecionar um projeto de intervenção num antigo entreposto industrial em tijolo cozido do século XIX, no qual se insere um uso público comunitário construindo uma caixa de alumínio que alberga as partes mais privadas. O júri valorizou a rotundidade e a sensibilidade com que esta intervenção foi realizada. REPÚBLICA CHECA Os finalistas da República Checa são dois. Um é o infantário Nová Ruda, que estabelece uma interessante sucessão de limites público-privados albergando entre eles a função proposta. O outro finalista é a rampa de saída para um circuito ciclista BMX nos arredores de Praga, sob a qual se propõe a construção de alguns serviços necessários. FRANÇA Os dois finalistas franceses falam de um mesmo uso e localização, uma residência coletiva em Paris, mas com duas escalas diferentes. O primeiro deles é um edifício de grande escala, The Chris Marker Student Residence, no qual

se estabelece uma interessante relação entre os espaços públicos, os espaços privados e as circulações. Uma relação expressa através da sua estrutura. O segundo projeto finalista é o edifício Belleville. Neste projeto é possível salientar na opinião do júri, a sensibilidade com a qual se trabalhou com a escala deste pequeno edifício de habitação coletiva, recuperando a fachada de outro existente e integrando-a com grande acerto na traça estrutural proposta. ITÁLIA Os projetos finalistas da Itália falam de intervenção sobre o património existente. O primeiro deles, Belvedere para uma pessoa, fá-lo com uma varanda em pedra sobre a paisagem, numa pequena aldeia italiana, perto de Roma. O júri valorizou a extrema sensibilidade da atuação e a oportunidade da mesma, sendo o projeto exemplo de como, com um orçamento reduzido, a arquitetura pode melhorar a vida das pessoas que a usam e a sua relação com o local. O segundo finalista intervém sobre o emblemático museu dos Inocentes de Florência, com uma atuação que, com grande profissionalismo, resolve os problemas de acesso e exposição num edifício de tanto valor patrimonial. PORTUGAL Os dois projetos finalistas de Portugal situam-se na paisagem. Um deles, a intervenção na central elétrica no rio Foz Tua, constrói objetos que fazem parte de uma maquinaria na paisagem. O júri valorizou uma atuação arquitetónica, tão necessária como inusual neste campo, que aproveita esta circunstância para conseguir construir uma nova acrópole industrial na natureza. O outro projeto português é um pavilhão residencial, de pequena escala. É construído sobre uma pequena adega existente em pedra. O júri valorizou tanto a sua relação geométrica e material com o lugar como o espaço da casa construído com as utilizações funcionais. ESLOVÁQUIA Na Eslováquia um projeto finalista constrói a recuperação da antiga fábrica de betão prefabricado Mlynica, como espaço para eventos, escritórios e apartamentos. O júri valorizou a clareza da intervenção que recupera um edifício de uso industrial em desuso. O outro finalista eslovaco trabalhou num pequeno refúgio no qual o júri valorizou a resolução do espaço tendo muito presente o problema energético, ao albergar os serviços à volta do espaço principal e abrindo o mesmo com uma estufa para sul. Tudo isso realizado com um orçamento limitado. ESPANHA Os projetos finalistas da Espanha são dois. O primeiro deles é um centro comunitário em Reinosa, no qual o júri valorizou a utilização do material como caracterizador de um espaço, no qual se conjugam as traças clássicas de um implúvio de pátio descentrado, com um uso contemporâneo que serve de dinamizador da cidade. O segundo projeto finalista é uma atuação contemporânea que recupera e amplia um teatro da cidade de Zamora, conseguindo com esta intervenção, segundo o júri, construir um diafragma que acentua o caráter urbano do teatro, acrescentando-lhe novos programas. JESÚS Mª APARICIO GUISADO ARQUITETO PRESIDENTE DO PRÊMIO

JESÚS APARICIO PRESIDENT OF THE AWARD

13


SLOVENSKÝ

PRESTÍŽNA CENA Po pätnásťročnej dráhe, cena architektúry BigMat, udeľovaná každé dva roky, dosiahla svoj siedmy ročník. Dostali sme veľký počet prihlášok, nakoľko súťaže sa môžu voľne zúčastniť architekti zo zóny Európy, kde skupina BigMat rozvíja svoje aktivity, s časovými obmedzeniami pre diela, ktoré sú stanovené v podmienkach ceny. Bolo prijatých viac ako 600 projektov pochádzajúcich z krajín Európy, kde sa cena koná - Belgicko, Česká republika, Francúzsko, Taliansko, Portugalsko, Slovensko a Španielsko. Tak ako tomu bolo v predchádzajúcich ročníkoch, úspech súčasného ročníka nie je iba početný, ale aj - a najmä, kvalitatívny. Bez zaváhania môžeme vyhlásiť, že medzi projektami predloženými v tomto ročníku sa nachádza najlepšia architektúra a architekti časového rozsahu stanoveného podmienkami súťaže. Prestíž, ktorú cena dosiahla by nebola možná bez bezpodmienečnej podpory Skupiny BigMat, ktorá rešpektuje intelektuálnu nezávislosť súťaže a rovnako bez vysokej reputácie členov medzinárodnej poroty jednotlivých ročníkov. V tomto ročníku, v ktorom som mal česť porote predsedať, bola zložená zo Stéphaneho Beela, Fuensanty Nieto, Petra Pelčáka, Philippeho Prosta a Paola Zermaniho. Výsledkom rozhodnutia je výber pätnástich relevantných architektonických diel, ktoré sa nachádzajú v krajinách Európy, kde súťaž v tomto ročníku prebiehala. Diela s rozmanitými rozpočtami, koncepciami a využitím. Diela, ktoré ovplyvňujú teritórium a mestá. Diela, ktoré zasahujú do existujúcich prvkov alebo sú novo postavené. Ale o všetkých môžeme povedať, že sú veľkými dielami súčasnej architektúry BELGICKO Projekty vybrané z Belgicka sú, v prvom rade, efemérna architektúra vybudovaná vo vnútri garáže rodinného domu, ktorá je určená rezidenčnému použitiu a starostlivosti o chorú osobu. V druhom rade bola vybraná intervencia v krajine, ktorá hľadá obnoviť bývalé opátstvo cisterciánov pre návštevníkov. V poslednom rade, porota sa rozhodla vybrať projekt intervencie v bývalej priemyselnej hale z ručne pálených tehál z XIX. storočia, do ktorej sa zasadzuje verejné komunitárne použitie výstavbou hliníkovej krabice, ktorá obsahuje súkromné časti. Porota ocenila rozhodnosť a citlivosť, s akými sa táto intervencia realizovala. ČESKÁ REPUBLIKA V Českej republike sú dvaja finalisti. Jedným je škôlka v Novej Rude, ktorá stanovuje zaujímavý sled verejno-súkromných hraníc, ktoré obsahujú nastolenú funkciu. Druhým finalistom je štartovacia rampa cyklistického okruhu BMX pri Prahe, pod ktorou sa navrhuje stavba niekoľkých potrebných služieb. . FRANCÚZSKO Dvaja francúzski finalisti hovoria o tom istom používaní a umiestnení, kolektívna rezidencia v Paríži, ale v dvoch rôznych mierkach. Prvým z nich je budova veľkej mierky - The Chris Marker Student Residence, v ktorej sa vytvára zaujímavý vzťah medzi priestormi verejnými , súkromnými a premávkou. Vzťah, ktorý sa vyjadruje jej štruktúrou. Druhým záverečným projektom je budova Bellville. Z tohto projektu je podľa poroty potrebné zdôrazniť citlivosť, s ktorou sa

14

INTERNATIONAL ARCHITECTURE AWARD

pracovalo s mierkou tejto malej budovy kolektívneho domu, s obnovením fasády ďalšieho existujúceho domu a jej veľmi správna integrácia do navrhovanej štrukturálnej línie. TALIANSKO Talianske vybrané projekty hovoria o intervencii v existujúcom kultúrnom dedičstve. Prvý z nich, Belvedere pre jednu osobu, to robí kamenným balkónom nad krajinkou malej talianskej dedinky pri Ríme. Porota ocenila veľkú citlivosť zásahu a jej vhodnosť. Projekt je príkladom ako architektúra môže aj s malým rozpočtom zlepšiť život osôb, ktoré ho používajú a ich vzťah k miestu. Druhý finalista zasahuje do emblematického Múzea nevinných vo Florencii s intervenciou, ktorá veľmi profesionálnym spôsobom rieši problémy vstupu a výstavných priestorov v budove s vysokou historickou hodnotou. PORTUGALSKO Dvaja portugalskí finalisti sú umiestnení v krajine. Jeden z nich, intervencia v elektrárni na rieke Foz Tua, vybudoval predmety, ktoré sú súčasťou strojového zariadenia v prírode. Porota hodnotila architektonický zásah, ktorý je veľmi potrebný, ale málo bežný v tejto oblasti a ktorý využíva tieto okolnosti na postavenie novej priemyselnej akropoly v prírode. Druhým portugalským projektom je rezidenčný pavilón malej mierky. Je vybudovaný na existujúcom malom drevenom sklepe. Porota hodnotila tak jeho geometrický a hmotný vzťah k miestu, ako aj priestor domu postavený s príslušenstvom. SLOVENSKO Jeden z finalistov zo Slovenska navrhol obnovenie bývalej továrne betónových panelov Mlynica na ich využitie ako priestory na organizovanie podujatí, kancelárie a byty. Porota hodnotila jasnosť intervencie, ktorá obnovuje opustenú priemyselnú budovu. Druhým slovenským finalistom je malý úkryt, na ktorom porota hodnotila riešenie priestoru, pri ktorom sa nezabudlo na energetický problém. Stavba sústreďuje príslušenstvo okolo hlavného priestoru, ktorý sa skleníkom otvára na juh. A toto všetko realizované s obmedzeným rozpočtom. ŠPANIELSKO Zo Španielska pochádzajú dva finálne projekty. Prvým z nich je komunitárne stredisko v Reinose, pri ktorom porota hodnotila použitie materiálov na charakterizáciu priestoru, v ktorom sa prelínajú klasické črty odsadeného dvora implovium s aktuálnym použitím, ktoré slúži na dynamizáciu mesta. Druhým záverečným projektom je moderná intervencia, ktorá obnovuje a rozširuje divadlo mesta Zamory. Porota poníma, že týmto projektom sa podarilo vytvoriť membránu, ktorá zdôrazňuje mestský charakter divadla pridaním nových programov. JESÚS Mª APARICIO GUISADO ARCHITECT PRESIDENT OF THE AWARD


ESPAÑOL

UN PREMIO DE PRESTIGIO Después de quince años de trayectoria, el Premio bienal BigMat de Arquitectura alcanza su séptima edición. Al ser un Premio de libre participación para los arquitectos del ámbito europeo donde desarrolla su trabajo el grupo BigMat, con la limitación de fechas para las obras que se establece en las bases, la inscripción ha sido muy numerosa. Se han recibido más de 600 proyectos, procedentes de las naciones de Europa donde se convoca el Premio -Bélgica, República Checa, Francia, Italia, Portugal, Eslovaquia y España. Pero como venía siendo habitual en las convocatorias anteriores, el éxito de esta convocatoria no sólo es numérico sino, además y, sobre todo, cualitativo. Se puede aseverar sin género de duda, que entre los proyectos presentados a esta convocatoria se encuentran la mejor representación de la arquitectura y de los arquitectos en la circunscripción espacio temporal que se definía en las bases del concurso. El prestigio que este premio ostenta se debe, por un lado y en primer lugar, a la ayuda incondicional del Grupo BigMat salvaguardando el respeto a la autonomía intelectual del mismo y, por otro, a la alta reputación profesional de los miembros de los Jurado Internacionales de las distintas ediciones. En esta edición el Jurado que tuve el honor de presidir, lo formaron Stéphane Beel, Fuensanta Nieto, Petr Pelčák, Philippe Prost y Paolo Zermani. El fallo, la elección de quince obras primordiales de arquitectura, situadas en los países de Europa donde el premio se establece en la presente edición. Obras de todo tipo de presupuesto, de concepto y de uso. Obras que afectan al territorio y a la ciudad. Obras que intervienen sobre lo existente o son de nueva planta. Pero de todas ellas se puede afirmar que son grandes obras de arquitectura contemporánea. BÉLGICA Los proyectos finalistas de Bélgica son, en primer lugar, una arquitectura efímera construida dentro del garaje existente de una vivienda unifamiliar, que se destina al uso residencial y de cuidados a un enfermo. En segundo término, se ha seleccionado una intervención en el paisaje que busca recuperar para el visitante una antigua abadía cisterciense. Por último, el jurado ha querido seleccionar un proyecto de intervención en una antigua nave industrial de ladrillo cocido a mano del siglo XIX, en la que se inserta un uso público comunitario construyendo una caja de aluminio que alberga las partes más privadas. El jurado ha valorado la rotundidad y la sensibilidad con a que se realiza esta intervención. REPÚBLICA CHECA Los finalistas de la República Checa son dos. Uno es la guardería Nová Ruda, que establece una interesante sucesión de límites público-privados albergando entre ellos la función que se plantea. El otro finalista es la rampa de salida para un circuito ciclista BMX a las afueras de Praga, bajo la que se propone la construcción de algunos servicios necesarios. FRANCIA Los dos finalistas de Francia hablan de un mismo uso y ubicación, residencia colectiva en Paris, pero con dos escalas diferentes. El primero de ellos es un edificio de gran escala, The Chris Marker Student Residence, en el que se establece una interesante relación entre los espacios públicos,

los privados y las circulaciones. Una relación que viene expresada a través de su estructura. El segundo proyecto finalista es el edificio Bellville. En este proyecto cabe destacar a juicio del jurado, la sensibilidad con la que se ha trabajado con la escala de este pequeño edificio de vivienda colectiva, recuperando la fachada de otro existente e integrándola con gran acierto en la traza estructural que se propone. ITALIA Los proyectos finalistas de Italia hablan de intervención sobre el patrimonio existente. El primero de ellos, Belvedere para una persona, lo hace con un balcón de piedra sobre el paisaje en un pequeño pueblo de Italia cercano a Roma. El jurado ha valorado la extrema sensibilidad de la actuación y la oportunidad de la misma, siendo el proyecto ejemplo de cómo con un presupuesto pequeño, la arquitectura puede mejorar la vida de las personas que la usan y su relación con el lugar. El segundo finalista interviene sobre el emblemático museo de los Inocentes de Florencia, con una actuación que con gran profesionalidad resuelve los problemas de acceso y exposición en un edificio de tanto valor patrimonial. PORTUGAL Los dos proyectos finalistas de Portugal se sitúan en el paisaje. Uno de ellos, la actuación en la central eléctrica en el río Foz Tua, construye unos objetos que son parte de una maquinaria en el paisaje. El jurado ha valorado una intervención arquitectónica, tan necesaria como infrecuente en este campo, que aprovecha esta circunstancia para lograr construir una nueva acrópolis industrial en la naturaleza. El otro proyecto portugués es un pabellón residencial, de una escala pequeña. Se construye sobre una pequeña bodega de piedra existente. El jurado ha valorado tanto su relación geométrica y material con el lugar como el espacio de la casa, construido con los usos servidores. ESLOVAQUIA En Eslovaquia un proyecto finalista construye la recuperación de la antigua fábrica de hormigones prefabricados Mlynica, como espacio para eventos, oficinas y apartamentos. El jurado ha valorado la claridad de la intervención que recupera un edificio de uso industrial en desuso. El otro finalista de Eslovaquia se trata de un pequeño refugio en que el jurado ha valorado la resolución del espacio teniendo muy presente el problema energético al albergar los servicios alrededor del espacio principal y abriendo éste con un invernadero al sur. Todo ello realizado con un presupuesto ajustado. ESPAÑA Dos son los proyectos finalistas de España. El primero de ellos es un centro comunitario en Reinosa en el que el jurado ha valorado el uso del material como caracterizador de un espacio, en el que se conjugan las trazas clásicas de un impluvium de patio descentrado, con un uso contemporáneo que sirve de dinamizador de la ciudad. El segundo proyecto finalista es una actuación contemporánea que recupera y amplia un teatro de la ciudad de Zamora, logrando al entender del jurado con esta intervención construir un diafragma que acentúa el carácter urbano del teatro añadiéndole nuevos programas. JESÚS Mª APARICIO GUISADO ARQUITECTO PRESIDENTE DEL PREMIO

JESÚS APARICIO PRESIDENT OF THE AWARD

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ENGLISH

COMMENTS OF THE JURY STÉPHANE BEEL BELGIUM REFUGE II — Wim Goes Architectuur BVBA Architecture of necessity. As Wim Goes writes himself: ‘The project envisages architecture and the building process assisting the ill cess not only physically, but also on a mental level, psychological level. The use of basic materials and simple technology allows more than a hundred people, family and friends of the patient, to be involved in building the Refuge, offering moral support for the patient’s condition, and transforming a situation of suffering into an experience where the value of community and affectional bonds are rediscovered. Architecture thus brings a message of love, friendship and solidarity… The ease with which the construction elements can be dismantled, and the complete recyclability of the materials, offer a metaphor that reflects the cycle of life.’ It rarely happens that the entire life cycle of a building is conceived from the conception. This is the great strength of this project where the designer has taken advantage of the nature of the temporary intervention and the demolition of it to design a process in the first place and afterwards the project itself. A process that deals with finitude and at the same time creates a new construction by bringing people together. The meaning of this process is much larger than the limited scale of the actual intervention. This specific temporary nature of this construction leads to infinite use of materials that is masterfully threated. The materials used are already part of the fields and forest in which the project was located. From the ground where we walk on. This way of sustainable, circular building, and its flexibility transcends architecture. It is the first act of architecture itself. This act gives first of all shelter at the same time as comforting people. VISITOR CENTRE ABBEY SITE OF VILLERS-LA-VILLE — Binario architectes sciv sprl The special task of restoring the unity of the site has led to a specific approach whereby architecture, landscape design, infrastructure and scenography are strongly integrated in order to achieve that desired unity, across buildings and landscape. In this way, inside and outside are connected without affecting the original architecture of the old structures and the various places on either side of the Route Nationale are strung together. The use of the same materials inside and outside supports this cohesion. BALENMAGAZIJN GENT — TRANSarchitectuur stedenbouw TRANS, a young architecture and urban planning office based in Ghent, is currently realizing its first large-scale projects with the same sophistication as in Balenmagazijn. In this project, one of the first realizations of TRANS, the

relationship between spatiality and materiality, between the large scale and the detail, which is so typical in all their work, is immediately present. It results in a particularly coherent work in which the clear and simple concept that forms the basis, was transformed into a fascinating and layered building that carries far more meanings than the simple start scheme would suggest. PETR PELČÁK CZECH REPUBLIC + SLOVAKIA CZECH REPUBLIC NURSERY SCHOOL IN NOVÁ RUDA — Petr Stolín The project creates a playground, where children learn to navigate a space which symbolises the world. It offers a variety of unusual views and perspectives, as well as spaces with original proportions which children can move between and use. This is enriched by a subtle interplay of transparent, translucent and solid surfaces. Children learn to appreciate the materials and topographies which shape the different places in the world, hiding in the corners of their school and running up and down the stairs. The architects applied their extensive experience and enthusiasm for small-scale constructions to this project, which features unusual, simple measurements which interact with the transparency and translucency of the glass and the fibreglass surrounding the building. EXIT RAMP FOR BMX CIRCUIT — Ondřej Tuček BMX biking is an adrenaline sport combining land and air. Just as some people may think that it is not traditional cycling, others could argue that a BMX exit ramp is not what we would call classical architecture. Yes, it is made of steel, just like the BMX bikes which use it to fly over the undulating track, representing the launch of the flight. The form of the ramp effectively conveys the characteristics of the sport and of the people who will use it. However, this is not an example of the primitive motto ‘form follows function’. The ramp is simple yet varied, just like BMX biking itself, and represents the start of the circuit. It is not the spatial context but the sporting context, as well as the character of the discipline, which is magnificently reflected in this project. SLOVAKIA MLYNICA, CONVERSION OF AN INDUSTRIAL BUILDING — gutgut When a building is given a new use, it is usually an industrial building with great architectural and historical value which forms part of the character of the place and contributes to its ambiance. This was not at all the case in Mlynica. The subject of the conversion was a factory which used to produce prefabricated concrete blocks, located in a bland industrial area on the outskirts of Bratislava dating back to the 1960s communist era. The architects have succeeded in bringing this cheerless building to life. They consciously played with the generous high ceilings, which only exist today in industrial buildings, with a clear aim in mind which they implemented through firm yet subtle interventions. Only the basic structure of the solid reinforced concrete structure was retained, adding soft (wood) and fragile (glass) elements which were designed and installed in a clearly understandable way. By maintaining the industrial

COMMENTS OF THE JURY

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character of the building and employing subtle yet precise interventions, the resulting complex is organic and compact. This splendid project, which preserves the lower part of the building for holding events and dedicates the upper part to residential apartments, was commissioned and constructed by a brave, generous developer. The architects were lucky enough to work with a developer who deserves the greatest respect, while demonstrating their ability to successfully complete the project and create a timeless, attractive building. The project plays an important role as a model for the widespread contemporary practice of converting banal buildings from the communist era. ANUAZU COUNTRY HOUSE — JRKVC – Peter Jurkovič A country house next to a lake for a young couple, “who fell in love with the oval space of the traditional yurt”. This theme has been maintained in modern architecture by Gottfried Semper, Adolf Loos and Anton Schweighofer. The project reflects an architectural archetype: it is constructed using textile materials, with a simple wooden structure, but interpreted in a contemporary manner. The oval shape of the wooden structure complies with tradition, but it has been filled with clay instead of rugs. The dome covering the central part of the house is also made from wood, with an additional space on its perimeter: a rectangular niche to meet the basic needs of the house. Wooden slats surround the structure in a manner reminiscent of the woven façade of the yurt. The basic architectural archetype is reinterpreted here with the airiness afforded by the occasional use of a small construction, offering visitors and users an unusual experience within a small yet functional space.

to discover panoramic views over the city surrounding it. Instead of the traditional dark lift, he offers us a panoramic lift which moves at an angle like a funicular. The building showcases the movements of everyday life with its lift and its red shutters. On the courtyard side, adapting to the sloping street, there is an almost infinite staircase whose risers display words from the voice-over from the film La jetée by Chris Marker, to whom the architect dedicates this building. This project is the result of a process which began with the breath-taking exhibition designed by Eric Lapierre in 2002, held at the Pavillon de l’Arsenal: Identification d’une

ville, architectures de Paris [Identifying a city, Parisian architectures]. BELLEVILLE For its first building project, the Septembre agency has performed a subtle, understated intervention on a building located within the fabric of a suburb, bearing witness to the various stages of Paris’ transformation. Located on Rue de Belleville, opposite a brick and concrete social housing block, it was originally a small, single-storey building which has now been extended with three extra storeys. The unity of the building ensures that it is not eclipsed by the construction opposite: on the old part of the building, the façades are covered in glazed brick, while the new part is clad in plaster of Paris, unifying both parts of the building and making it easily legible. The regular rhythm of the façade reflects a deliberately suburban style, while the volumetry is gradually worked from the interior of the plot.

PHILIPPE PROST FRANCE

To elevate the existing building, wood was selected for its

CHRIS MARKER STUDENT RESIDENCE An imposing building measuring 100 metres long and 30 metres high, with an urban scale and a very domestic monumentality.

the static design of the building as a whole. The construction

By locating his student residence just outside the Porte d’Orléans, above two floors of car parks and bus garages, Eric Lapierre has demonstrated his ability to make the city, while also making architecture.

transformed with great care and sophistication, the words of

Just like Fernand Pouillon, who liked to play with numbers when talking about his projects, Eric Lapierre has created as many rooms as there are days in the year: 365. The rooms, which measure 2m50 by 8m50, are combined in a clever typological interplay which reflects the typological characteristics of the student residences built by Le Corbusier and Dudok, not far from there, at the Cité Internationale Universitaire in Paris.

PAOLO ZERMANI

Like Louis Kahn, Eric Lapierre has designed a building whose corridors and passages are like roads, rooms like houses, double height common areas, carved into the substance of the building, like public buildings, and lift like a public transport system, a nod to the RATP for whom the residence has been built.

significant element of connection between the human space

In this way, Eric Lapierre invites visitors and residents to share an experience, rising up through the heart of the building

poetic synthesis is created in an area of just a few square

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INTERNATIONAL ARCHITECTURE AWARD

ease of use and lightness, which would not interfere with methods used are intelligent and reflect a carefully thought out ecological approach. When describing this building, which the architects have the poet Paul Verlaine – not quite the same, not quite another – come to mind.

ITALY BELVEDERE FOR ONE PERSON — Amanzio Farris This small-scale project is a stylish example of the originality present in Italian architecture. Using just a few substantial elements, the staircase and seat made from natural stone, this belvedere represents a and the structure of the natural landscape, synthesising the themes which have shaped the composition of the landscape itself and established its expressive forms over time. Walking, resting, silence, distance and views are the themes informing this project. Through them, a precise, stimulating metres.


MUSEO DEGLI INNOCENTI (INNOCENTI MUSEUM), FLORENCE — Ipostudio Architetti The project for the new Museo degli Innocenti in Florence, featuring an understated combination of new architectural elements and extraordinary ancient architecture, is an effective example of the relationship which may be created between the great historical Italian architectural legacy and present-day architecture. The museum is renewed and enlivened in its function as a showcase of historical artefacts by this architectural endeavour, which overcomes the constraints of a purely conservative approach and expresses itself through the tools provided by the contemporary era and critical interpretation. FUENSANTA NIETO PORTUGAL + SPAIN PORTUGAL The projects selected in Portugal are a significant example of works of very different scales (a large industrial infrastructure of Souto Moura and a minimum living pavilion of Diogo Aguiar). And yet both represent in their diversity a common conceptual, formal and material clarity that characterizes the enormous quality of Portuguese architecture that has been confirmed over several generations. The pavilion in Guimaraes raises in its small scale ambitious and complex issues: the insertion of a new piece transforming the preexistence of an old wine cellar, the relationship of architecture with the landscape, and the conception of the mínimum habitable space. The operation consisting of adding a light wooden volumen on a stone socle generates a contained space that frames the territory on which the house adapts topographically. These three themes -common ground in the contemporary architectural debate-: the reuse of existing structures, the integration into the landscape and the flexibility of the housing program, are taken to the limit by the architects of Diogo Aguiar Studio with great simplicity and elegance, in a balance between formal abstraction and material expression. The Power Plant for the “Foz Tua” Dam is, on the contrary, a large-scale and complex work, a hydroelectric infrastructure in which architects rarely intervene actively. Eduardo Souto Mora demonstrates in this project of great difficulty his mastery in handling extreme work scales. The metaphor of the “machine inserted in the landscape” is carried out by hiding most of the engineering work underground and

recovering the surrounding landscape so that the appearance of the construction is minimized despite the enormous size of the intervention. Autonomous elements in their materiality and expression are fragmented into buildings of various sizes, for ventilation, chimneys, etc. in cubic, cylindrical or conical shapes, which generate an alternative artificial landscape in dialogue with the topography and the natural environment. The mastery with which Souto Moura controls the different scales conveys the importance that architecture has as a mediator between engineering and landscape. SPAIN The selected Spanish works stand out for their close relationship with the urban context. Unlike the Portuguese examples - both inserted in the natural landscape -, the projects of RAW in Reinosa and MGM in Zamora coincide in their response to the city and its preexistence. The Impluvium Community Center is a civic building, a flexible public use container that is essentially defined by its roof and exterior enclosure. A bold square floor volumen rearranges the surrounding area occupying the space between traditional buildings with sloping roofs and irregular traces. The use of wood as a structural and enclosure material accentuates the clarity and tectonic expression of the work, while transmitting lightness and continuity between the streets and the patio-impluvium that dominates the interior space. The authors express their confidence in the constructive and material quality of architecture to generate new ways of conceiving public space. The Renovation and Extension of the Ramos Carrión Theater by Sara Giles and José Morales is a complex project of long execution, over several years, in a context that involved the rehabilitation of a theater of the early twentieth century and its extension and transformation as a congress center. Inserted in a dense urban fabric, the decisión to expand into the Duero River through a terrace or plaza creates an unexpected public space in between the existing streets and buildings. The dialogue between the new interventions and the rehabilitated theater establishes a continuity in an architecture that manages to lose “weight” through its intermediate spaces and the fragmentation of its volumetry. The predominant use of glass in all new elements helps to convey the desired lightness and the “unfinished” architecture condition to which the architects allude. It is a work of great quality aware of the role of contemporary architecture in relation to the historical and urban context.

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FRANÇAIS

COMMENTAIRES DU JURY STÉPHANE BEEL BELGIQUE REFUGE II — Wim Goes Architectuur BVBA Architecture de nécessité. Comme l’écrit Wim Goes lui-même : « Le projet imagine une architecture et un processus de construction qui aide les malades d’un point de vue non seulement physique, mais également psychologique et mental. L’utilisation de matériaux de base et d’une technologie simple permet à plus d’une centaine de personnes, parents et amis des patients, de participer à la construction d’un refuge, en apportant un soutien moral aux circonstances du patient et en transformant une situation de souffrance en une expérience visant à redécouvrir la valeur de la communauté et des liens affectifs. L’architecture transmet par conséquent un message d’amour, d’amitié et de solidarité... La facilité avec laquelle on peut décomposer les éléments de construction et la possibilité de recycler entièrement les matériaux créent une métaphore qui reflète le cycle de la vie. » En général, on ne conçoit pas le cycle de vie complet d’un bâtiment depuis le début. Cela montre la force extraordinaire du projet, où l’architecte a mis à profit la nature de l’intervention temporaire et sa démolition pour planifier tout d’abord un processus, et ensuite un projet. Un processus qui aborde la finitude tout en créant une nouvelle construction en mesure de rapprocher les gens. Le sens de ce processus est beaucoup plus large que la dimension réduite de l’intervention en question. La nature temporaire spécifique de la construction mène à une utilisation infinie des matériaux, qui sont traités de façon magistrale. Les matériaux employés existent déjà dans les campagnes et les forêts proches de l’emplacement du projet, à commencer par le sol où nous marchons. Ce type de bâtiment circulaire et durable, sa flexibilité pour transcender l’architecture, tel est le premier acte de l’architecture en soi. Un acte qui offre avant tout un abri et une protection aux gens. VISITOR CENTRE ABBEY SITE OF VILLERS-LA-VILLE — Binario architectes sciv sprl La tâche particulière de restaurer l’unité de l’emplacement a débouché sur une approche spécifique où l’architecture, la conception du paysage, l’infrastructure et la scénographie sont fortement intégrées pour obtenir cette unité tant désirée, que ce soit pour les bâtiments ou le paysage. En ce sens, il y a une connexion à la fois interne et externe qui n’a pas d’impact sur l’architecture d’origine des structures anciennes, et les espaces latéraux de la route nationale s’unissent. L’utilisation des mêmes matériaux à l’intérieur et à l’extérieur favorise cette cohésion. BALENMAGAZIJN GENT — TRANSarchitectuur stedenbouw TRANS, une jeune agence d’architecture et d’aménagement urbain de Gand, réalise actuellement ses premiers

projets à grande échelle avec la même sophistication qu’à Balenmagazijn. Dans ce projet, l’une des premières réalisations de TRANS, le lien entre la spatialité et la matérialité, entre la grande dimension et le détail, tellement caractéristique dans ses travaux, est immédiatement présent. Il en résulte un travail particulièrement cohérent où le concept simple et clair qui forme la base a été transformé en bâtiment fascinant à plusieurs couches, qui contient davantage de sens que ce que pourrait suggérer la simplicité du schéma de départ. PETR PELČÁK RÉPUBLIQUE TCHÈQUE + SLOVAQUIE RÉPUBLIQUE TCHÈQUE ÉCOLE MATERNELLE À NOVÁ RUDA — Petr Stolín L’œuvre représente une aire de jeux où les enfants apprennent à s’orienter dans un espace qui symbolise le monde. Elle offre une variété de vues et de perspectives inhabituelles, des espaces aux proportions originales conçus pour être utilisés et pour se déplacer de l’un à l’autre. Tout cela est enrichi par un jeu subtil de surfaces transparentes, translucides et solides. Les enfants apprennent à percevoir les matériaux et les topographies du monde et de ses lieux, en jouant à cache-cache dans l’école et en montant ou en descendant les escaliers. Les architectes ont mis à profit leur grande expérience et leur intérêt pour les constructions à petite échelle, aux dimensions inhabituelles et simples, en jouant avec la transparence et la translucidité du verre, ainsi qu’avec la fibre qui enveloppe le bâtiment. PISTE DE DÉPART POUR BMX — Ondřej Tuček Le BMX est une discipline de cyclisme extrême qui combine la terre et l’air. Si l’on peut dire qu’il ne s’agit pas de cyclisme traditionnel, on peut également affirmer que la piste de départ pour BMX ne relève pas de ce que l’on appelle l’architecture classique. Bien entendu, elle est faite d’acier, tout comme les vélos BMX ; grâce à cela, ils peuvent voler au-dessus des ondulations de la piste, tandis que la piste représente le début du vol. La forme de l’œuvre exprime très bien les caractéristiques du sport et des sportifs auxquels elle est destinée. Néanmoins, il ne s’agit pas du principe primitif selon lequel form follows function. Elle est à la fois simple et variée, à l’image du BMX, et constitue le début du parcours. Il ne s’agit pas du contexte de l’espace, mais de celui du sport et de sa nature, le tout étant exprimé de façon magnifique. RÉPUBLIQUE SLOVAQUE MLYNICA, RECONVERSION D’UN BÂTIMENT INDUSTRIEL — gutgut En règle générale, pour une nouvelle affectation, on utilise des œuvres industrielles d’une certaine valeur architecturale ou historique, caractéristiques d’un lieu et de son environnement. Ça n’a pas du tout été le cas de Mlynica. L’objet de la conversion était une usine de blocs de béton cellulaire des années soixante, située dans une zone industrielle banale de l’époque communiste, dans la banlieue de Bratislava. Les architectes sont parvenus à donner une âme à ce bâtiment dénué de grâce. Il s’agit d’un jeu conscient avec des espaces hauts et généreux qui ne peuvent exister aujourd’hui que dans des œuvres

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industrielles. Le tout a été réalisé avec une idée claire, à travers des interventions à la fois fermes et subtiles. De l’ouvrage solide en béton armé, il ne reste que la structure de base, à laquelle ont été ajoutés des éléments tendres (bois) et fragiles (verre), toujours conçus et installés d’une façon compréhensible. Le caractère industriel ayant été conservé et les interventions ayant été à la fois légères et lapidaires, l’ensemble est organique et compact. Ce projet splendide, qui conserve la partie inférieure de l’ouvrage, désormais destinée à l’organisation d’événements, tandis que la partie supérieure accueille des appartements, a été commandé et réalisé par un promoteur généreux et courageux. Les architectes, qui ont eu la chance de travailler pour un promoteur qui mérite le respect, ont été en mesure de réaliser ce projet de façon merveilleuse et de créer une œuvre à la fois intemporelle et séduisante. Leur rôle de modèle est également très important pour la reconversion actuellement généralisée de substances banales de l’architecture communiste. MAISON DE CAMPAGNE ANUAZU — JRKVC – Peter Jurkovič Maison de campagne près du lac pour un jeune couple « amoureux de l’espace ovale de la yourte traditionnelle ». Un thème conservé dans l’architecture moderne par Gottfried Semper, Adolf Loos et Anton Schweighofer. Il s’agit de l’un des archétypes de l’architecture : une œuvre en matériaux textiles, construite à partir d’une structure simple en bois, mais interprétée de façon actuelle. Sa forme ovale a respecté la tradition grâce à la structure en bois, mais au lieu d’être remplie de tapis, c’est l’argile qui a été utilisée. La coupole qui couvre l’espace central du logement est également en bois. Autour de son périmètre, il y a un autre espace, plus précisément une niche à plan rectangulaire pour répondre aux besoins fonctionnels de la maison. L’enveloppe de l’œuvre, constituée de lattes en bois, est une référence à la façade tissée de la yourte. L’archétype architectural de base est ici réinterprété avec la légèreté que lui donne l’utilisation occasionnelle d’un petit ouvrage, qui offre pourtant aux utilisateurs et aux visiteurs une expérience inhabituelle dans un espace réduit, mais fonctionnel. PHILIPPE PROST FRANCE RÉSIDENCE UNIVERSITAIRE CHRIS MARKER Un bâtiment puissant de 100 mètres de long et 30 mètres de haut à l’échelle urbaine et à la monumentalité toute domestique. En installant, au débouché de la porte d’Orléans, sa résidence universitaire sur deux niveaux de parking et d’ateliers pour bus, Eric Lapierre fait la démonstration de sa capacité à faire la ville tout en faisant architecture. A la manière d’un Fernand Pouillon qui aimait à jouer avec les nombres pour parler de ses projets, Eric Lapierre réalise autant de logements que de jours dans une année soit 365. Des logements de 2m50 de large sur 8m50 de long qui combinés dans un jeu typologique savant font écho aux jeux typologiques des résidences universitaires édifiées par Le Corbusier et Dudok, non loin de là, dans la cité internationale universitaire de Paris.

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INTERNATIONAL ARCHITECTURE AWARD

A la manière de Louis Kahn, Eric Lapierre conçoit un bâtiment dont les couloirs et les coursives sont autant de rues, les logements autant de maisons, les espaces communs en double hauteur, creusés dans l’épaisseur de l’immeuble, sont autant de bâtiments publics et enfin son ascenseur le système de transport en commun, clin d’œil à la RATP pour laquelle cette résidence est construite. Ainsi Eric Lapierre invite le visiteur comme l’habitant à vivre une expérience, celle d’un parcours ascensionnel au cœur d’un bâtiment en même temps qu’une découverte panoramique de la ville qui l’environne. A la place de la traditionnelle cabine d’ascenseur obscure, il nous offre une cabine panoramique qui à la manière d’un funiculaire se déplace suivant une oblique. Un bâtiment qui scénographie le mouvement de la vie avec son ascenseur comme avec ses stores rouges. Côté cour, répondant à la faille oblique du côté rue, un escalier presqu’infini sur les contremarches duquel sont écrit les mots de la voix off du film La jetée de Chris Marker auquel le bâtiment est dédié par son auteur. Au final ce projet est le fruit d’une démarche qui prend source dans la magnifique exposition qu’Eric Lapierre avait conçu en 2002 au pavillon de l’Arsenal : Identification d’une ville, architectures de Paris. BELLEVILLE Pour son premier immeuble construit, l’agence Septembre réalise une intervention subtile, une architecture toute en retenue dans un tissu de faubourg, témoin des étapes de la transformation de Paris. Rue de Belleville, face à un immeuble HBM en brique et béton, il s’agit à l’origine d’un petit immeuble à simple rezde-chaussée coiffé d’un étage maintenant augmenté de trois niveaux. Son unité lui permet de faire face à son vis-à-vis; le traitement de ses façades en brique émaillée pour la partie ancienne, en enduit parisien pour la partie neuve fait le reste : unité du tout et lisibilité des parties. Le rythme régulier de ses travées de façades conforte une écriture volontairement faubourienne, tandis que la volumétrie est travaillée par degré sur l’intérieur de la parcelle. Pour surélever l’existant, le bois a été retenu pour sa facilité de mise en œuvre et sa légèreté ne remettant pas en cause le schéma statique de l’ensemble. Le mode constructif témoigne ainsi d’une intelligence constructive et d’une approche écologique raisonnées. A propos de cet immeuble que les architectes ont transformé avec soin et raffinement, les mots du poète Paul Verlaine – ni tout à fait le même, ni tout à fait un autre – me viennent à l’esprit tel un compliment. PAOLO ZERMANI ITALIE BELVÉDÈRE POUR UNE PERSONNE — Amanzio Farris Conçu avec de petites dimensions, le projet représente une exemplification raffinée du caractère original de l’architecture italienne. En effet, le belvédère forme, à travers des éléments rares et sensibles constitués de l’escalier et des sièges en pierre


naturelle, un objet significatif de liaison entre l’espace de l’homme et la structure du paysage naturel, synthétisant ainsi les thèmes qui, avec le temps, ont guidé la composition du paysage même et en ont défini les modes d’expression. Le parcours, la pause, le silence, la distance, la vue sont les thèmes du projet, grâce auxquels se réalise une synthèse poétique correcte et stimulante, dans une surface de seulement quelques mètres carrés. MUSEO DEGLI INNOCENTI FLORENCE — Ipostudio Architetti Le projet du nouveau Museo degli Innocenti de Florence, par l’intermédiaire d’une sage combinaison d’éléments constitutifs de l’architecture nouvelle, mis en relation avec la présence extraordinaire de l’architecture ancienne, représente un exemple efficace du lien possible entre l’héritage de la grande architecture historique italienne et le présent. Dans sa fonction de mise en valeur et de témoignage, le musée se présente tel un renouveau du moment vif et stimulant de l’histoire du bâtiment architectural. Il se révèle comme le dépassement d’une attitude uniquement conservatrice, et s’exprime à travers les instruments propres à la contemporanéité et à l’interprétation critique. FUENSANTA NIETO PORTUGAL + ESPAGNE PORTUGAL Les projets sélectionnés au Portugal sont de parfaits exemples d’œuvres de dimensions différentes, puisqu’il s’agit d’une grande infrastructure industrielle de Souto Moura et d’un petit « pavillon vivant » de Diogo Aguiar. Dans leur diversité, ils représentent néanmoins tous deux une clarté conceptuelle, formelle et matérielle commune qui caractérise l’architecture portugaise, dont la qualité extraordinaire s’est confirmée au fil des générations. Avec sa petite taille, le pavillon de Guimarães suggère des thèmes complexes et ambitieux : l’ajout d’une nouvelle pièce qui transforme la cave ancienne préexistante, le rapport entre l’architecture et le paysage, mais aussi la conception de l’espace habitable minimum. L’opération consiste à ajouter un volume en bois léger à une base en pierre, de façon à créer un espace contenu qui englobe le terrain où le logement s’adapte topographiquement. Avec simplicité et élégance, avec un équilibre entre l’abstraction et l’expression matérielle, les architectes de Diogo Aguiar Studio explore à fond ces trois thèmes, courants au sein du débat architectural contemporain (l’utilisation de structures existantes, l’intégration dans l’environnement et la flexibilité du programme de l’habitation). En revanche, la centrale électrique du barrage Foz Tua est un ouvrage complexe de grande dimension, une infrastructure hydroélectrique sur laquelle les architectes n’interviennent que rarement de façon active. Dans ce projet très difficile,

Eduardo Souto Mora prouve qu’il maîtrise parfaitement les dimensions extrêmes. La métaphore de la « machine insérée dans le paysage » est créée en enfouissant une grande partie du travail d’ingénierie et en récupérant le paysage environnant, de façon à minimiser la présence de cette construction malgré l’importance de l’intervention. Dans leur matérialité et leur expression, les éléments autonomes sont fragmentés en bâtiments aux dimensions variables, pour l’aération, les cheminées etc., en formes cubiques, cylindriques ou coniques qui créent un paysage alternatif artificiel, en dialogue avec la topographie et le cadre naturel. En maîtrisant de façon habile la variété des dimensions, Souto Moura montre bien l’importance de l’architecture en tant que médiateur entre l’ingénierie et le paysage. ESPAGNE Les œuvres sélectionnées en Espagne se distinguent par leur relation de proximité avec le contexte urbain. Contrairement aux exemples portugais, tous deux intégrés au sein de l’environnement naturel, les projets de RAW à Reinosa et de MGM à Zamora coïncident dans leur réponse à la ville et à sa préexistence. Le centre Impluvium Community est un bâtiment civil, une sorte de conteneur flexible à usage public, essentiellement défini par sa couverture et son enceinte extérieure. Le volume prononcé du sol carré réorganise la zone environnante, en occupant l’espace entre les bâtiments traditionnels aux toitures inclinées et aux traits irréguliers. L’utilisation du bois comme matériau pour la structure et l’enceinte accentue la clarté et l’expression tectonique de l’œuvre, en exprimant à la fois la légèreté et la continuité entre les rues et la cour-impluvium qui domine l’espace intérieur. Les auteurs expriment leur confiance dans la qualité matérielle et constructive de l’architecture pour générer de nouvelles conceptions de l’espace public. La rénovation et l’agrandissement du théâtre Ramos Carrión par Sara Giles et José Morales est un projet long et complexe qui s’étend sur plusieurs années, dans un contexte impliquant la réhabilitation d’un bâtiment du début du XXe siècle, ainsi que son agrandissement et sa transformation en centre de congrès. Étant intégré dans un tissu urbain dense, la décision de l’agrandir sur le fleuve Duero, par l’intermédiaire d’une terrasse ou d’une place, permet de créer un espace public inattendu dans les rues et les bâtiments existants. Le dialogue entre les nouvelles interventions et le théâtre réhabilité définit une continuité dans une architecture qui cherche à perdre du « poids » à travers des espaces intermédiaires et une volumétrie fragmentée. L’utilisation prédominante du verre dans tous les nouveaux éléments contribue à créer la légèreté souhaitée et l’architecture « incomplète » évoquée par les architectes. Il s’agit d’un travail de grande qualité, conscient du rôle de l’architecture contemporaine dans son rapport avec le contexte historique et urbain.

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ČESKÝ

KOMENTÁŘE POROTY STÉPHANE BEEL BELGIE REFUGE II — Wim Goes Architectuur BVBA Architekt potřebného. Jak Wim Goes sám píše: Projekt počítá s architekturou a stavebním procesem, který pomáhá nemocnému nejen fyzicky, ale také na psychické a psychologické úrovni. Používání základních materiálů a jednoduchých technologií umožňuje více než stovce lidí, rodin a přátel pacienta, aby se zapojili do budování Útočiště, poskytovali pacientovi morální podporu transformovali moment utrpení na zážitek, kdy dojde ke znovuobjevení hodnot komunity a citových vazeb. Architektura tak přináší poselství lásky, přátelství a solidarity... Snadná demontáž konstrukčních prvků a úplná recyklovatelnost materiálů nabízejí metaforu, která zračí životní běh. Zřídka se stává, že celý životní cyklus budovy je koncipován od počátku. V tom tkví velká síla tohoto projektu, kdy designér využil podstatu dočasného zásahu a jeho zbourání k tomu, aby nejprve navrhl proces a poté samotný projekt. Proces, který se zabývá konečností a zároveň vytváří novou konstrukci spojováním lidí. Význam tohoto procesu je mnohem větší než omezený rozsah skutečného zásahu. Tato specifická dočasná povaha této konstrukce vede k nekonečnému použití materiálů, které jsou mistrovsky zpracovány. Použité materiály jsou již součástí polí a lesů, ve kterých byl projekt umístěn. Od země, po které chodíme. Tento způsob udržitelné kruhové budovy a její flexibilita přesahují hranice architektury. Jedná se o první jednání samotné architektury. Tento akt poskytuje především útočiště a zároveň uklidňuje lidi. VISITOR CENTRE ABBEY SITE OF VILLERS-LA-VILLE — Binario architectes sciv sprl Zvláštní úkol obnovení jednoty místa vedl ke konkrétnímu přístupu, kdy architektura, design krajiny, infrastruktura a scénografie jsou silně integrovány za účelem dosažení požadované jednoty napříč budovami a krajinou. Tímto způsobem jsou vnitřní a vnější prostory propojeny, aniž by to ovlivnilo původní architekturu starých struktur, a různá místa na obou stranách Route Nationale jsou spojena dohromady. Tuto soudržnost podporuje použití stejných materiálů jak venku, tak vevnitř. BALENMAGAZIJN GENT — TRANSarchitectuur stedenbouw TRANS, mladé architektonické a urbanistické studio se sídlem v Gentu, v současné době realizuje své první rozsáhlé projekty se stejnou sofistikovaností jako v Balenmagazijnu. V tomto projektu je okamžitě přítomna jedna z prvních realizací TRANS, vztah mezi prostorovostí a materiálnem, mezi velkým měřítkem a detailem, který je pro jejich práci tak typický. Výsledkem je obzvláště soudržné dílo, ve kterém

byl jasný a jednoduchý koncept, jenž tvoří základ, přeměněn na fascinující a vrstvenou budovu, která má mnohem více významů, než by naznačovalo schéma jednoduchého startu. PETR PELČÁK ČESKÁ REPUBLIKA + SLOVENSKO ČESKÁ REPUBLIKA MATEŘSKÁ ŠKOLKA NOVÁ RUDA — Petr Stolín architekt Stavba je prolézačkou, která děti učí zažívat a poznávat prostor a tedy svět a orientovat se v něm. Nabízí mnoho neobvyklých perspektiv a průhledů, prostory neobvyklých proporcí i mnoho způsobů pohybu v nich i jejich užívání, a to vše obohaceno jemnou hrou transparentních, translucentních a pevných povrchů. Děti se učí vnímat materialitu a topografii světa i jeho míst skrytých za rohem, a to skrze svoji mateřskou školku a chození do schodů a zpátky dolů. Architekti tu rozvíjejí své bohaté zkušenosti i zájem o práci v drobném měřítku, neobvyklých proporcích, jednoduchých stavebních konstrukcích a se hrou s transparencí a translucencí založenou na užití skla a sklolaminátu jako pláště stavby. STARTOVACÍ RAMPA BMX — Architekt Ondřej Tuček Bikros je adrenalinová cyklistická disciplína odehrávající se ve vzduchu i na zemi. Někdo může namítat, že není klasickou cyklistikou, stejně jako někdo může namítat, že startovací BMX rampa není klasickou architekturou. Jistě, je ocelová stejně jako BMX kola, kterým dává možnost létat nad vlnami dráhy a počátek jejich letu svojí formou zosobňuje. Forma stavby dobře sděluje charakter sportu i sportovců, kterému a kterým slouží. Přitom nejde o primitivní vztah form follows function. Je jednoduchá a vrstevnatá současně, stejně jako bikrosová jízda, na jejímž počátku stojí a kterou umožňuje. Nejde tu o kontext místa, nýbrž o kontext sportu, o charakter dění, který vyjadřuje skvěle. SLOVENSKÁ REPUBLIKA MLYNICA, KONVERZE INDUSTRIÁLNÍHO OBJEKTU — gutgut Obvykle se pro nové využití konvertují industriální stavby, které mají architektonickou kvalitu a historickou hodnotu a které významným způsobem vytvářejí charakter místa a jeho atmosféru. V případě Mlynice nic z toho neplatí. Objektem konverze je výrobna pórobetonových tvárnic, součást „socialistického“, banálního průmyslového areálu ze 60. let 20. století na periferii Bratislavy. Architekti ovšem této bezduché stavební struktuře vtiskli ducha. Uvědomělá hra s vysokými a velkorysými prostory, které dnes mohou vzniknout jen v průmyslových objektech, byla hrána s jasnou představou a přesvědčivými, byť často jemnými prostředky. Vestavby a vložené prvky v tvrdém železobetonovém skeletu, který byl nejdříve zcela očištěn do základní formy, jsou často měkké (dřevo) a křehké (sklo), vždy však srozumitelně navržené a rozmístěné. Při zachování a využití industriálního charakteru a při jemnosti a současně lapidárnosti intervencí celek působí organickým a jednotným dojmem. Velkorysý program, který zachovává spodní část stavby otevřenou pro konání různých akcí, zatímco v horní jsou umístěny byty, mohl být zadán a uskutečněn pouze velkorysým a odvážným investorem.

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Architekti tedy měli štěstí na investora, kterému patří respekt, avšak jeho zadání dokázali skvěle naplnit a vytvořit dílo, které je nadčasové a současně atraktivní. Neméně podstatné je, že vytváří vzor pro práci s dnes rozšířeným tématem rekonverze banální stavební substance poválečné éry. CHATA ANMUAZU — JRKVC – Peter Jurkovič Chata u jezera pro mladý manželský pár „uchvácený oválným prostorem tradiční jurty“. Téma, které v moderní architektuře udrželi Gottfried Semper, Adolf Loos či Anton Schweighofer. Jeden z architektonických archetypů – stavba z textilií, postavená pomocí jednoduché dřevěné konstrukce -je tu soudobě interpretována. Její oválný tvar je sice ve smyslu tradice umožněn dřevěnou konstrukcí, ovšem zde vyplněnou nikoliv koberci, nýbrž hlínou. Dřevěná je i kupule kryjící centrální obytnou místost, která je po obvodu dle potřeb provozu chaty doplněna o další prostory – niky do půdorysného tvaru obdélníka. Odkazem na tkanou textilní fasádu jurty je obálka stavby tvořená texturou dřevěných latí. Základní architektonický archetyp je tu reinterpretován s lehkostí umožněnou občasným užíváním malé stavby, která však uživatelům i návštěvníkům poskytuje neobvyklé prostorové zážitky při minimální velikosti a dobré funkčnosti.

PHILIPPE PROST FRANCIE UNIVERZITNÍ REZIDENCE CHRIS MARKER Statná budova o délce 100 metrů a výšce 30 metrů v městském prostoru a zároveň vyzařující domácí monumentálnost.

podstupnicích jsou napsána slova voice overu z filmu Rampa od Chrise Markera, kterému autor budovu věnoval. Tento projekt je plodem přístupu, který čerpá z nádherné výstavy, kterou Eric Lapierre uspořádal v roce 2002 v pavilonu Arsenal: Identifikace města, pařížských architektur. BELLEVILLE Pro svou první stavbu budovy si agentura Septembre zvolila velmi jemný zásah, architekturu dobře začleněnou do předměstské zástavby, svědka jednotlivých proměn Paříže. Nachází se v Rue de Belleville, naproti budově HBM, cihlová a betonová stavba. Původně se jednalo o malou budovu s jednoduchým přízemím a jedním patrem. Dnes má tato budova tři další podlaží. Jednotnost jí umožňuje čelit svému protějšku. Fasády jsou z emailovaných cihel ve staré části a nová část je vytvořena z pařížské omítky. Pravidelný rytmus příhrad fasády vyhovuje předměstskému stylu, zatímco objemnost je propracovaná stupňovitě uvnitř pozemku. K vyvýšení stávající části bylo použito dřevo. Volba na tento materiál padla díky jeho jednoduchosti zpracování a lehkosti, která nijak nenarušuje statické schéma celku. Stavitelský svět tak prokazuje stavební inteligenci a rozumný ekologický přístup. Jako kompliment mi při pohledu na tuto budovu, kterou architekti pečlivě a rafinovaně proměnili, na vytanou na mysli slova básníka Paula Verlaina - „ani stejné, ani jiné“. PAOLO ZERMANI ITÁLIE

Umístěním univerzitní rezidence v blízkosti porte d´Orléans, na úrovni dvoupodlažního parkoviště a autobusové dílny, Eric Lapierre ukazuje svou schopnost tvořit město pomocí architektury.

ROZHLEDNA PRO JEDNU OSOBU — Architekt Amanzio Farris Tento nevelký projekt je rafinovaným příkladem originálního charakteru italské architektury.

Po vzoru jistého Fernanda Pouillona, který si rád hrál s čísly, když mluv3il o svých projektech, Eric Lapierre vytváří tolik bytů, kolik je dní v roce, tedy 365. Jedná se o byty o šířce 2,5 m a délce 8,5 m, které zkombinovány do rozumné typologické hry připomínají typologické hry univerzitních rezidencí, jaké stavěl Le Corbusier a Dudok v nedalekém mezinárodním komplexu kolejí v Paříži.

Prostřednictvím několika citlivých prvků, schodiště a sedátka z přírodního kamene, představuje tato rozhledna významný prvek propojení mezi prostorem člověka a strukturou přírodní krajiny. Ukazuje syntézu témat, která postupem času vedla samotné utváření krajiny a určila její výrazové prostředky.

Po způsobu Louise Jahna vytváří Eric Lapierre budovu, jejíž chodby a chodbičky se podobají ulicím, byty domům, společné prostory mají dvojí výšku, jsou vytesané v tloušťce budovy a připomínají veřejné budovy. Výtah, systém hromadné dopravy je pozdravem RATP, pro kterou tato rezidence vznikla. Takto Eric Lapierre zve návštěvníka i obyvatele k jedinečné zkušenosti, na vzestupnou dráhu v srdci budovy, a zároveň na panoramatickou vyhlídku na město, které ji obklopuje. Na místo tradiční tmavé kabiny výtahu nám nabízí panoramatickou kabinu, která po způsobu lanovky se přemísťuje po šikmé trase. Budova, které inscenuje pohyb života prostřednictvím výtahu a červených rolet. Ze strany je konstrukce reakcí na chybějící šikmou plochu z ulice. Nachází se zde téměř nekončící schodiště, na jehož

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INTERNATIONAL ARCHITECTURE AWARD

Trasa, zastávka, klid, vzdálenost, výhledy jsou hlavními tématy tohoto projektu. Díky nim na rozloze několika málo metrů čtverečných probíhá správná a stimulující poetická syntéza. MUSEO DEGLI INNOCENTI (MUZEUM NEVINNÝCH). FLORENCIE — Ipostudio Architetti Projekt nového muzea degli Innocenti ve Florencii, se zdrženlivou kombinací konstitučních prvků nové architektury a místy, jež jsou ve vztahu s mimořádnou přítomností staré architektury, představuje účinný příklad možného vztahu mezi dědictvím velké historické italské architektury a současností. Muzeum se ve své hodnotové funkci a jako svědectví objevuje jako opravený živoucí a podmanivý moment architektonické tvorby. Převažuje čistě konzervárenský postoj a projevuje se prostřednictvím nástrojů vlastních pro dnešní dobu a kritickou interpretaci.


FUENSANTA NIETO PORTUGALSKO + ŠPANĚLSKO PORTUGALSKO Projekty vybrané v Portugalsku jsou významným příkladem prací velmi odlišných měřítek (velká průmyslová infrastruktura Souto Moura a minimalistický životní pavilon Diogo Aguiar). Přesto obě představují ve své rozmanitosti společnou koncepční, formální a materiální jasnost, která charakterizuje enormní kvalitu portugalské architektury, která byla potvrzena po několik generací. Pavilon v Guimaraes vyvolává ve svém malém měřítku ambiciózní a složité otázky: vložení nového kusu transformujícího dříve existující starý vinný sklep, vztah architektury s krajinou a pojetí minimálního obytného prostoru. Přidáním lehkého dřevěného prvku na kamenném soklu se vytváří uzavřený prostor, který ohraničuje území, na kterém se dům topograficky přizpůsobuje. Tato tři témata - společná v současné architektonické debatě -: opětovné použití stávajících struktur, integrace do krajiny a flexibilita bytového programu jsou pojata architekty studia Diogo Aguiar Studio na hranici maximální jednoduchosti a elegance, v rovnováze mezi formální abstrakcí a materiálním vyjádřením. Elektrárna pro přehradu „Foz Tua“ je naopak rozsáhlou a složitou prací, hydroelektrická infrastruktura, do které architekti jen zřídka aktivně zasahují. Eduardo Souto Mora v tomto velkém projektu prokazuje svou schopnost mistrovsky zvládnout obrovské pracovní projekty. Metafora „stroje vloženého do krajiny“ se projevuje skrýváním většiny inženýrských prací pod zem a obnovením okolní krajiny tak, aby vzhled stavby byl minimalizován navzdory enormní velikosti zásahu. Autonomní prvky jsou svou hmotností a výrazem roztříštěny do budov různých velikostí, pro větrání, komíny atd. V krychlových, válcových nebo kónických tvarech, které vytvářejí alternativní umělou krajinu v dialogu s topografií a přírodním prostředím. Mistrovství, se kterým

Souto Moura ovládá různě velké projekty, vyjadřuje význam architektury jako prostředníka mezi inženýrstvím a krajinou. ŠPANĚLSKO Vybraná španělská díla vynikají svým úzkým vztahem k městskému kontextu. Na rozdíl od portugalských příkladů – oba zasazené do přírodní krajiny - se projekty RAW v Reinosa a MGM v Zamoře shodují v reakci na město a jeho preexistenci. Komunitní centrum Impluvium je občanská budova, flexibilní kontejner pro veřejné použití, který je v podstatě definován svojí střechou a exteriérem. Tučný čtvercový půdorys svahu přeskupuje okolí, zabírá prostor mezi tradičními budovami se skloněnými střechami a nepravidelnými stopami. Využití dřeva jako konstrukčního a uzavřeného materiálu zdůrazňuje čistotu a tektonický výraz díla a zároveň přenáší lehkost a kontinuitu mezi ulicemi a patiem-impluviem, které dominuje vnitřnímu prostoru. Autoři vyjadřují důvěru v konstrukční a materiální kvalitu architektury při vytváření nových způsobů pojetí veřejného prostoru. Renovace a rozšíření divadla Ramos Carrión od Sary Gilesové a José Moralese je komplexní projekt dlouhého, několikaletého, provedení v kontextu, který zahrnoval obnovu divadla z počátku dvacátého století a jeho rozšíření a přeměnu na kongresové centrum Rozhodnutí o expanzi k řece Duero přes terasu nebo náměstí, včlenění divadla do husté městské struktury, vytváří nečekaný veřejný prostor mezi stávajícími ulicemi a budovami. Dialog mezi novými zásahy a obnoveným divadlem vytváří kontinuitu v architektuře, která dokáže ztratit „váhu“ prostřednictvím meziprostorů a fragmentací objemové kapacity. Převládající použití skla ve všech nových prvcích pomáhá zprostředkovat požadovanou lehkost a „nedokončenou“ architektonickou podmínku, se kterou architekti naráží. Jde o vysoce kvalitní dílo, které si uvědomuje roli současné architektury ve vztahu k historickému a městskému kontextu.

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ITALIANO

COMMENTI DELLA GIURIA STÉPHANE BEEL BELGIO REFUGE II — Wim Goes Architectuur BVBA Architettura della necessità. Come scrive lo stesso Wim Goes: “Il progetto immagina l’architettura e il processo costruttivo non solo fisicamente, ma anche a livello mentale e psicologico. L’uso di materiali di base e semplici tecnologie consente a più di cento persone, familiari e amici del paziente, di partecipare alla costruzione del Rifugio, offrendo un supporto morale al paziente e trasformando una situazione di sofferenza in un’esperienza in cui si riscoprono il valore della comunità e i legami affettivi. L’architettura porta quindi con sé un messaggio d’amore, amicizia e solidarietà… La facilità con cui gli elementi costruttivi possono essere scomposti e la totale riciclabilità dei materiali sono una metafora del ciclo della vita”. Succede raramente che l’intero ciclo di vita di un edificio venga immaginato sin dalla sua concezione. È proprio questa la forza straordinaria di questo progetto, in cui l’archietto ha sfruttato la natura dell’intervento temporaneo e la sua demolizione per pianificare prima un processo e poi il progetto stesso. Un processo che ha a che vedere con la finitudine e al tempo stesso crea una nuova edificazione, unendo fra di loro le persone. Il significato di questo processo è molto più ampio della scala limitata dell’intervento in questione. La specifica natura temporanea della costruzione trasporta verso un uso infinito di materiali, intrecciati fra di loro con maestria. I materiali usati fanno già parte dei campi e dei boschi in cui si trova il progetto, a partire dalla terra su cui si cammina. Questo tipo di edificio sostenibile e circolare e la sua flessibilità trascendono l’architettura. Si tratta di un atto architettonico primordiale. Un atto che offre prima di tutto riparo e al tempo stesso conforto alle persone. VISITOR CENTRE ABBEY SITE OF VILLERS-LA-VILLE — Binario architectes sciv sprl Il compito speciale di restaurare l’unità del sito ha portato a uno specifico approccio in cui l’architettura, il design paesaggistico, le infrastrutture e la scenografia sono fortemente integrati per poter raggiungere l’unità desiderata, fra edifici e paesaggio. In questo modo, l’interno e l’esterno sono connessi senza compromettere l’architettura originale delle antiche strutture e i vari spazi su entrambi i lati della Route Nationale si collegano gli uni agli altri. L’uso degli stessi materiali all’interno e all’esterno offre ulteriore sostegno a questa coesione. BALENMAGAZIJN GENT — TRANSarchitectuur stedenbouw TRANS, un giovane studio d’architettura urbano di Ghent, sta attualmente realizzando i propri primi progetti ad

ampia scala, con la stessa sofisticazione dimostrata a Balenmagazijn. In questo progetto, una delle prime opere di TRANS, il rapporto fra la spazialità e la materialità, fra l’ampia scala e i dettagli, così tipico di tutti i loro lavori, è immediatamente presente. Sfocia in un’opera particolarmente coerente, in cui il concetto chiaro e semplice che ne è alla base è stato trasformato in un edificio affascinante e stratificato, che trasmette molti più significati di quanto potrebbe suggerire il semplice schema iniziale. PETR PELČÁK REPUBBLICA CECA + SLOVACCHIA REPUBBLICA CECA SCUOLA INFANTILE A NOVÁ RUDA — Architetto Petr Stolín L’opera rappresenta un parco infantile in cui i bambini imparano a orientarsi in uno spazio che simboleggia il mondo. Offre varie vedute e prospettive inusuali, spazi dalle proporzioni originali, per muoversi fra di loro e usarli, il tutto arricchito da un gioco delicato di superfici trasparenti, traslucide e solide. I bambini imparano a percepire i materiali e le topografie del mondo e dei suoi luoghi, nascondendosi nei vari angoli della loro scuola e salendo e scendendo per le scale. Gli architetti hanno sfruttato la loro enorme esperienza e il proprio interesse nei confronti delle edificazioni di piccole dimensioni, misure inusuali e semplici, giocando con la trasparenza e traslucidità che offrono il vetro e la sua fibra, che avvolgono l’edificio. PISTA PER BMX — Architetto Ondřej Tuček Il Bycicle Moto Cross è una disciplina del ciclismo fatta tutta di adrenalina, che combina terra e aria. Se da un lato si potrebbe pensare che non si tratta di ciclismo tradizionale, si potrebbe altresì dire che la pista di partenza per BMX non rispetta la definizione di architettura classica. È fatta, quello sì, di acciaio, come le biciclette BMX, che grazie a questo possono volare al di sopra delle ondulazioni della pista, mentre la pista rappresenta l’inizio del volo. La forma di quest’opera trasmette molto bene la caratteristiche dello sport e degli sportivi a cui è diretta. Tuttavia, non si tratta della relazione primitiva form follows function. È semplice e varia al tempo stesso, proprio come il Bycicle Moto Cross, e ne rappresenta l’inizio del percorso. Non si tratta del contesto dello spazio, bensì di quello dello sport, oltre alla sua natura, il tutto espresso in maniera esemplare. REPUBBLICA SLOVACCA MLYNICA, TRASFORMAZIONE DI UN EDIFICIO INDUSTRIALE — gutgut Normalmente, per dare loro un nuovo uso, si utilizzano opere industriali con valore architettonico o storico che formano parte del carattere del luogo e dell’ambiente circostante. Nel caso di Mlynica non fu affatto così. L’oggetto della trasformazione era una fabbrica di blocchi di calcestruzzo cellulare, situata in una banale zona industriale dell’epoca comunista degli anni ‘70, nella periferia di Bratislava. Gli architetti sono riusciti a infondere un’anima a questo edificio anonimo. Si tratta di un gioco consapevole con spazi alti e generosi, che attualmente possono esistere solo nelle opere industriali, il tutto realizzato con una chiara percezione, mediante interventi solidi e delicati al tempo stesso.

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Dell’opera solida in calcestruzzo è rimasta solo la struttura di base, a cui sono stati aggiunti elementi morbidi (legno) e fragili (vetro), ma sempre progettati e installati in maniera comprensibile. Poiché è stato conservato il carattere industriale e trattandosi di interventi delicati ma al tempo stesso mordaci, il complesso risulta organico e compatto. Lo splendido progetto che conserva la parte inferiore dell’opera e la predispone per l’organizzazione di eventi, mentre la parte superiore ospita degli appartamenti, è stato commissionato e realizzato da un generoso e audace imprenditore. Gli architetti hanno avuto la fortuna di lavorare per un imprenditore che si merita tutto il loro rispetto, ma sono stati in grado di rispettare meravigliosamente anche il progetto e creare un’opera atemporale e affascinante nel contempo. Non meno importante è il suo ruolo come modello per l’attualissima riconversione di sostanze banali dell’architettura dell’epoca comunista. CASA DI CAMPAGNA ANUAZU — JRKVC – Peter Jurkovič Casa di campagna vicino al lago per una giovane coppia “innamorata dello spazio ovale della iurta tradizionale”. Tema che hanno mantenuto nell’architettura moderna Gottfried Semper, Adolf Loos e Anton Schweighofer. Si tratta di uno degli archetipi dell’architettura: opera in materiali tessili, costruita mediante una struttura semplice in legno, ma interpretata in chiave attuale. La sua forma ovale ha rispettato la tradizione, grazie alla struttura in legno, ma anziché riempirla di tappeti ha utilizzato l’argilla. La cupola che copre lo spazio centrale dell’abitazione è anch’essa di legno e nel suo perimetro c’è un altro spazio, in questo caso una nicchia rettangolare per coprire le necessità funzionali della casa. Come riferimento alla facciata in tessuto della iurta c’è l’involucro dell’opera, composto dai listelli in legno. L’archetipo architettonico di base viene qui reinterpretato con la leggerezza che le conferisce l’uso occasionale di un’opera di piccole dimensioni, ma che offre agli utenti e visitatori un’esperienza atipica in uno spazio ridotto, ma funzionale. PHILIPPE PROST FRANCIA RESIDENZA UNIVERSITARIA CHRIS MARKER Un edificio potente lungo 100 metri e alto 30 metri in scala urbana e con una monumentalità prettamente domestica. Installando allo sbocco della porta d’Orléans la propria residenza universitaria su due piani di parcheggio e officine per gli autobus, Eric Lapierre dimostra la propria capacità di fare città e fare nel contempo architettura. Sulla falsariga di Fernand Pouillon, che amava giocare con i numeri per parlare dei propri progetti, Eric Lapierre realizza 365 appartamenti, tanti quanti i giorni dell’anno. Appartamenti di 2,5 m di ampiezza per 8,5 m di lunghezza, che combinati in un colto gioco di tipologie fanno l’eco dei giochi tipologici delle residenze universitarie costruite da Le Corbusier e Dudok, non lontano da lì, nella città universitaria internazionale di Parigi. Seguendo lo stile di Louis Kahn, Eric Lapierre concepisce un edificio in cui i corridoi e le corsie sono altrettante strade e gli appartamenti diventano case. Gli spazi comuni a doppia

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INTERNATIONAL ARCHITECTURE AWARD

altezza, che s’incrociano nello spessore dell’immobile, sono altrettanti edifici pubblici e infine l’ascensore è il mezzo di trasporto comune, un occhiolino alla RATP, per cui è stata costruita questa residenza. Eric Lapierre invita così il visitatore e l’abitante a vivere un’esperienza, quella di un percorso ascensionale nel cuore di un edificio e al tempo stesso una scoperta panoramica della città che lo circonda. Al posto della tradizionale cabina d’ascensore buia, ci offre una cabina panoramica, che come una funicolare si sposta in diagonale. Un edificio che mette in scena il movimento della vita, con il suo ascensore e con i suoi avvolgibili rossi. Nel cortile, rispondendo alla faglia obliqua sul lato della strada, una scala quasi infinita sugli scalini, dove compaiono scritte le parole della voce in off del film La jetée di Chris Marker, a cui l’autore dedica l’edificio. Infine questo progetto è il frutto di un approccio che prende ispirazione dalla magnifica esposizione che Eric Lapierre aveva concepito nel 2002 per il padiglione dell’Arsenal: Identification d’une ville, architectures de Paris. BELLEVILLE Per il primo edificio che costruisce, lo studio Septembre realizza un intervento ingegnoso, un’architettura in linea con il tessuto della periferia, testimonianza delle fasi della trasformazione parigina. Rue de Belleville, di fronte a un immobile HBM in mattoni e calcestruzzo, era originariamente un piccolo edificio a livello della strada, coperto da un piano adesso aumentato di tre livelli. La sua unità gli consente di affrontare il dirimpettaio. Il trattamento delle facciate in mattone smaltato per la parte antica e in intonaco parigino per la parte nuova fa il resto: unità del tutto e leggibilità delle parti. Il ritmo regolare delle sue arcate di facciata conforta una scrittura volontariamente periferica, mentre il volume viene lavorato gradatamente sull’interno del lotto. Per rialzare ciò che già esisteva, è stato scelto il legno, per la sua facilità d’applicazione e la sua leggerezza, senza mettere in causa lo schema statico dell’insieme. La modalità costruttiva testimonia così un’intelligenza edilizia e un approccio ecologico ragionati. Osservando questo immobile che gli architetti hanno trasformato con cura e raffinatezza, mi vengono alla mente, come omaggio, le parole del poeta Paul Verlaine: “ni tout à fait le même, ni tout à fait un autre” (N.d.T.: diverso eppure uguale). PAOLO ZERMANI ITALIA BELVEDERE PER UNA PERSONA — Amanzio Farris Architetto Il progetto,nella piccola dimensione in cui è concepito,rappresenta una raffinata esemplificazione del carattere originale dell’architettura italiana. Il belvedere unisce infatti,attraverso pochi e sensibili elementi,costituiti dalla scala e dalle seduta in pietra naturale,un significativo elemento di raccordo tra spazio dell’uomo e struttura del paesaggio naturale,mostrando una


sintesi dei temi che,nel tempo,hanno guidato la composizione del paesaggio stesso e ne hanno fissato i modi espressivi. Il percorso,la sosta,il silenzio,la distanza,la veduta sono i temi di progetto con i quali, in pochi metri quadrati di superficie,si realizza una corretta e stimolante sintesi poetica. MUSEO DEGLI INNOCENTI FIRENZE — Ipostudio Architetti Il progetto del nuovo Museo degli Innocenti di Firenze,attraverso una misurata combinazione degli elementi costitutivi dell’architettura nuova,posti in rapporto con la straordinaria presenza dell’architettura antica, realizza un efficace esempio del rapporto possibile tra l’eredità della grande architettura storica italiana e il proprio presente. Il Museo, nella sua funzione di valenza e testimonianza,si compone quale un rinnovato momento vivo e stimolante della vicenda della fabbrica architettonica,mostrandosi come superamento di una attitudine solamente conservativa ,esprimendosi attraverso gli strumenti propri della contemporaneità e dell’interpretazione critica. FUENSANTA NIETO PORTOGALLO + SPAGNA PORTOGALLO I progetti selezionati per il Portogallo sono esempi significativi di opere di dimensioni molto diverse (una grande infrastruttura industriale, di Souto Moura e un “living pavilion” di piccole dimensioni, di Diogo Aguiar). Eppure entrambi rappresentano nella loro diversità la chiarezza concettuale, formale e materiale che caratterizza la straordinaria qualità dell’architettura portoghese, confermata da un susseguirsi di generazioni di architetti. Il padiglione di Guimaraes solleva in piccola scala questioni ambiziose e complesse: l’inserimento di una nuova abitazione, che trasforma la preesistente antica cantina, il rapporto dell’architettura con il paesaggio e la concezione dello spazio minimo abitabile. L’opera consiste nell’aggiunta di un volume di legno leggero su uno zoccolo in pietra e genera uno spazio contenuto che incornicia il territorio a cui la casa si adatta topograficamente. Questi tre temi, comuni nel dibattito architettonico contemporaneo, ovvero il riutilizzo di strutture esistenti, l’integrazione nel paesaggio e la flessibilità delle abitazioni, vengono portati al limite dagli architetti dello studio Diogo Aguiar, con enorme semplicità ed eleganza, in equilibrio fra l’astrazione formale e l’espressione materiale. L’impianto energetico della diga di “Foz Tua” è invece un’opera complessa e di ampia portata, un’infrastruttura idroelettrica in cui gli architetti di rado intervengono in modo attivo. Eduardo Souto Mora dimostra in questo progetto di estrema difficoltà la sua maestria nel gestire

opere di dimensioni estreme. La metafora della “macchina inserita nel paesaggio” diventa realtà nascondendo la maggior parte delle opere ingegneristiche nel sottosuolo e coprendo il paesaggio circostante in modo che l’apparire dell’edificazione si riduca al minimo, nonostante le enormi dimensioni dell’intervento. Elementi autonomi nella loro materialità ed espressione sono frammentati negli edifici di diverse misure, per la ventilazione, le ciminiere, ecc., in forme cubiche, cilindriche o coniche, che generano un paesaggio artificiale alternativo, che dialoga con la topografia e l’ambiente naturale. La maestria con cui Souto Moura controlla le diverse scale conferisce l’importanza che l’architettura assume come mediatore fra l’ingegneria e il paesaggio. SPAGNA Le opere selezionate per la Spagna emergono per la loro stretta relazione con il contesto urbano. A differenza degli esempi portoghesi, entrambi inseriti in un ambiente naturale, i progetti di RAW a Reinosa e MGM a Zamora coincidono nella loro risposta alla città e alla sua precedente esistenza. Il Centro Impluvium Community è un edificio civico, una sorta di container flessibile e di uso pubblico, essenzialmente definito dal suo tetto e dalla recinzione esterna. Un marcato volume dal pavimento quadrato riorganizza la zona circostante occupando lo spazio fra gli edifici tradizionali, con tetti spioventi e tracciati irregolari. L’uso del legno come materiale strutturale e di recinzione accentua la chiarezza e l’espressione tettonica dell’opera, trasmettendo al tempo stesso leggerezza e continuità fra le strade e il patio-impluvio che domina lo spazio interno. Gli autori esprimono la loro fiducia nella qualità materiale e costruttiva dell’architettura, capace di generare nuovi modi di concepire gli spazi pubblici. Il restauro ed estensione del Teatro Ramos Carrión di Sara Giles e José Morales è un progetto complesso, di lunga esecuzione (vari anni), in un contesto che comprendeva la ristrutturazione di un teatro degli inizi del ventesimo secolo e il suo ampliamento e trasformazione, come centro congressi. Inserito in un denso tessuto urbano, la decisione di espandersi sul fiume Duero attraverso una terrazza o piazza crea uno spazio pubblico inatteso fra le strade e gli edifici già esistenti. Il dialogo fra i nuovi interventi e il teatro restaurato crea continuità in un’architettura che riesce a perdere “peso” mediante gli spazi intermedi e la frammentazione dei suoi volumi. L’uso predominante del vetro in tutti i nuovi elementi aiuta a conferire il desiderio di leggerezza e la condizione di architettura “incompleta” a cui alludono gli architetti. Si tratta di un’opera di straordinaria qualità, consapevole del ruolo dell’architettura contemporanea nel rapporto con il contesto storico e urbano.

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PORTUGUÊS

COMENTÁRIOS DO JÚRI STÉPHANE BEEL BÉLGICA REFUGE II — Wim Goes Architectuur BVBA Arquitetura da necessidade. Como o próprio Wim Goes escreve: ‘O projeto examina a arquitetura e o processo de construção ajudando a avaliar a doença não só no plano físico, mas também no material e no psicológico. O uso de materiais básicos e tecnologias simples permite a mais de uma centena de pessoas, famílias e amigos do paciente, envolverem-se na construção do Refuge, oferecendo um apoio moral às circunstâncias do paciente e transformando uma situação de sofrimento numa experiência onde o valor da comunidade e os vínculos afetivos são redescobertos. Desta maneira, a arquitetura transmite uma mensagem de amor, amizade e solidariedade... A facilidade com que os elementos construtivos podem ser desmantelados, e a completa reciclabilidade dos materiais, oferecem uma metáfora que reflete o ciclo da vida. São raras as ocasiões em que todo o ciclo de vida da construção é concebido desde o princípio. Este é o ponto forte desde projeto, onde o designer aproveita as vantagens da natureza da intervenção temporal e da sua demolição para conceber, em primeiro lugar, um processo e, posteriormente, o projeto em si. Um processo que trabalha com a finitude e, ao mesmo tempo, cria uma nova construção ao unir as pessoas. O significado deste processo é muito mais amplo do que a escala limitada da intervenção real. Essa natureza temporária específica desta construção conduz ao uso infinito de materiais magistralmente tratado. Os materiais usados realmente já fazem parte dos campos e florestas onde o projeto se localiza. Do solo sobre o qual caminhamos. Esta forma de construção sustentável, circular, e a sua flexibilidade transcendem a arquitetura. É a primeira fase da arquitetura em si. Esta fase oferece, antes de tudo, refúgio ao mesmo tempo que reconforta as pessoas. VISITOR CENTRE ABBEY SITE OF VILLERS-LA-VILLE — Binario architectes sciv sprl A tarefa especial de restaurar a unidade do lugar conduziu a uma abordagem específica onde a arquitetura, o design da paisagem, infraestrutura e cenografia encontram-se perfeitamente integrados para alcançar a unidade desejada, através dos edifícios e da paisagem. Desta forma, o interior e o exterior encontram-se ligados sem afetar a arquitetura original das antigas estruturas e os diferentes lugares em ambos os lados da Route Nationale encontram-se unidos. O uso dos mesmos materiais tanto dentro como fora favorecem esta coesão.

BALENMAGAZIJN GENT — TRANSarchitectuur stedenbouw TRANS, um jovem ateliê de arquitetura e planeamento urbano localizado em Ghen, está a realizar atualmente os seus primeiros projetos de grande escala com a mesma sofisticação que em Balenmagazijn. Neste projeto, uma das primeiras realizações da TRANS, o vínculo entre espacialidade e materialidade, entre larga escala e detalhe, tão típico em todos os seus trabalhos, é reconhecido imediatamente. O resultado é um trabalho particularmente coerente, onde o conceito claro e simples que conforma a base foi transformado numa construção fascinante e em camadas que contém muitos mais significados do que um simples esquema inicial poderia sugerir. PETR PELČÁK REPÚBLICA CHECA + ESLOVÁQUIA REPUBBLICA CECA ESCOLA INFANTIL EM NOVÁ RUDA — Arquiteto Petr Stolín A obra representa um parque infantil onde as crianças aprendem a orientar-se num espaço que simboliza o mundo. Oferece uma variedade de vistas e perspetivas inusuais, espaços de proporções originais para movimentar-se entre eles e para serem usados, tudo enriquecido com um jogo suave de superfícies transparentes, translúcidas e sólidas. As crianças aprendem a perceber os materiais e as topografias do mundo e dos seus lugares, escondendo-se nas esquinas da sua escola e subindo e descendo escadas. Os arquitetos aproveitaram a sua grande experiência e interesse pelas construções em pequena escala, medidas inusuais e simples, jogando com a transparência e a translucidez oferecidas pelo vidro e a sua fibra que envolve o edifício. PISTA DE SAÍDA PARA BMX — Arquiteto Ondřej Tuček O bicicross é uma modalidade do ciclismo de adrenalina que combina terra e ar. Assim como alguém poderia considerar que não se trata de ciclismo tradicional, outro poderia argumentar que a pista de saída para BMX também não é o que poderíamos denominar arquitetura clássica. Sim, foi construída com aço, assim como as bicicletas BMX que, graças a isso, podem voar por cima das ondulações da pista, enquanto esta representa o início do voo. A forma da obra transmite muito bem as características do desporto e dos desportistas para os quais ela se destina. No entanto, não se trata da relação primitiva form follows function. É simples e variada ao mesmo tempo, como o próprio bicicross, sendo o início da rota do mesmo. Não se trata do contexto do espaço, mas do contexto do desporto, além da sua natureza, sendo tudo expressado de forma magnífica. REPÚBLICA ESLOVACA MLYNICA, CONVERSÃO DE UM EDIFÍCIO INDUSTRIAL — gutgut O habitual é que para um novo uso sejam utilizadas obras industriais com valor arquitetónico ou histórico que façam parte do caráter do lugar e do seu meio envolvente. No caso de Mlynica nada ocorreu assim. O objeto da conversão era uma fábrica de blocos de betão celular, situada numa zona industrial banal, da época comunista dos anos sessenta do século passado, localizada nos subúrbios de Bratislava. Os arquitetos conseguiram dar alma a este edifício sem nenhum encanto. Trata-se de um jogo consciente com espaços altos e

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generosos que hoje em dia podem existir somente em obras industriais, tudo realizado com uma ideia clara mediante intervenções firmes e, ao mesmo tempo, suaves. Da obra sólida de betão armado apenas ficou de pé a sua estrutura básica e foram incluídos elementos moles (madeira) e frágeis (vidro), porém sempre projetados e instalados de uma forma compreensível. O seu caráter industrial foi mantido e, tendo sido as intervenções suaves porém, por sua vez, dilapidadoras, o resultado é um conjunto orgânico e compacto. O deslumbrante projeto que conserva a parte inferior da obra, destinada à organização de eventos enquanto a parte superior alberga apartamentos, foi confiado e realizado por um promotor generoso e valente Os arquitetos tiveram a sorte de trabalhar para um promotor que merece todo o respeito, mas foram capazes de cumprir o projeto maravilhosamente e criar uma obra atemporal e, ao mesmo tempo, atrativa. Não menos importante é o seu papel como modelo para a atualmente tão generalizada reconversão de substâncias banais da arquitetura da época comunista. CASA DE CAMPO ANUAZU — JRKVC – Peter Jurkovič Casa de campo junto do lago para um casal jovem “apaixonado pelo espaço oval da yurt tradicional”. Tema mantido na arquitetura moderna por Gottfried Semper, Adolf Loos ou Anton Schweighofer. Trata-se de um dos arquétipos da arquitetura: obra de materiais têxteis, construída mediante uma estrutura simples de madeira porém interpretada de forma atual. A sua forma oval cumpre a tradição graças à estrutura de madeira mas, ao invés de recheá-la com tapetes, usou-se argila. A cúpula que cobre o espaço central da morada também é de madeira e, no seu perímetro, encontramos outro espaço, neste caso um nicho com forma retangular para suprir as necessidades funcionais da casa. Como referência à fachada tecida da yurt, temos o revestimento da obra formado por ripas de madeira. O arquétipo básico arquitetónico é aqui reinterpretado com a leveza outorgada pelo uso ocasional de uma obra pequena, porém oferece aos utilizadores e visitantes uma experiência única dentro de um espaço pequeno, porém funcional.

PHILIPPE PROST FRANÇA RESIDÊNCIA UNIVERSITÁRIA CHRIS MARKER Um prédio potente de 100 metros de comprimento e 30 metros de altura a escala urbana e com uma monumentalidade muito doméstica. Instalando, muito perto da Porte d’Orléans, a sua residência universitária em dois níveis de parque de estacionamento e de oficinas de autocarros, Eric Lapierre demonstra a sua capacidade para criar cidade fazendo arquitetura. Como fazia Fernand Pouillon, que gostava de jogar com os números para falar dos seus projetos, Eric Lapierre realiza tantos alojamentos como dias no ano, ou seja 365. Alojamentos de 2m50 de largura por 8m50 de comprimento que, combinados com um hábil jogo tipológico, fazem lembrar os jogos tipológicos das residências universitárias edificadas por Le Corbusier e Dudok, a pouca distância, na cidade internacional universitária de Paris.

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À maneira de Louis Kahn, Eric Lapierre concebe um prédio cujos corredores são como ruas, os alojamentos são casas, os espaços comuns em duas alturas, cavados na espessura do imóvel, são verdadeiros prédios públicos e para terminar, o seu elevador o sistema de transporte coletivo, piscar de olho à RATP para a qual esta residência se constrói. Desta forma, Eric Lapierre convida o visitante a viver uma experiência, a de um percurso ascendente pelo coração do prédio assim como para um descobrimento panorâmico da cidade envolvente. Em vez de uma cabine de elevador escura, oferece-nos uma cabine panorâmica que, como se de um funicular se tratasse, se desloca em linha obliqua. Um prédio como cenografia do movimento da vida com o seu elevador como com as suas persianas vermelhas. No pátio interior, respondendo à falha oblíqua do lado da rua, uma escada quase infinta em cujos espelhos estão escritas palavras da voz-off do filme La jetée de Chris Marker ao qual o prédio é dedicado pelo seu autor. Este projeto é finalmente o fruto de uma abordagem que parte da magnífica exposição que Eric Lapierre concebeu em 2002 no pavilhão do Arsenal: Identificação de uma cidade, arquiteturas de Paris. BELLEVILLE Para o seu primeiro prédio construído, a agência Septembre realiza uma intervenção subtil, uma arquitetura discreta numa tela de bairro, testemunha das etapas da transformação de Paris. Rue de Belleville, em frente de um prédio HBM em tijolo e betão, trata-se inicialmente de um pequeno prédio simplesmente constituído de um rés-do-chão e primeiro andar agora aumentado para três. A sua unidade permite-lhe fazer face ao seu vizinho da frente. O tratamento das suas fachadas em tijolo esmaltado para a parte antiga, com reboco parisiense para a parte nova faz o resto: unidade do conjunto e legibilidade das partes. Os ritmos regulares dos vãos das suas fachadas reforçam uma escrita voluntariamente bairrista, enquanto a volumetria é trabalhada por grau no interior da passarela. Para elevar o existente, a madeira foi escolhida pela sua facilidade de instalação e a sua leveza, sem prejudicar o esquema estático do conjunto. O modo construtivo mostra assim uma inteligência construtiva e uma abordagem ecológica razoadas. Em relação a este prédio que os arquitetos transformaram com cuidado e refinamento, vêm-me à cabeça as palavras do poeta Paul Verlaine – nem completamente o mesmo, nem completamente outro – a modo de elogio. PAOLO ZERMANI ITÁLIA MIRADOURO PARA UMA SÓ PESSOA — Arquiteto Amanzio Farris Este projeto de pequenas dimensões é um refinado exemplo do caráter original da arquitetura italiana. Através de poucos e sensíveis elementos, a escada e o assento em pedra natural, este miradouro representa um significativo


elemento de conexão entre o espaço do homem e a estrutura da paisagem natural, mostrando uma síntese dos temas que, com o tempo, guiaram a composição da paisagem em si mesma e fixaram as suas modalidades expressivas. O percurso, a paragem, o silêncio, a distância, as vistas são os temas deste projeto. Com eles, numa superfície de poucos metros quadrados, realiza-se uma correta e estimulante síntese poética. MUSEO DEGLI INNOCENTI (MUSEU DOS INOCENTES). FLORENÇA — Ipostudio Architetti O projeto do novo Museo degli Innocenti de Florença, com uma modesta combinação dos elementos constitutivos da nova arquitetura e colocados em relação à extraordinária presença da arquitetura antiga, representa um eficaz exemplo da possível relação entre a herança da grande arquitetura histórica italiana e da sua atualidade. O Museu, na sua função de valor e testemunho, surge como um renovado momento vivo e sugestivo do acontecimento da fábrica arquitetónica, mostrando-se como a superação de uma atitude puramente conservadora, e expressando-se através das ferramentas próprias da contemporaneidade e da interpretação crítica. FUENSANTA NIETO PORTUGAL + ESPANHA PORTUGAL Os projetos selecionados em Portugal constituem um A casa pavilhão em Guimarães traz na sua pequena escala questões ambiciosas e complexas: a inserção de uma nova peça que transforma a preexistência de uma antiga adega de vinhos, a relação da arquitetura com a paisagem e a conceção de um espaço habitável diminuto. A operação, que consiste em adicionar um volume de madeira leve numa base de pedra, gera um espaço confinado que emoldura o território onde a casa de adapta topograficamente. Esses três tópicos – solo comum no debate arquitetónico contemporâneo –: a reutilização de estruturas existentes, a integração na paisagem e a flexibilidade do programa habitacional, são levados ao limite pelos arquitetos da Diogo Aguiar Studio com grande simplicidade e elegância, em equilíbrio entre a abstração formal e a expressão material. A Casa das Máquinas para a barragem de “Foz Tua” é, pelo contrário, um trabalho complexo e de larga escala, uma infraestrutura hidrelétrica em que os arquitetos raramente intervêm ativamente. Neste projeto de grande dificuldade, Eduardo Souto Mora demonstra o seu domínio na gestão de trabalhos tremendamente complexos. A metáfora “máquina inserida na paisagem” é concretizada ocultando a maior

parte do trabalho de engenharia sob o solo e recuperando a paisagem circundante de maneira que a aparência da construção é minimizada apesar das enormes dimensões da intervenção. Elementos autónomos na sua materialidade e expressão são fragmentados em edifícios de diferentes tamanhos, para ventilação, chaminés, etc., em formato cúbico, cilíndrico ou cónico, que geram uma paisagem artificial alternativa em diálogo com a topografia e o meio envolvente natural. A maestria com que Souto Moura controla as diferentes escalas expressa a importância que a arquitetura possui como mediadora entre a engenharia e a paisagem. SPAGNA Os trabalhos espanhóis selecionados destacam-se devido à sua íntima relação com o contexto urbano. Ao contrário dos exemplos portugueses – ambos inseridos na paisagem natural – os projetos da RAW em Reinosa e da MGM em Zamora coincidem na sua resposta com a cidade e a sua preexistência. O Centro Comunitário Impluvium é um edifício cívico, um contentor para uso público flexível essencialmente definido pelo seu telhado e pelo seu revestimento exterior. A sua ambiciosa planta quadrada reorganiza a área circundante ocupando o espaço entre edifícios tradicionais com telhados inclinados e traços irregulares. O uso de madeira como material estrutural e de revestimento acentua a transparência e a expressão tectónica do trabalho, ao mesmo tempo que transmite luminosidade e continuidade entre as ruas e o pátio-impluvium que domina o espaço interior. Os autores expressam a sua confiança da qualidade construtiva e material da arquitetura para gerar novas maneiras de conceber espaços públicos. A Renovação e Ampliação do Teatro Ramos Carrión por Sara Files e José Morales é um projeto complexo de longa execução, ao longo de anos, num contexto que envolveu a reabilitação do teatro do início do século vinte e a sua ampliação e transformação como centro de congressos. Inserido num denso tecido urbano, a decisão para o ampliar para dentro do rio Douro através de um terraço ou praça cria um espaço público inesperado entre as ruas e edifícios existentes. O diálogo entre as novas intervenções e o teatro reabilitado estabelece uma continuidade numa arquitetura que consegue perder “peso” através dos seus espaços intermediários e a fragmentação da sua volumetria. O uso predominante de vidro em todos os novos elementos ajuda a transmitir a luminosidade desejada e a condição de arquitetura “inacabada” à que os arquitetos fazem alusão. Trata-se de um trabalho de altíssima qualidade ciente do papel da arquitetura contemporânea relativamente ao contexto histórico e urbano.

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SLOVENSKÝ

KOMENTÁRE POROTY STÉPHANE BEEL BELGICKO REFUGE II — Wim Goes Architectuur BVBA Nevyhnutná architektúra Tak ako píše Wim Goes: „Projekt si predstavuje architektúru a stavebný proces, ktorý pomôže chorobe nielen fyzicky, ale tiež psychicky a duševne. Použitie základných materiálov a jednoduchej technológie umožňuje, aby viac ako sto ľudí, rodín a priateľov pacientov sa zúčastnilo na výstavbe Refuge, poskytnutím morálnej podpory pacientovi a zmenilo situáciu utrpenia na zážitok, pri ktorom sa znovu odhaľujú hodnoty komunity a citových väzieb. Architektúra prispieva posolstvom lásky, priateľstva a solidarity... Jednoduchosť, s ktorou sa môžu rozmontovať stavebné prvky a úplná možnosť materiály recyklovať vytvárajú metaforu, ktorá odzrkadľuje cyklus života.“ Nie je obvyklé myslieť na úplný cyklus života budovy, od začiatku. Toto odzrkadľuje výnimočnú silu projektu, kde architekt využil charakter dočasnej intervencie a jej demolíciu, aby najskôr naplánoval proces a potom projekt. Proces, ktorý sa venuje nekonečnu a zároveň vytvára novú stavbu, v ktorej sa spájajú osoby. Význam tohto procesu je omnoho širší ako limitovaná dimenzia danej intervencie. Špecificky dočasný charakter navádza na nekonečné použitie materiálov, ktoré sú majstrovsky použité. Materiály, ktoré už existujú na poliach a v lesoch, kde sa projekt lokalizuje, vychádzajúc zo zeme, po ktorej chodíme. Druh kruhovej budovy, udržateľnej a flexibilnej, na prekonanie konceptu architektúry je prvým aktom architektúry ako takej. Akt, ktorý v prvom rade ponúka úkryt a ochranu osobám. VISITOR CENTRE ABBEY SITE OF VILLERS-LA-VILLE — Binario architectes sciv sprl Zvláštna úloha obnoviť prístup prinieslo špeciálne zameranie, kde sa úzko integrujú architektúra, krajinný dizajn, infraštruktúra a scénografia s cieľom dosiahnuť želateľnú jednotu, tak v budovách ako aj v krajine. V tomto zmysle, existuje vnútorné i vonkajšie prepojenie bez toho, aby bola dotknutá pôvodná architektúra starobylých štruktúr a spájajú sa bočné priestory Route Nationale. Použitie rovnakých materiálov dnu i vonku napomáha tejto kohézii. BALENMAGAZIJN GENT — TRANSarchitectuur stedenbouw TRANS je mladé štúdio architektúry a mestského plánovania so sídlom v Gante, ktoré realizuje svoje prvé projekty veľkej škály s rovnakou sofistikovanosťou ako v Balenmagazijn. V tomto projekte, jedna z prvých prác TRANS, sa nachádza veľmi prítomný vzťah medzi priestorom a materiálom, medzi veľkými dimenziami a detailmi, ktorý je typický pre všetky ich práce. Vďaka tomu je výsledkom práca obzvlášť koherentná, v ktorej jednoduchý a jasný koncept tvoriaci jej základy,

sa mení na fascinujúcu budovu s vrstvami, ktorá má viac významov ako by mohla naznačovať jednoduchá počiatočná schéma. PETR PELČÁK ČESKÁ REPUBLIKA+ SLOVENSKO ČESKÁ REPUBLIKA MATERSKÁ ŠKÔLKA NOVÁ RUDA — Architekt Petr Stolín Stavba je preliezačka, ktorá učí deti užívať a poznávať priestora teda svet, a orientovať sa v ňom. Ponúka mnoho neobvyklých perspektív a pohľadov, priestory s neobvyklými proporciami a aj mnoho spôsobov ako sa v nich pohybovať a používať ich. A to všetko obohatené jemnou hrou transparentných, translucentných a pevných povrchov. Deti sa učia vnímať materialitu a topografiu sveta a jeho miest ukrytých za rohom, a to cez svoju materskú škôlku a chodením do schodov a späť dolu. Architekti tu rozvíjajú svoje bohaté skúsenosti a záujem o prácu v drobnom meradle, s neobvyklými proporciami, jednoduchými stavebnými konštrukciami a o hru s transparentnosťou a translucentnosťou, ktorá je založená na použití skla a sklolaminátu ako plášťa stavby. ŠTARTOVACIA RAMPA BMX — Architekt Ondřej Tuček Bikros je adrenalínová cyklistická disciplína odohrávajúca sa tak vo vzduchu, ako aj na zemi. Niekto môže namietať, že nie je klasickou cyklistikou, rovnako ako niekto môže namietať, že štartovacia rampa BMX nie je klasickou architektúrou. Je oceľová ako sú BMX bicykle, ktorým dáva možnosť lietať nad vlnami dráhy a začiatok ich letu svojim tvarom zosobňuje. Tvar stavby dobre informuje o charaktere športu aj športovcov, ktorému a ktorým slúži. Pritom nejde o primitívny vzťah form follows function. Je jednoduchá a vrstvovitá zároveň, tak ako bikrosová jazda, na štarte ktorej stojí a ktorú umožňuje. Nejde tu o kontext miesta, ale o kontext športu, o charakter diania, ktorý vyjadruje skvele. SLOVENSKÁ REPUBLIKA MLYNICA, KONVERZIA INDUSTRIÁLNEHO OBJEKTU — gutgut Obvykle sa pre nové využitie konvertujú industriálne stavby, ktoré majú architektonickú kvalitu a historickú hodnotu a ktoré významným spôsobom vytvárajú charakter miesta a jeho atmosféru. V prípade Mlynice nič z toho neplatí. Objektom konverzie je výrobňa pórobetónových tvárnic, súčasť „socialistického“ banálneho priemyselného areálu zo 60. rokov dvadsiateho storočia na periférii Bratislavy. Avšak architekti dokázali tejto bezduchej stavebnej štruktúre vtisnúť ducha. Dômyselná hra s vysokými a veľkorysými priestormi, ktoré dnes môžu vzniknúť iba v priemyselných objektoch, bola hraná s jasnou predstavou a presvedčivými, neraz jemnými prostriedkami. Dostavba a vložené prvky v tvrdom železobetónovom skelete, ktorý bol najskôr úplne očistený do základnej formy, sú často mäkké (drevo) a krehké (sklo), vždy však zrozumiteľne navrhnuté a rozmiestnené. Pri zachovaní a využití industriálneho charakteru a pri jemnosti a zároveň lapidárnosti intervencie celok pôsobí organickým a jednotným dojmom. Veľkorysý program, ktorý zachováva spodnú časť stavby otvorenú na konanie rôznych akcií, zatiaľ čo v hornej sú umiestnené byty, mohol byť zadaný a uskutočnený iba veľkorysým a odvážnym investorom.

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Architekti tak mali šťastie na investora, ktorému patrí rešpekt. Jeho zadanie dokázali skvele naplniť a vytvoriť dielo, ktoré je nadčasové a zároveň atraktívne. Nemenej podstatné je, že vytvára vzor na prácu s dnes rozšírenou témou rekonverzie banálnej stavebnej substancie povojnovej éry. CHATA ANUAZU — JRKVC – Peter Jurkovič Chata pri jazere pre mladý manželský pár „uchvátený oválnym priestorom tradičnej jurty“. Téma, ktorej sa v modernej architektúre venovali Gottfried Semper, Adolf Loos alebo Anton Schweighofer. Jeden z architektonických archetypov - stavba z textílií, postavená pomocou jednoduchej drevenej konštrukcie, je tu aktuálne interpretovaná. Jej oválny tvar je síce v zmysle tradície umožnený drevenou konštrukciou, avšak v tomto prípade je vyplnená nie kobercami, ale hlinou. Drevená je aj kupola pokrývajúca centrálnu obytnú miestnosť, ktorá je po obvode podľa potrieb prevádzky chaty doplnená o ďalšie priestory – niky do pôdorysného tvaru obdĺžnika. Odkazom na tkanú textilnú fasádu jurty je plášť stavby tvorený textúrou drevených latiek. Základný architektonický archetyp je tu prerozprávaný s ľahkosťou, ktorú umožňuje občasné používanie malej stavby, ktorá však užívateľom a návštevníkom poskytuje neobvyklé priestorové zážitky pri minimálnej veľkosti a dobrej funkčnosti.

PHILIPPE PROST FRANCÚZSKO RÉSIDENCE UNIVERSITAIRE CHRIS MARKER Výrazná budova 100 metrov dlhá a 30 metrov vysoká mestkého merítka a domácej monumentálnosti. Eric Lapierre dokazuje svoju schopnosť budovať mesto architektúrou umiestnenením univerzitnej ubytovne na konci porte d’Orléans nad parkovisko s dvoma úrovňami a nástupištia pre autobusy. Podobne ako Fernand Pouillon, ktorý sa rád hral s číslami, aby hovoril o svojich projektoch, Eric Lapierre postavil toľko bytov ako je dní v roku: 365. Byty 2,50 m široké a 8,50 m dlhé, ktoré sa kombinujú vo výnimočnej typologickej hre, reprodukujú typologické hry univerzitných ubytovní postavených neďaleko v medzinárodnom univerzitnom parížskom mestečku Le Corbusierom a Dubokom. Podľa štýlu Louisa Kahna, Eric Lapierre navrhol budovu s chodbami a posuvnými prvkami ako ulice, byty ako domy, dvojposchodové spoločné priestory zasadené do hrúbky budovy ako verejné budovy a tiež s výťahom hromadnej prepravy, gesto voči RATP, pre koho bola táto ubytovňa postavená. Eric Lapierre pozýva navštevníka a bývajúceho prežiť zážitok, dáva priestor na výstup v budove spolu s objavovaním panorámy mesta, ktoré ho obklopuje. Namiesto tradičnej tmavej kabínky výťahu nám ponúka panoramatickú kabínu ktorá sa, na spôsob lanovky, pohybuje šikmo. Budova, ktorá inscenuje pohyb života svojím výťahom a svojimi červenými žalúziami. Na vyriešenie šikmého zlomu na strane ulice sa v budove nachádza nekonečné schodisko so schodami, na ktorých

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sú napísané slová rozprávača filmu La jetée Chrisa Markera, ktorému je budova venovaná. Tento projekt je výsledkom procesu, ktorý začal na vynikajúcej výstave, ktorú Eric Lapierre navrhol v pavilóne Arsenalu v roku 2002: Identification d’une ville, architectures de Paris. BELLEVILLE Štúdium Septembre vo svojej prvej postavenej budove realizuje nenápadnú intervenciu, architektúru, ktorá je zadržiavaná predmestskou štruktúrou, svedkom premien Paríža. Rue de Belleville, oproti budove HBM, z tehál a betónu bola pôvodne malou budovou spočívajúcou z prízemia pokrytého ďalším bytom s troma vyššími úrovňami. Jeho jednota mu umožňuje čeliť budove oproti. Obloženie stien smaltovanými tehlami v pôvodnej časti a parížskym obložením v časi novej tvorí jednotu všetkého a čitateľnosť častí. Pravidelný rytmus častí fasád úmyselne skladá reč predmestia, zatiaľ čo vo vnútri parcely sa postupne pracuje s objemom. Na zdôraznenie existujúceho bolo vybrané drevo, ktoré sa inštaluje jednoducho a je ľahké, bez ohrozenia taktickej schémy celku. Konštrukčný model tak dokazuje rozvážnu konštrukčnú inteligenciu a ekologické zameranie. Sledujúc túto budovu, ktorú architekti premenili opatrne a rafinovane, ma napadajú slová básnika Paula Verlaina: „Ni tout à fait le même, ni tout à fait un autre.“ (Ani to isté, ani celkom iné.)

PAOLO ZERMANI TALIANSKO ROZHĽADŇA PRE JEDNU OSOBU — Architekt Amanzio Farris Tento projekt malých rozmerov je skvelým príkladom originálneho charakteru talianskej architektúry. Prostredníctvom pár citlivých prvkov - schody a sedadlo z prírodného kameňa, táto rozhľadňa predstavuje významný prvok spojenia priestoru človeka a štruktúry prírodnej scenérie. Ukazuje syntézu tém, ktoré časom orientovali tvorbu vlastnej scenérie a upevnili jej expresívne modality. Trasa, zastávka, ticho, vzdialenosť, výhľad sú témy tohto projektu. V priestore pár metrov štvorcových sa nimi realizuje správna a stimulujúca poetická syntéza. MUSEO DEGLI INNOCENTI (MÚZEUM NEVINNÝCH). FLORENCIA — Ipostudio Architetti Projekt nového Múzea nevinných vo Florencii je striedmou kombináciou prvkov novej architektúry, ktoré sú konfrontované s výnimočnou prítomnosťou starovekej architektúry. Predstavuje účinný príklad možného vzťahu medzi dedičstvom veľkolepej historickej talianskej architektúry a jej prítomnosťou. Múzeum, ako hodnota a svedectvo vzniká ako obnovená živá a sugestívna udalosť architektonickej továrne, javí sa ako prekonanie čisto konzervatívneho prístupu a vyjadruje sa prostredníctvom nástrojov dneška a kritickej interpretácie.


FUENSANTA NIETO PORTUGALSKO + ŠPANIELSKO PORTUGALSKO Projekty vybrané v Portugalsku sú jasným príkladom diel rozdielnych dimenzií (veľká priemyselná infraštruktúra v Souto Moura) a malý „živý pavilón“ v Diogo Aguiar. Napriek tomu, vo svojej rôznorodosti oba predstavujú spoločnú konceptuálnu, formálnu a materiálnu priezračnosť, ktorá je charakteristická pre výnimočnú kvalitu portugalskej architektúry postupne potvrdzovanú viacerými generáciami. Pavilón Guimaraes svojimi malými rozmermi nastoľuje zložité a ambiciózne problémy: vsadenie novej miestnosti, ktorá zmení existujúcu starú pivnicu, vzťah medzi architektúrou a krajinou a dizajn minimálneho obytného priestoru. Operácia spočíva v pridaní objemu ľahkého dreva na kamenný základ na vytvorenie jednoduchého priestoru, ktorý zahrňuje terén, ktorému sa dom topograficky prispôsobuje. Tieto tri témy, spoločné súčasnej diskusii v architektúre (použitie existujúcich štruktúr, integrácia okolia a flexibilnosť programu príbytkov) architekti štúdia Diogo Aguiar dovádzajú do dôsledkov veľmi jednoducho a elegantne, s rovnováhou medzi abstraktnosťou a materiálnym vyjadrením. Elektráreň priehrady „Foz Tua“ je naopak zložitým dielom veľkých rozmerov, hydroelektrická infraštruktúra, do akej architekti málokedy aktívne zasahujú. Architekt Souto Mora týmto veľmi náročným projektom dokazuje svoje majstrovstvo pri dominovaní extrémnych rozmerov. Metafora „stroj vsadený do prírody“ sa vytvára ukrytím väčšiny inžinierskych prác a obnovením okolitej krajiny takým spôsobom, aby prítomnosť stavby bola minimálna, napriek veľkosti zásahu. Samostatné prvky sa vo svojej materiálnosti a prejave štiepia v budovách rôznych rozmerov na ventilovanie, komíny atď. na formy štvorcové, valcové alebo kužeľové, ktoré vytvárajú alternatívnu umelú krajinu dialógujúcu s topografiou a prírodným okolím. Majstrovstvo, s ktorým Souto Moura kontroluje rôzne veľkosti vyjadruje

dôležitosť, ktorú architektúra má ako sprostredkovateľ medzi inžinierstvom a krajinou. ŠPANIELSKO Vybrané španielske diela sa vynímajú svojím blízkym vzťahom k mestskému kontextu. Na rozdiel od portugalských príkladov, ktoré sú zasadené do prírodného prostredia, projekty RAW v Reinose a MGM v Zamore sú zhodné vo svojej odpovedi voči mestu a jeho existencii. Stredisko Impluvium Community je komunitnou budovou, akýmsi flexibilným kontajnerom pre verejné použitie, ktorý sa definuje najmä svojou strechou a vonkajším priestranstvom. Objem výraznej štvorcovej dlažby organizuje okolitú zónu, obsadzujúc priestor medzi tradičnými budovami s naklonenou strechou a nepravidelnými tvarmi. Použitie dreva ako materiálu štruktúry a priestoru podčiarkuje jasnosť a tektonický prejav diela a zároveň vyvoláva pocit ľahkosti a nadväznosti medzi ulicami a dvorom-impluvio, ktorý dominuje vnútorný priestor. Autori vyjadrujú svoju dôveru kvalite materiálu a konštrukčnej schopnosti architektúry na vytváranie nových spôsobov riešenia verejného priestoru. Obnova a rozšírenie divadla Ramos Carrión Sarou Giles a Josém Morales je zložitým projektom s dlhou dobou výstavby niekoľkých rokov v kontexte, ktorý implikuje rekonštrukciu divadla zo začiatku XX. storočia a jeho rozšírenie a premenu na kongresové centrum. Zasadené do hustého mestského prostredia, rozhodnutie rozšíriť ho nad rieku Duero prostredníctvom terasy alebo námestia vytvára verejný priestor, ktorý neočakávate medzi existujúcimi ulicami a domami. Dialóg medzi novými zákrokmi a rekonštruovaným divadlom nastoľuje kontinuitu v architektúre, ktorá rieši zbaviť sa „váhy“ vďaka medzerám a fragmentácii jeho objemov. Dominujúce použitie skla vo všetkých nových prvkoch prispieva k tvorbe želateľnej ľahkosti a „neúplnej“ architektúry, ktorú architekti spomínajú. Ide o prácu veľkej kvality, ktorá si je vedomá úlohy súčasnej architektúry vo vzťahu s historickým a mestským kontextom.

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SPANISH

COMENTARIOS DEL JURADO STÉPHANE BEEL BÉLGICA REFUGE II — Wim Goes Architectuur BVBA Arquitectura de necesidad. Tal y como escribe el propio Wim Goes: «El proyecto imagina una arquitectura y un proceso de construcción que ayuda a la dolencia no solo físicamente, sino también psicológica y mentalmente. El uso de materiales básicos y una tecnología sencilla permite que más de cien personas, familias y amigos de los pacientes, participen en la construcción de Refuge, ofreciendo apoyo moral en las circunstancias del paciente y transformando una situación de sufrimiento en una experiencia donde se redescubren el valor de la comunidad y los lazos afectivos. La arquitectura aporta por lo tanto un mensaje de amor, amistad y solidaridad... La facilidad con la que se pueden descomponer los elementos de construcción y la completa reciclabilidad de los materiales crean una metáfora que refleja el ciclo de la vida.» No suele concebirse el ciclo completo de vida de un edificio desde el inicio. Esto refleja la extraordinaria fuerza del proyecto, donde el arquitecto ha aprovechado la naturaleza de la intervención temporal y su demolición para planificar primero un proceso y después un proyecto. Un proceso que aborda lo finito y al mismo tiempo crea una nueva construcción donde se une a las personas. El significado de este proceso es mucho más amplio que la dimensión limitada de la intervención en cuestión. La naturaleza temporalmente específica conlleva a un uso infinito de los materiales magistralmente empleados. Los materiales empleados ya existen en los campos y bosques donde se localiza el proyecto, a partir Del suelo por donde andamos. Este tipo de edificio circular y sostenible y su flexibilidad para trascender la arquitectura. Es el primer acto de la arquitectura en sí misma. Un acto que ofrece ante todo cobijo y protección para las personas. VISITOR CENTRE ABBEY SITE OF VILLERS-LA-VILLE — Binario architectes sciv sprl La especial tarea de restaurar la unidad del emplazamiento ha llevado a un enfoque específico donde la arquitectura, el diseño del paisaje, la infraestructura y la escenografía están muy integrados para conseguir esa unidad deseada tanto en edificios como en paisaje. En este sentido, hay una conexión tanto interna como externa sin que afecte a la arquitectura original de estructuras antiguas, y los espacios laterales de la Route Nationale se unen. El uso de los mismos materiales tanto dentro como fuera favorecen esta cohesión. BALENMAGAZIJN GENT — TRANSarchitectuur stedenbouw TRANS, una oficina de arquitectura y planificación urbana joven basada en Gante, está realizando sus primeros

proyectos a gran escala con la misma sofisticación que en Balenmagazijn. En este proyecto, una de las primeras realizaciones de TRANS, la relación entre espacialidad y materialidad, entre la gran dimensión y el detalle, tan típico en todo su trabajo, está inmediatamente presente. Esto da lugar a un trabajo particularmente coherente en el que el concepto sencillo y claro que forma la bases, se ha transformado en un edificio de capas fascinante que contiene más significados que pudiera sugerir el sencillo esquema de inicio. PETR PELČÁK REPÚBLICA CHECA + ESLOVAQUIA REPÚBLICA CHECA ESCUELA INFANTIL EN NOVÁ RUDA — Arquitecto Petr Stolín La obra representa un parque infantil donde los niños aprenden a orientarse en un espacio que simboliza el mundo. Ofrece una variedad de vistas y perspectivas inusuales, espacios de proporciones originales para moverse entre ellos y para que sean usados, y todo ello enriquecido con un juego suave de superficies transparentes, translúcidas y sólidas. Los niños aprenden a percibir los materiales y topografías del mundo y de sus lugares, escondiéndose en las esquinas de su escuela y subiendo y bajando las escaleras. Los arquitectos aprovecharon su gran experiencia e interés por construcciones de pequeña escala, medidas inusuales y simples jugando con la transparencia y translucidez que ofrece el vidrio y su fibra que envuelve el edificio. PISTA DE SALIDA PARA BMX — Arquitecto Ondřej Tuček Bicicross es una disciplina del ciclismo de adrenalina que combina tierra y aire. Al igual que alguien podría opinar que no se trata de ciclismo tradicional, otro podría argumentar que la pista de salida para BMX tampoco es lo que denominaríamos arquitectura clásica. Sí, está hecha de acero al igual que las bicicletas BMX, que gracias a ello pueden volar por encima de las ondulaciones de la pista, mientras que la pista representa el principio del vuelo. La forma de la obra transmite muy bien las características del deporte y de los deportistas a los que está destinada. Sin embargo no se trata de la relación primitiva form follows function. Es simple y variada a su vez, al igual que el propio bicicross, siendo el inicio de la ruta del mismo. No se trata del contexto del espacio, sino del del deporte, además de su naturaleza, siendo todo ello expresado de forma magnífica. REPÚBLICA ESLOVACA MLYNICA, CONVERSIÓN DE UN EDIFICIO INDUSTRIAL — gutgut Lo habitual es que para un nuevo uso se utilicen obras industriales con valor arquitectónico o histórico y que formen parte del carácter del lugar y de su ambiente. En el caso de Mlynica nada fue así. El objeto de la conversión era una fábrica de bloques de hormigón celular, situada en una zona industrial banal de la época comunista de los años sesenta del siglo pasado situada en las afueras de Bratislava. Los arquitectos consiguieron darle alma a este edificio sin gracia. Se trata de un juego consciente con espacios altos y generosos que hoy en día pueden existir solamente en obras industriales, todo ello realizado con una idea clara mediante intervenciones firmes a la par que suaves.

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De la obra sólida de hormigón armado ha quedado solo su estructura básica y se han incorporado elementos blandos (madera) y frágiles (vidrio), pero siempre proyectados e instalados de una forma entendible. Al haberse mantenido el carácter industrial, y al ser las intervenciones suaves pero lapidarias a su vez, el conjunto resulta orgánico y compacto. El espléndido proyecto que conserva la parte inferior de la obra y la destina a la organización de eventos, mientras que la parte superior acoge apartamentos, ha sido encargado y realizado por un promotor generoso y valiente. Los arquitectos tenían la suerte de trabajar para un promotor que merece todo el respeto, pero fueron capaces de cumplir con el proyecto maravillosamente y crear una obra que es atemporal y a su vez atractiva. No menos importante es su papel como modelo para la hoy tan extendida reconversión de sustancias banales de la arquitectura de la época comunista.

como casas, espacios comunes en doble altura incrustados en el grosor del inmueble como edificios públicos y finalmente el ascensor del sistema de transporte común, un guiño a la RATP, para la que se ha construido esta residencia. Así Eric Lapierre invita al visitante y al habitante a vivir una experiencia, la de un recorrido en ascenso dentro del edificio junto con el descubrimiento panorámico de la ciudad que lo rodea. En lugar de la tradicional cabina de ascensor oscura, nos ofrece una cabina panorámica que al igual que un funicular se desplaza en oblicuo. Un edificio que escenografía el movimiento de la vida con su ascensor y sus estores rojos. En el patio, respondiendo a una falla oblicua del lado de la calle, una escalera sin fin donde se escriben en sus peldaños las palabras de la voz en off del corto La jetée de Chris Marker a quien se dedica el edificio.

CASA DE CAMPO ANUAZU — JRKVC – Peter Jurkovič Casa de campo junto al lago para una pareja joven “enamorada del espacio oval de la yurta tradicional”. Tema que mantuvieron en la arquitectura moderna Gottfried Semper, Adolf Loos o Anton Schweighofer. Se trata de uno de los arquetipos de la arquitectura: obra de materiales textiles, construida mediante una estructura simple de madera, pero interpretada de forma actual. Su forma oval ha cumplido con la tradición gracias a la estructura de madera, pero en vez de rellenarla con alfombras, se usó arcilla. La cúpula que cubre el espacio central de la vivienda es también de madera, y en su perímetro hay otro espacio, en este caso un nicho con planta en forma de rectángulo para cubrir las necesidades funcionales de la casa. Como referencia a la fachada tejida de la yurta tenemos el envoltorio de la obra formado por listones de madera. El arquetipo básico arquitectónico se reeinterpreta aquí con la ligereza que le da el uso ocasional de una obra pequeña, pero que ofrece a los usuarios y visitantes una experiencia inusual dentro de un espacio pequeño, pero funcional.

Finalmente, este proyecto es el fruto de un proceso que empieza en la magnífica exposición que Eric Lapierre diseñó en 2002 en el pabellón del Arsenal: Identification d’une ville, architectures de Paris.

PHILIPPE PROST FRANCIA

Para realzar lo existente, se ha seleccionado la madera por su facilidad de instalación y ligereza, sin poner en peligro el esquema táctico del conjunto. El modelo constructivo da muestra así de una inteligencia constructiva y de un enfoque ecológico razonados.

RÉSIDENCE UNIVERSITAIRE CHRIS MARKER Un edificio potente de 100 metros de largo y 30 metros de alto a escala urbana y monumentalidad doméstica. Al establecer, en el final de la porte d’Orléans, la residencia universitaria en dos niveles de parking y de dársenas para autobús, Eric Lapierre da prueba de su capacidad de construir la ciudad haciendo arquitectura. A imagen de Fernand Pouillon al que le gustaba jugar con los números para hablar de sus proyectos, Eric Lapierre construye tantas viviendas como días tiene un año: 365. Apartamentos de 2,50 m de ancho por 8,50 m de largo que combinados en un excelso juego tipológico se hacen eco de los juegos tipológicos de residencias universitarias edificadas por Le Corbusier y Dubok, no lejos de allí, en la ciudad universitaria internacional de París. Siguiendo el estilo de Louis Kahn, Eric Lapierre concibe un edificio con pasillos y corredizos como calles, apartamentos

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INTERNATIONAL ARCHITECTURE AWARD

BELLEVILLE Para su primer inmueble construido, el estudio Septembre realiza una intervención sutil, una arquitectura retenida en el tejido del suburbio, testigo de las etapas de la transformación de París. Rue de Belleville, frente a un edificio HBM en ladrillo y hormigón, era originariamente un pequeño edificio con una planta baja cubierto de otro piso con tres niveles superiores. Su unidad le permite hacer frente a su edificio de enfrente. El tratamiento de las fachadas en ladrillo esmaltado en la parte antigua, el revestimiento parisino en la parte nueva: unidad de todo y legibilidad de las partes. El ritmo regular de los tramos de las fachadas conforma una escritura voluntariamente de suburbio, mientras que el volumen se trabaja gradualmente en el interior de la parcela.

Observando este inmueble que los arquitectos han transformado con cuidado y refinamiento, me vienen a la mente, como halago, las palabras del poeta Paul Verlaine: «Ni tout à fait le même, ni tout à fait un autre» (NdT.: ni el mismo, ni otro distinto). PAOLO ZERMANI ITALIA MIRADOR PARA UNA SOLA PERSONA — Arquitecto Amanzio Farris Este proyecto de pequeño tamaño es un refinado ejemplo del caracter original de la arquitectura italiana. A través de unos pocos y sensibles elementos, la escalera y el asiento en piedra natural, este mirador representa un significativo elemento de conexión entre el espacio del hombre y la estructura del paisaje natural, mostrando


una síntesis de los temas que, con el tiempo, han guiado la composición del paisaje en sí mismo y han fijado sus modalidades expresivas. El recorrido, la parada, el silencio, la distancia, las vistas son los temas de este proyecto. Con ellos, en una superficie de pocos metros cuadrados, se realiza una correcta y estimulante síntesis poética. MUSEO DEGLI INNOCENTI (MUSEO DE LOS INOCENTES). FLORENCIA — Ipostudio Architetti El proyecto del nuevo Museo degli Innocenti de Florencia, con una comedida combinación de los elementos constitutivos de la nueva arquitectura y puestos en relación con la extraordinaria presencia de la arquitectura antigua, representa un eficaz ejemplo de la posible relación entre la herencia de la gran arquitectura histórica italiana y de su actualidad. El Museo, en su función de valor y testimonio, surge como un renovado momento vivo y sugerente del acontecimiento de la fábrica arquitectónica, mostrándose como la superación de una actitud puramente conservadora, y expresándose a través de las herramientas propias de la contemporaneidad y de la interpretación crítica. FUENSANTA NIETO PORTUGAL + ESPAÑA PORTUGAL Los proyectos seleccionados en Portugal son un claro ejemplo de obras de distinta dimensión (una gran infraestructura industrial de Souto Moura y un pequeño «pabellón viviente» de Diogo Aguiar. Y sin embargo, ambos representan en su diversidad una claridad conceptual, formal y material común que caracteriza la extraordinaria calidad de la arquitectura portuguesa que se ha ido confirmando a lo largo de varias generaciones. El pabellón de Guimaraes plantea con su pequeño tamaño temas complejos y ambiciosos: la inclusión de una nueva habitación que transforme la preexistencia de una bodega antigua, la relación de la arquitectura con el paisaje y el diseño del espacio habitable mínimo. La operación consiste en añadir un volumen de madera ligero a una base de piedra para generar un espacio contenido que engloba el terreno donde se adapta topográficamente la vivienda. Estos tres temas, comunes en el debate arquitectónico contemporáneo (el uso de estructuras existentes, la integración en el entorno y la flexibilidad del programa de la vivienda), se llevan al límite por los arquitectos de Diogo Aguiar Studio con gran sencillez y elegancia, con un equilibrio entre la abstracción y la expresión material. La central eléctrica de la presa «Foz Tua» es, al contrario, una obra compleja de gran dimensión, una infraestructura

hidroeléctrica en la que los arquitectos pocas veces intervienen activamente. Eduardo Souto Mora demuestra en este proyecto de gran dificultad su maestría en dominar dimensiones extremas. La metáfora de la «máquina insertada en el paisaje» se crea al soterrar la mayoría del trabajo de ingeniería y al recuperar el paisaje circundante para que la presencia de la construcción se minimice a pesar del enorme tamaño de la intervención. Los elementos autónomos en su materialidad y expresión se fragmentan en edificios de varias dimensiones, para ventilación, chimeneas, etc. en formas cúbicas, cilíndricas o cónicas que generan un paisaje alternativo artificial en diálogo con la topografía y el entorno natural. La maestría con la que Souto Moura controla los distintos tamaños transmite la importancia que tiene la arquitectura como mediador entre la ingeniería y el paisaje. ESPAÑA Las obras españolas seleccionadas destacan por su cercana relación con el contexto urbano. A diferencia de los ejemplos portugueses, ambos insertados en el entorno natural, los proyectos de RAW en Reinosa y MGM en Zamora coinciden en su respuesta a la ciudad y su preexistencia. El centro Impluvium Community es un edificio cívico, una especie de contenedor flexible de uso público que se define esencialmente por su cubierta y su recinto externo. Un volumen marcado del pavimento cuadrado reorganiza la zona circundante ocupando el espacio entre los edificios tradicionales con cubiertas inclinadas y trazos irregulares. El uso de la madera como material estructural y de recinto acentúa la claridad y la expresión tectónica de la obra, transmitiendo al mismo tiempo la ligereza y la continuidad entre las calles y el patio-impluvio que domina el espacio interior. Los autores expresan su confianza en la calidad material y constructiva de la arquitectura para generar nuevas maneras de concebir el espacio público. La renovación y ampliación del teatro Ramos Carrión por Sara Giles y José Morales es un proyecto complejo de larga ejecución, durante varios años, en un contexto que implica la rehabilitación de un teatro de principios del siglo XX y su ampliación y transformación en centro de congresos. Insertado en un tejido urbano denso, la decisión de ampliarse sobre el río Duero a través de una terraza o plaza crea un espacio público inesperado dentro de las calles y edificios existentes. El diálogo entre las nuevas intervenciones y el teatro rehabilitado establece una continuidad en una arquitectura que gestiona perder «peso» a través de sus espacios intermedios y la fragmentación de su volumetría. El uso predominante del vidrio en todos los nuevos elementos contribuye a crear la ligereza deseada y la arquitectura «incompleta» a la que aluden los arquitectos. Es un trabajo de gran calidad consciente del papel de la arquitectura contemporánea en relación con el contexto histórico y urbano.

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INTERNATIONAL ARCHITECTURE AWARD

NATIONAL PRIZE. BELGIUM Refugee II: Temporary House Wim Goes Architectuur BVBA 1

WINNING PROJECTS

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LOCATION OF THE WINNING PROJECTS IN THE BIGMAT COUNTRIES

HO Ba TR

NATIONAL PRIZE. FRANCE 3 The Chris Marker Student Residence Éric Lapierre Experience 9 FINALIST. FRA Belleville Septembre

NATIONAL PRIZE. SPAIN IMPLUVIUM_Community Center in Reinosa RAW/deAbajoGarcia FINALIST. PORTUGAL Pavilion House Andreia Garcia Architectural Affairs and Diogo Aguiar Studio 11

BIGMAT INTERNATIONAL ARCHITECTURE AWARD GRAND PRIZE Power Plant for the “Foz Tua” Dam Souto Moura Arquitectos

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13 FINALIST. SPAIN Renovation and Extension of Ramos Carrión Theatre MGM Arquitectos


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FINALIST. BELGIUM Visitor Centre Abbey site of Villers-la-Ville Binario architectes sciv sprl

NATIONAL PRIZE. CZECH REPUBLIC Kindergarten Nová Ruda Petr Stolín Architekt s.r.o.

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ONORIFIC SPECIAL MENTION YOUNG ARCHITECTS alenmagazijn Gent RANS architectuur stedenbouw

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8 FINALIST. CZECH REPUBLIC BMX starting ramp Architekt Ondřej Tuček

NATIONAL PRIZE. SLOVAKIA 5 Adaptation of the former factory Mlynica gutgut

12 FINALIST. SLOVAKIA AnuAzu JRKVC

10 FINALIST. ITALY Museo degli Innocenti Ipostudio Architetti

4 NATIONAL PRIZE. ITALY Belvedere per una persona / View for just one person Amanzio Farris Architetto


POWER PLANT FOR THE “FOZ TUA” DAM SOUTO MOURA ARQUITECTOS BIGMAT INTERNATIONAL ARCHITECTURE AWARD GRAND PRIZE




BIGMAT INTERNATIONAL ARCHITECTURE AWARD

INTERNATIONAL GRAND PRIZE. PORTUGAL

Power Plant for the “Foz Tua” Dam Souto Moura Arquitectos

Project title Power Plant for the “Foz Tua” Dam

Our main concern was to eliminate all the aspects of a “building” that this construction involved, reducing its appearance to that of a “machine” inserted in the landscape.

Location Foz do Tua, Portugal

This operation had three phases and took place at three sites that we describe below:

Year 2018 Office Souto Moura Arquitectos S.A. Authors Eduardo Souto de Moura, architect Collaborators Tiago Figueiredo, architecture coordinator Elisa Lindade, architect Diogo Guimarães, architect Daniel de Castro, architect Filipa Biscaínho, models Simão Sandim, models GOP and Manuel Pedro Melo, engineering and landscape EDP + COBA + GOP + QUADRANTE, engineering Tiago Monteiro Henriques, environmental recuperation and ecological restoration Type of work Private Photographs Luís Ferreira Alves Juan Rodriguez Carlos Castro

1. Design of a concrete platform, the “cover” for the shafts and the large atrium buried underground, to house a movable bridge, transformers and the first electricity pylon. These elements were placed as close together as possible, and, because of their nature, they must necessarily be sited in the open. The finishing for this platform will consist of the typical Portuguese granite cobbled pavement. 2. This platform, measuring 36 metres in width, required a 45º cut to be made into the mountain over a distance of 60 metres. In order to ensure that the final form would be as “natural” as possible, concrete walls were not used and the rock was cut and fixed in place with pinnings at every 3 metres and clad, for safety reasons, with almost imperceptible wire netting. This hillside will be covered with holes in the rock with 2x2 metres with a depth of 1 metre, in which olive trees will be planted in order to blend in with the appearance of the surrounding area. At the “foot of the mountain”, the plant’s technical building will be constructed in the form of stepped terraces and covered with topsoil in order to continue the finishing that was given to the cut made into the hillside. This building will only be visible through some metal “grottoes”, doors that provide access to the various machines that need to be protected. 3. The social building, will be located between the two cylinders of the servomotors and will use the platform as its roof. The whole of this construction will remain underground. All that will be seen of the power plant will be the group of that must remain in the open, artificially natural…

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REFUGEE II: TEMPORARY HOUSE WIM GOES ARCHITECTUUR BVBA NATIONAL PRIZE BELGIUM




BIGMAT INTERNATIONAL ARCHITECTURE AWARD

NATIONAL PRIZE. BELGIUM

Refugee II: Temporary House Wim Goes Architectuur BVBA

Project title Refugee II: Temporary House Location Nevele, Belgium Year 2015 Office Wim Goes Architectuur BVBA Author Wim Goes, architect Collaborator Tim de Messemaeker, architect Type of work Private Photographs Filip Dujardin

‘I do accept dying. Much more difficulties I have with friends and family looking at me in the horizon of disease and death’, the client shared with me. He was recently diagnosed with amyotrophic lateral sclerosis, better known as ALS and asked me to adjust a concrete carport, adjacent to his house, with an eye on the future ergonomic needs during his shortened lifespan. We knew we had no time to waste considering the aggressive and degenerative nature of the condition. The disease is progressive, symptoms getting worse over time. The time from onset to death is three to five years, during which the diseased will ultimately become unable to move, to speak and eat, untill finally breath is taken away. The challenge was how to align the cycle of architectural Life with that of human Life? During the summer, more than 100 volunteers contributed in constructing Refuge II. While building collectively, friends and family could recognize themselves as a community, working together, in solidarity, celebrating life. Sand (loam) and straw are the materials that were built with. People remembered the touch, the smell, the play from childhood throughout these elements. After the client will pass away, the building materials will be returned to nature.

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KINDERGARTEN  NOVÁ RUDA PETR STOLÍN ARCHITEKT NATIONAL PRIZE CZECH REPUBLIC




BIGMAT INTERNATIONAL ARCHITECTURE AWARD

NATIONAL PRIZE. CZECH REPUBLIC

Kindergarten Nová Ruda Petr Stolín Architekt s.r.o.

Project title Kindergarten Nová Ruda Location Liberec, Czech Republic Year 2018 Office Petr Stolín Architekt s.r.o. Authors Petr Stolín, Ing. arch. Alena Mičeková, Ing. arch. Type of work Public Photographs Alexandra Timpau, Tomáš Malý

This kindergarten building is atypical not only in aspect but also in that it provides freedom to its small inhabitants. The building is designed to encourage exploration and appropriation of space, by inviting the children to change its configuration and to never perceive it as an enclosure. The classrooms are not only rectangular boxes, but they are tall and narrow, on sides extended endlessly by large parallel windows. The children can easy get out, where a double facade creates a semi-public space. This delicate translucent layer is the border between the children and the outside world. Free run around the built volumes of the kindergarten keeps the little occupants’ stay well balanced between outdoor and indoor. The solution offers children the possibility of endless discovery. They can learn about various architectural configurations that are present in the building, and modify and adapt these spaces as they see fit. The children’s activities vary through the height of the building: in the lower part there is a bed section, the quietest place, and the floor above houses the playroom. The material palette is based on light neutral tones to receive its color through the intervention of its inhabitants and not by the will of the designer. Now, the walls are covered in drawings and the floors are carrying a new gentle load of colorful toys. We believe the building could lead the new generation to explore, feel empowered, and be responsible for the environment they grow up in. The new Kindergarten - Nová Ruda in Vratislavice nad Nisou - solves the need of the city district regarding its growing population, by providing educational spaces and a leisure area for children. The house does not need a fence. The outer shell blends the two slim volumes of the two compartments, which are connected in the back by common and functional areas. Thus, this connection turns the inner atrium into a sheltered and pleasant space. This concept of material transparency and spacial layering enhances the whole mass and creates a sense of security. The outer facade of the house is a soft veil that embraces all the inner world of the kindergarten.

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THE CHRIS MARKER  STUDENT RESIDENCE ÉRIC LAPIERRE  EXPERIENCE NATIONAL PRIZE FRANCE




BIGMAT INTERNATIONAL ARCHITECTURE AWARD

NATIONAL PRIZE. FRANCE

The Chris Marker Student Residence Éric Lapierre Experience

Project title The Chris Marker Student Residence Location Paris, France Year 2018 Office Éric Lapierre Experience Authors Éric Lapierre, architect Laurent Esmilaire, architect Collaborators BATISERF, structural engineering FORGUE, construction economist INEX, fluid mechanics engineer PEUTZ, acoustic engineer Type of work Private and Public Photographs Filip Dujardin

The Chris Marker student residence defines a new standard for university housing by dramatically expanding collective spaces devoted to social interactions, thus transforming it into a kind of social condenser. Trusting in the power found in the formal organization of space, common areas are located on each level to improve the efficiency of this expansión: whatever level the student lives one, he has a common area close by. These areas create a diagonal cascade of space running through the whole building from bottom to top to bring the urban energy of the boulevard below all the way to the last floor. This diagonal is carved out of the mass of individual apartments to improve upon the dialectical relationship between intimacy and collectivity. All these collective spaces are linked one to the other by an oblique elevator running along the main façade. Half (400 sq m) of the common areas are inner lounges, and half are outside patios linked to the inside. The whole building functions as a condensed city: passageways and corridors are its streets, apartments its houses, inner common areas public buildings, outside patios public squares, and the oblique lift its public transportation system. The whole building is settled within a superimposed parking and repair garage that we built for eight lines of Parisian public transport buses. In this way, industrial amenities are absorbed into the urban fabric and also serve as a pretext for the construction of public housing. The Chris Marker residence is made of concrete cast on site. No holes for the forms and no expansion joints make the building fit naturally into the Parisian tradition of building with stone.

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BELVEDERE  PER UNA PERSONA AMANZIO FARRIS  ARCHITETTO NATIONAL PRIZE ITALY




BIGMAT INTERNATIONAL ARCHITECTURE AWARD

NATIONAL PRIZE. ITALY

Belvedere per una persona / View for just one person Amanzio Farris Architetto

Project title Belvedere per una persona / View for just one person

The transformation of a tiny place at the top o fan ancient village.

Location Roma, Italy

An open space with tiny dimensions – quite like in inner spaces – living toghether with a large landscape view.

Completion 2015

You can discover it – just when the walk through the village seems to end – jumping on the narrow steps of a ladder: reaching the top, the built elements and the landscape appear as a whole composition, in which the big and the little have ottically the same weight.

Office Amanzio Farris Architetto Authors Amanzio Farris, architect Collaborators Anna Rocchetta, architect Leo Viola, light designer Francesda De Felice, light designer

A lonely seat absorbs all the different directions of existing elements, and it’s shaped to lift the observer’s eyes over the edge of railing, to look without obstructions. The vertical stone – slightly rotated on the wall closet o it, to improve the visión of it from down – it’s the setting for the silhouette of the person that seats.

Type of work Public

It’s an invitation – made of stone – for staying and for contemplation of landscape.

Photographs Amanzio Farris

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ADAPTATION  OF THE FORMER  FACTORY MLYNICA GUTGUT NATIONAL PRIZE SLOVAKIA

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BIGMAT INTERNATIONAL ARCHITECTURE AWARD

NATIONAL PRIZE. SLOVAKIA

Adaptation of the former factory Mlynica gutgut

Project title Adaptation of the former factory Mlynica Location Bratislava, Slovakia Year 2017 Office gutgut, s.r.o. Authors Lukaš Kordík, architect Štefan Polakovič, architect Jana Benková, architect Tomáš Vrtek, architect Collaborators Roman Zitnaský, architect Patricia Botková, architect Katarína Bergerová, architect Type of work Private Photographs BoysPlayNice Photography & Concept (Jakub Skokan & Martin Tuma)

The building of Mlynica is part of a large post-industrial area of Light Building Materials in Bratislava. Sinde 1960s, porous prefabricated concrete blocks, slabs and panels have been produced here. Production took place until 1992. After privatization, the new owners sold off the complex and a gradual disintegration of the structures began. The architectural design builds on the structural logic of the original building. The reinforced concrete frame filled with porous concrete masonry façade is retained and new programme is inserted into the existing container. The façade is opened up purposefully in places where it aligns with the new layout, without compromise and with respect to the load-bearing capacity of the existing perimeter structures. The new openings have a free and readable composition as opposed to the original rational mesh of window openings typical o fan industrial building. The objetct of Mlynica is vertically divided into three functional blocks. The design of the individual parts of the new programme – event space, administrative premises and flats – communicates via the central space of the former production hall. The rigid construction of the structural skeleton is complemented by transparent partitions of the new layout, soft timber infill panels. Profilit walls and exposed media ducts. Three new floors for administration are created within the original concrete hoppers which are made accessible from the central hall. The design builds on the contrast between old and new highlighting the quality of the original building. With the approach it is necessary to get rid of unnecessary layers in order to emphasize the structural logic of the building and thus maximise the potential for its new use. The reconstruction transforms the former industrial complex used for purely technical production into a modern mixeduse building for cultural events, businesses presentation, administration and in smaller part open plan living.

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IMPLUVIUM_COMMUNITY  CENTER IN REINOSA RAW/DEABAJOGARCIA NATIONAL PRIZE SPAIN

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BIGMAT INTERNATIONAL ARCHITECTURE AWARD

NATIONAL PRIZE. SPAIN

IMPLUVIUM_Community Center in Reinosa RAW/deAbajoGarcia

Project title IMPLUVIUM_Community Center in Reinosa Location Reinosa, Spain Year 2017 Office RAW/deAbajoGarcia Authors Begoña de Abajo Castrillo, architect Carlos García Fernández, architect Collaborators Antonio Rincón Hontanar, architect Jesús Gangas Cuesta, quantity surveyor Miguel Ángel Palencia García, quantity surveyor EUTECA SL, structure consultants PROYECTA SL, installations constultants Type of work Public Photographs Montse Zamorano

IMPLUVIUM is a large roof built with a laminated timber structure. Its components were industrialized and assembled on site, replacing a former market demolished after a fire. The roof, together with four boxes that arise from the ground, is the necessary infrastructure that allows many events to happen, both spontaneous and programmed under the same ceiling. The squared plan of the Community Center is organized by the strategic location of the mentioned boxes and a courtyard that polarized the interior space. The courtyard is decentered to generate different scale spaces in the ground level. Also, its floor is lowered and moved in relation with the glass enclosure generating outside shaded sitting areas for the summer time and an inside adjacent bench that receives the direct sunlight through the windows during the winter. The ground floor is in continuity with the site level on the South, extending the public space towards the inside and connecting visually the whole building with the street. In addition, the strategy used in section allows the introduction of a mezzanine that hung from the main structure and offers higher privacy spaces. Its location in the perimeter creates a lineal layout for the plan with a more individual scale, taking advantage of the natural light, filtered by the wooden lattice that surrounds the building. The variety of particular situations, in and by the courtyard, around the space or in front of the building, generates a great flexibility of use without loosing the specificity of the different scenarios.

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FINALIST BELGIUM

Visitor Centre Abbey site of Villers-la-Ville Binario architectes sciv sprl

Project title Visitor Centre Abbey site of Villers-la-Ville Location Villers-la-Ville, Belgium Year 2016 Office Binario architectes sciv sprl Authors Andrea Tenuta, architect Delphine Peters, architect Olivier Bastin, scenography Virgine Pigeon, landscape Sebastien Ochej, landscape Collaborators BESP, engineering JZH & Partners, engineering SECA BENELUX, engineering Henriette Michaux, light designer Type of work Public Photographs François Lichtlé

The site of the abbey of Villers-la-Ville is crossed by a national road which divides it and removes all coherence and unity. Architecture, landscape and scenography attempt to restore the subtle balance that governs the entire Cistercian composition by providing new elements for the “conditioning” of the visitor. Project / Program The project aims to create a real sequence of entry into the site of the ruins of the Abbey of Villers-la-Ville and a conditioning of the visitor. The starting situation is characterized by the inmediate projection of the public in the heart of the ruins via a small ticket office located at the roadside, without any coherence at the starting point and the course. The project offers a real support of the visitor from the car park, through the development of the surroundings that leads the beginning of the journey and directs it to the new home located in the mil and including the ticket office, the shop and the sanitary / cloakroom. The new circuit then continues through a part of the mill where scenographic spaces allow to welcome groups and introduce the history of the abbey, then in the hill from which the visitor apprehends the ruins with a new point of view and finally in the garden of the pharmacy to then go down in the site of the ruins proper. Special attention is devoted to the study of flow management and the integration of constraints related to the existing envelope. Indeed, the mill in which the visitor’s center is located hosts other functions: offices, hospitality,… New connections are to be established between certain levels of the mill and between the mill and the outdoor spaces, specially with the hill. The study of these new links is all the more complex as the building and the site are classified and the entire route must be accessible to the PRM. The project leads to an architectural response adapted to the program and the venue, in the symbiosis with the monument and the scenographic content. The palette of new materials is established in a coherent way to reinforce the continuity of the architectural, landscaping and scenographic interventions in the site. Corten Steel, washed concrete, concrete veneres and rammed concrete, solid Wood course for the bridges that cross the different interior and exterior spaces. Several prototypes are made during the study and construction phase to confirm the proposals and investigations around the implementation of certain materials such as “rammed” concrete.

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01 Aménagements des abords pour accès au centre 02 Centre du visiteur dans l’ancien moulin 03 Passerelle extérieure 04 Chemin scénographié dans la colline 05 Jardin de la pharmacie 06 Pharmacie-infirmerie: descente dans les ruines

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© BINARIO ARCHITECTES

Axonometry of the site 1. Development of the surroundings for access to the center 2. Visitor center in the old mill 3. Outdoor walks away Axonometry of the site: 4. Scenic 1. Development of the surroundings for access to the center  2. Visitor center in the old mill paths along the hillside 5. Pharmacy, garden 3. Outdoor walks away  4. Scenic paths along the hillside  5. Pharmacy garden  6. Pharmacy-infirmary: descent into the ruins 6. Pharmacy-infirmary: descent into the ruins

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GARDEN AND DOWNHILL TO THE RUINS

Axonometry of the garden and the descent into the ruins 1. Point of view 2. Scenic path along the hillside 3. Pharmacy garden 4. Pedestrian bridge 5. Descent into the ruins

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1.VIEWPOINT INDICATOR 2. PATH ALONG THE HILL 3. PHARMACY GARDEH 4. FOOTBRIDGE 5. DOWNHILL TO THE RUINS

© BINARIO ARCHITECTES

Axonometry of the mill 1. Shop/home 2. Platform departure / return visits 3. Model room 4. Media room 5. Operating ASBL and HORECA Axonometry of the area garden 6. Outdoorinto gateway and the descent the ruins: 7. Scenic path along hillside 1. Point of view  2. Scenicthe path along the hillside  3. Pharmacy garden

4. Pedestrian bridge  5. Descent into the ruins Axonometry of the mill: 1. Shop/home  2. Platform departure / return visits  3. Model room  4. Media room  5. Operating area ASBL and Horeca  6. Outdoor gateway  7. Scenic path along the hillside

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BIGMAT INTERNATIONAL ARCHITECTURE AWARD

FINALIST CZECH REPUBLIC

BMX starting ramp Architekt Ondřej Tuček

Project title BMX starting ramp Location Bohnice, Praha, Czech Republic Year 2018 Office Architekt Ondřej Tuček Author Ondřej Tuček, architect Collaborators Jana Kusbachová, architect

BMX is an olympic cycling sport which is operated on a special runway. Its popularity is currently still growing. Racetrack, on the border between Čimický háj and Bohnice, is one of the oldest in Prague, but until nowday it did not fulfill the standards of the international federation of UCI. The new BMX ramp with a starting height of 5m is a multipurpose building. Its solping roof serves as a starting area for the races, under which there is a background of racers – changing room, toilets, warehouses, cafetería and common room. The height of the roof determines the usability of the interior space. Cyclists on the way up to the start use the boarding sloping ramp. The starting space is covered with a translucent laminate roof.

Type of work Public Photographs Ondřej Tuček, Viktor Tuček

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BIGMAT INTERNATIONAL ARCHITECTURE AWARD

FINALIST FRANCE

Belleville Septembre

Project title Belleville

A small collective housing building.

Location Paris, France

In order to sabe resources the existing concrete structure of a former building is extended by a wooden construction in three levels.

Year 2016

The structural choice also facilitate supplies to the site and optimized the construction time.

Office Septembre

The façade is intended as a reinterpretation of the classic parisian Haussman typology.

Authors Emilia Jansson, architect Memia Belkaid, architect Collaborators Eribois, engineering Ecoding, engineering Type of work Private Photographs David Foessel

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BIGMAT INTERNATIONAL ARCHITECTURE AWARD

FINALIST ITALY

Museo degli Innocenti Ipostudio Architetti

Project title Museo degli Innocenti Location Florence, Italy Year 2016 Office Ipostudio Architetti Authors Carlo Terpolilli, architect Lucia Celle, architect Elisabetta Zanasi Gabrielli, architect Roberto Di Giulio, architect Collaborators Panfilo Cionci, architect Beatrice Turillazzi, architect Luca Belatti, architect Mariagiulia Bennicelli Pasqualis, architect Pietro Carlo Pellegrini, architect Eugenio Vassallo, architect Favero e Milan, Aei Progetti, structural engineer Consilium, plant-system engineer Type of work Public

The Istituto degli Innocenti is a reality where the countless functions related to the world of childhood take place. It is an institution that is both artistic/architectural heritage and an archive for the heritage/historical patrimony: on the one hand, the history of the building is tied to Filippo Brunelleschi, on the other hand, the history of the institute is linked to the memory of the many abandoned children here hosted. The project interventions are manifold, but they can be summarized in four basic actions: 1. the resolution of the accessibility issues: from the square of SS. Annunziata, through the creation of a new door and new entrance both for the Institution and the Museum; 2. the definition of an innovative exhibition system for a museum dedicated to children such as the Museo degli Innocenti to enhance both the historical and artistic heritage collected over the centuries since 1445, and the heritage and history of the Brunelleschi’s building; 3. the Discovery of a wide loggia, the Verone, transformed in a new public function, a literary café, housed in a new totally openable glass volumen; 4. the reorganization of the reception services, conference romos and spaces for the formation of the complex.

Photographs Pietro Savorelli, Benedetta Gori, Damiano Verdiani, Ipostudio archieve

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BIGMAT INTERNATIONAL ARCHITECTURE AWARD

FINALIST PORTUGAL

Pavilion House Andreia Garcia Architectural Affairs and Diogo Aguiar Studio

Project title Pavilion House Location Guimarães, Portugal Year 2018 Office Andreia Garcia Architectural Affairs and Diogo Aguiar Studio Authors Andreia Garcia, architect Diogo Aguiar, architect Collaborator Daniel Mudrák, architect Type of work Private Photographs Fernando Guerra

Placed on top of a pre-existing granite wine cellar, Pavilion House takes advantage of its programmatic (in)definition to work on an open and abstract space, simultaneously interior and exterior, which benefits from its proximity to a diverse nature. Configuring itself as a small habitable space on the mountain, Pavilion House seeks to maximize its versatility and spatial simultaneity. A four-volume wall-set defines the living space and determines the views on the surrounding landscape, while concealing the basilar ’program’ – sleeping, staying, eating and bathing – allowing this to be partially activated, depending on the user wishes. Seeking the integration into the landscape and, on the other hand, an introspective comfort, the exterior and interior facade of these volumes is assumed abstract and textured, defined by a continuous slat of vertical wooden rulers. Framing and compressing these volumes, the ceiling and floor stand in a dark palette that defines both as an absent matter, while helping to rescue the exterior landscape, emphasising its mutant presence in the inner space.

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0m

10 m

0

10 m

20 m


INTERNATIONAL ARCHITECTURE AWARD FINALIST PORTUGAL 

149


150

INTERNATIONAL ARCHITECTURE AWARD


0

20 m

Perspective view 0m

0

2m

0m

10 m

Floor 1plan m

20 m

2m

INTERNATIONAL ARCHITECTURE AWARD FINALIST PORTUGAL 

151


152

INTERNATIONAL ARCHITECTURE AWARD


BIGMAT INTERNATIONAL ARCHITECTURE AWARD

FINALIST SLOVAKIA

AnuAzu JRKVC

Project title AnuAzu Location Vojka nad Dunajom, Slovakia Year 2018 Office JRKVC s.r.o. Author Peter Jurkovič, architect Collaborators Tomáš Kovalčík, architect Miroslav Slezák, architect Daniel Lapšanský, landscape architect Type of work Private Photographs Peter Jurkovič

A small cabin by a lake designed for a cosmopolitan creative couple working in Bratislava. The clients wanted to be able to swap the city rush with the romantic landscape of Vojka nad Dunajom, just 20 kilometers from the Slovakian capital. The couple had been impressed by the lightweight and mobile nature of nomadic homes; the portable, round tents of yurts, which are traditionally covered with skins or felt and used mostly in Mongolia. These homes became our main inspiration. Instead of adding more volumes to the main round one we decided to cut the circular space out of a square one. The main living areas sit beneath this central dome. Referencing medieval fortification architecture with room filled stone walls, we used the residual spaces for the remaining program. Built-in shelves hide a compact kitchen on one side and bunk-bed bed on the other. There is an alcove double bed, a built-in Reading nook, even bathroom in a cave like space accesible by a curved corridor. The exterior is a pragmatic black box, wrapped in a layer of timber lattice panels. Those are extending above the roof level, a gesture that gives the house a sort of airy, unfinished, but still very geometric presence.

INTERNATIONAL ARCHITECTURE AWARD NATIONAL FIRST PRIZE INTERNATIONAL ARCHITECTURE AWARDFIRST FINALIST PRIZE SLOVAKIA  BELGIUM 153 SPAIN 153 153


154

INTERNATIONAL ARCHITECTURE AWARD


INTERNATIONAL ARCHITECTURE AWARD FINALIST SLOVAKIA 

155


156

INTERNATIONAL ARCHITECTURE AWARD


0

1

Floor plan

N 0

INTERNATIONAL ARCHITECTURE AWARD FINALIST SLOVAKIA 

157


158

INTERNATIONAL ARCHITECTURE AWARD


BIGMAT INTERNATIONAL ARCHITECTURE AWARD

FINALIST SPAIN

Renovation and Extension of Ramos Carrión Theatre MGM Arquitectos

Project title Renovation and Extension of Ramos Carrión Theatre Location Zamora, Spain Year 2016 Office MGM Arquitectos Authors José Morales Sánchez, architect Juan González Mariscal, architect Collaborators Ángel Fernández Poyo, site management architect Francisco Fuentes Vicario, quantity surveyor José María Romero, structure designer Francisco Duarte, structure designer JG Ingenieros, installations engineering CHEMTROL, scénic equipment Higini Arau, Acoustic consultant Stole, Theatrical consultant Type of work Public Photographs Jesús Granada and Hisao Suzuki

Our society is more accustomed to dense space than empty space, to rubbing shoulders and crossing paths with other people than the loneliness of empty spaces. Contemporary space is, by nature, dense, motley, full of diverse events and activities. This idea of dense space has had major implications for the architectural project. The interior of our architecture is not dominated by composition but by the need to reconcile a diversity of functions, contradictory desires and multiple experiences. This has resulted in the idea of a project that is enriched by the need to work on a space that is constantly watched by people, in which a diversity of programs coexist. Historic towns have a multitude of spaces, shaped into unique places by the succession of events, where architectures press against each other, making them interesting in their own right. These spaces could be interpreted as rooms if we could imagine them with roofs. The theatre is strategically located on a garden-platform overlooking the Douro river, and was shored up by several constructions. The goal of the initiative was to think of a public space as a place where the party wall of a building, the walls of a house, the dividing wall of a theatre and the material presence of a city wall could all be seen. A city is made of conflicting times. This becomes obvious when we work on our architectural heritage. In this case, the existing building (the former Ramos Carrión Theatre) had to be shored up by other architectures. These ‘wedges’ consist of a pavilion, which will furnish the entrance square, a large ramp that connects the surrounding streets and buildings, and a garden overlooking the Douro River. Finally, the major work of architecture is a roof that accompanies every movement of the audience, between Castile’s predominantly cloudy sky and the earth. This means experiencing it as an ‘unfinished’ object, with the main auditorium escaping, leaking into the space behind it and on its sides. Five years after the competition, the project was given an additional extension that plays with this equivocation, projecting a single continuous space carved into the ground and dissolved into its roof, once again ambiguous in its definition of what is open and closed.

INTERNATIONAL ARCHITECTURE AWARD NATIONAL FIRST PRIZE INTERNATIONAL ARCHITECTURE AWARD FIRSTFINALIST PRIZE BELGIUM 159 SPAIN SPAIN   159 159


160

INTERNATIONAL ARCHITECTURE AWARD


INTERNATIONAL ARCHITECTURE AWARD FINALIST SPAIN 

161


162

INTERNATIONAL ARCHITECTURE AWARD


Longitudinal section

Transversal section

0

5

10

20 m

Ground floor

INTERNATIONAL ARCHITECTURE AWARD FINALIST SPAIN 

163


BALENMAGAZIJN GENT TRANS ARCHITECTUUR STEDENBOUW HONORIFIC SPECIAL MENTION YOUNG ARCHITECTS

164

INTERNATIONAL ARCHITECTURE AWARD


BIGMAT INTERNATIONAL ARCHITECTURE AWARD

HONORIFIC SPECIAL MENTION YOUNG ARCHITECTS

Balenmagazijn Gent TRANS architectuur stedenbouw

Project title Balenmagazijn Gent Location Gent, Belgium Year 2015 Office TRANS architectuur stedenbouw Authors Bram Aerts, architect Carolien Pasmans, architect Collaborators Sarah De Pourcq, architect Peter de Bruin, architect Filip Van de Voorde, engineer Benjamin Nuytten, engineer Mathias Vandecasteele, engineer Type of work Public Photographs Johnny Umans Hannelore Veelaert André Nullens

On the borderline of the densely populated 19th century laborer’s district ‘bloemekenswijk’ and a recently reconverted industrial area, lies the UCO site of eleven hectares. With the purchase of this site, the city of Ghent wanted to provide an answer to the different needs of several socio-economic companies. Not only space, but also mobility, parking, and green surroundings are important factors for these businesses.The main feature of the site, centrally located, is a huge industrial building of five hectares. Two water treatment plants, once grafted onto the textile industry, define the northern border, whereas the Balenmagazijn, situated in the south, is a former warehouse where erstwhile the bales with yarn and fabric were stored. It’s a box of bricks of about 950m2 and a height of 10m. A communal building where employees can meet is obviously a great asset for the site. The Balenmagazijn was chosen as a principal location to allocate several common facilities. These services include meeting and class rooms, office spaces, a general reception, a catering kitchen and a big canteen. Specific attention was needed for people with physical disabilities and the corresponding implications on the design of the building and its components, for example the restaurant decor and cloakroom.

INTERNATIONAL ARCHITECTURE AWARD NATIONAL FIRST PRIZE INTERNATIONAL ARCHITECTURE AWARD HONORIFIC SPECIAL MENTIONFIRST YOUNG PRIZE ARCHITECTS  BELGIUM 165 SPAIN  165 165


A

A

Floor plan level 0

166

INTERNATIONAL ARCHITECTURE AWARD


INTERNATIONAL ARCHITECTURE AWARD HONORIFIC SPECIAL MENTION YOUNG ARCHITECTS 

167


168

INTERNATIONAL ARCHITECTURE AWARD


Section

0

5

10 m

Floor plan level +3

Axonometric

INTERNATIONAL ARCHITECTURE AWARD HONORIFIC SPECIAL MENTION YOUNG ARCHITECTS 

169


SELECTED PROJECTS


BE245 232

The Abattoir Foodmet

BE405 607

Arc-en-Ciel

Location

Brussels, Belgium

Location

Saint-Josse-Ten-Woode, Belgium

Completion 2015

Completion 2019

Office

ORG PERMANENT MODERNITY

Office

Label Architecture

Authors

Alexander D’Hooghe Luk Peeters Natalie Seys

Authors

Christope Pham

Type of work

Public

Type of work

Private

Photographs

Stijn Bollaert

Photographs

Filip Dujardin

BE427 591

COOP

BE455 657

Het GielsBos

Location

Anderlecht, Belgium

Location

Gierle, Belgium

Completion 2016

Completion 2019

Office

BOGDAN & VAN BROECK

Office

Dierendonckblancke architecten

Authors

Oana Bogdan Leo Van Broeck

Authors

Dierendonckblancke architecten

Type of work

Public

Type of work

Public

Photographs

Filip Dujardin

Photographs

Luca Beel

SELECTED PROJECTS

171


BE455 708

Community Centre Kasterlee

BE482 678

House of Lorraine

Location

Kasterlee, Belgium

Location

Mechelen, Belgium

Completion 2017

Completion 2018

Office

Dierendonckblancke architecten

Office

dmvA architects

Authors

Dierendonckblancke architecten

Type of work

Public

Authors

David Driesen Tom Verschueren

Photographs

Filip Dujardin

Type of work

Public

Photographs

Sergio Pirrone Bart Gosselin

BE490 677

Apartment NRF

CZ260 247

Corso Pod Lipami in Revnice

Location

Brussels, Belgium

Location

Revnice, Czech Republic

Completion 2018

Completion 2018

Office

Atelier d’Architecture Galand

Office

EHL & KOUMAR ARCHITEKTI, s.r.o.

Authors

David Gutman Antoine Galand

Type of work

Private

Authors

Lukas Ehl Tomas Koumar Alena Sramkova

Photographs

Benjamin Struelens

Type of work

Private

Photographs

Tomas Soucek

172

INTERNATIONAL ARCHITECTURE AWARD


CZ311 307

Centre for Contemporary Art DOX+

CZ340 361

Multipurpose building DORN

Location

Prague, Czech Republic

Location

Brno, Czech Republic

Completion 2018

Completion 2016

Office

Petr Hájek ARCHITEKT

Office

Authors

Petr Hájek Tereza Keilová Cornelia Klein Benedikt Markel Martin Stoss

Authors Tomáš Rusín Ivan Wahla Bořivoj Čapák Lukáš Vágner

Type of work

Private

Photographs

Benedikt Markel

CZ379 445 Location

Atelier RAW

Type of work

Private

Photographs

Bořivoj Čapák

Town Hall in Ďáblice

CZ379 446

Appartement House Koněvova, Prague

Prague, Czech Republic

Location

Prague, Czech Republic

Completion 2018

Completion 2016

Office

A.LT ARCHITEKTI

Office

A.LT ARCHITEKTI

Authors

Peter Lacko Filip Tittelbach Tomáš Balej

Authors

Peter Lacko Filip Tittelbach Adam Kekula

Type of work

Public

Type of work

Private

Photographs

Tomáš Balej

Photographs

Tomáš Balej

SELECTED PROJECTS

173


CZ458 618

Information and Cultural Center Píšť

Location

Píšť, Czech Republic

Completion 2018 Office

knesl kynčl architekti

Authors

Jiří Knesl Jakub Kynčl

Type of work

Public

Photographs

Alexandra Timpau

CZ485 699

Rodinný dům u Železného Brodu / Family House near Železný Brod

Location

Železný Brod, Czech Republic

Completion 2016

CZ485 660

Sidlo firmy RenoEnergie / RenoEnergie Headquarters

Location

Plzeň, Czech Republic

Completion 2016 Office

ov architekti, s.r.o.

Authors

Štěpán Valouch Jiří Opočenský

Type of work

Private

Photographs

Studio Petrohrad

CZ497 735

Private Wellness in Chotetin

Location

Chotetin u Zbiroha, Czech Republic

Completion 2018

Office

ov architekti, s.r.o.

Office

Markéta Cajthamlová, Architektonická Projekční Kancelář

Authors

Štěpán Valouch Jiří Opočenský

Authors

Markéta Cajthamlová Petra Peleskova

Type of work

Private

Type of work

Private

Photographs

Tomáš Souček

Photographs

Ester Havlova

174

INTERNATIONAL ARCHITECTURE AWARD


FR211 198 General Stores Reconversion for BETC Headquarters Location

Pantin, France

Completion 2016 Office

Jung Architectures

Authors

Frédéric Jung

Type of work

Private

Photographs

Hervé Abbadie

FR215 219

Covered market and exhibition area in Schitigheim

Location

Schitigheim, France

Completion 2018 Office

Dominique Coulon & associés

Authors

Dominique Coulon

Type of work

Public

Photographs

Eugeni Pons David Romero-Uzeda

FR215 217

Housing for the elderly in Huningue

Location

Hunngue, France

Completion 2017 Office

Dominique Coulon & associés

Authors

Dominique Coulon

Type of work

Public

Photographs

Eugeni Pons

FR284 502

Maison Quinconce

Location

Draveil, France

Completion 2016 Office

a+ samueldelmas architectes

Authors

Samuel Delmas

Type of work

Private

Photographs

Thibaut Voisin

SELECTED PROJECTS

175


FR335 355

Welcome Pavilion Museum Clemenceau

FR364 403

Netter Social Housing

Location

Saint-Vincent-Sur-jard, France

Location

Paris, France

Completion 2017

Completion 2017

Office Titan

Office

FRES ARCHITECTES

Authors

Mathieu Barré François Guinaudeau Romain Pradeau

Authors

Laurent Gravier Sara Martin Camara

Type of work

Private

Type of work

Private

Photographs

Julien Lanoo

Photographs

Julien Lanoo Thibaut Voisin

FR380 546

Educational Cluster, Boulogne-Billancourt, Rives de Seine district

FR380 547 34 Dwellings, Nursery and Emergency Shelter

Location

Boulogne-Billancourt, France

Location

Paris, France

Completion 2018

Completion 2017

Office MUOTO

Office MUOTO

Authors

Gilles Delalex Yves Moreau

Authors

Gilles Delalex Yves Moreau

Type of work

Public

Type of work

Public

Photographs

Maxim Delvaux Myriam Tirler

Photographs

Maxim Delvaux Myriam Tirler

176

INTERNATIONAL ARCHITECTURE AWARD


FR386 516

Elancourt Music School

Location

Elancourt, France

Completion 2018 Office

OPUS 5 ARCHITECTES

Authors

Bruno Decaris Agnes Pontremoli

Type of work

Public

Photographs

Luc Boegly

IT125 124

Asplund Pavilion

Location

Giorgio Island, Venice, Italy

Completion 2018 Office

MAP Studio

Authors

Traudy Pelzel Francesco Magnani

Type of work

Private

Photographs

Federico Cedrone Alessandra Chemollo Stefano Zupelli

FR430 597

Port authority and packaging space for fishermen in Saint-Chamas

Location

Saint-Chamas, France

Completion 2019 Office

OH!SOM architectes

Authors

Marie Fade Stephanie Franceschi Baptiste Franceschi Caroline Mangin

Type of work

Public

Photographs

Florence Vesval

IT171 167

Casa studio a Falzes / Studio House at Falzes

Location

Falzes, Italy

Completion 2017 Office

stifter + bachmann architects

Authors

Helmut Stifter Angelika Bachmann

Type of work

Private

Photographs

Oliver Jaist

SELECTED PROJECTS 

177


IT171 177

Casa delle associazioni culturali a Scaleres Clubhouse at Scaleres

IT208 320

Planetarium and Science Museum of Cosenza

Location

Scaleres, Italy

Location

Cosenza, Italy

Completion 2017

Completion 2018

Office

stifter + bachmann architects

Office

Monestiroli Architetti Associati

Authors

Helmut Stifter Angelika Bachmann

Authors

Antonio Monestiroli Tomaso Monestiroli

Type of work

Private

Type of work

Public

Photographs

Oliver Jaist

Photographs

Tomaso Monestiroli Roberto Conte Marco Introini

IT244 499

Office Complex

IT293 424

PRACTIC 2.0

Location

Roncade TV, Italy

Location

Fagagna, Italy

Completion 2016

Completion 2018

Office

Zanon Architetti Associati

Office

GEZA gri e zucchi architettura

Authors

Mariano Zanon Alessio Bolgan Bruno Ferretti

Authors

Piero Zucchi Stefano Gri Stefania Anzil

Type of work

Private

Type of work

Private

Photographs

Marco Zanta

Photographs

Javier Callejas

178 

  INTERNATIONAL ARCHITECTURE AWARD


IT313 308

Laboratorium – New Immergas Research Center

Location

Lentigione di Brescello, Italy

Completion 2018

IT337 382

Reale Group Office Building

Location

Torino, Italy

Completion 2016 Office

Iotti+Pavarani Architetti

Authors

Paolo Iotti Marco Pavarani Roberto Tosetti

Type of work

Private

Photographs

Fernando Guerra

Scuola Comprensiva di Sant’Albino

IT424 587

Baranzate “Glass Church” Restoration

Montepulciano, Italy

Location

Baranzate, Italy

Office

EFA studio di architettura

Authors

Pietro Chierici Maria Pilar Vettori Dario Cea Francesca Pesci Laura Piazza

Type of work

Private

Photographs

Luigi Bussolati Marco Introini

IT416 580 Location

Completion 2016

Completion 2015

Office

MAVAA arquitectos

Office

SBG ARCHITETTI

Authors

Roberto Vezzosi Carlos Machado e Moura Luís Pereira Viana

Authors

Giulio Barazzetta Sergio Gianoli

Type of work

Public

Type of work

Public

Photographs

Marco Introini

Photographs

João Morgado

SELECTED PROJECTS

179


IT436 600

Casetta nell’oliveto / Olive grove’s cabin

IT441 649

Press Box

Location

Serralvalle Pistoiese (Pistoia), Italy

Location

Rome, Italy

Completion 2016

Completion 2017

Office

HYPNOS Studio di Architettura

Office

SET Architects

Authors

Nicola Brembilla

Type of work

Public

Authors

Andrea Tanci Lorenzo Catena Onorato di Manno

Type of work

Public

Photographs

Marco Cappelletti

Photographs HYPNOS

PT143 136

Twin Houses

PT169 175

House in Troia

Location

Sesimbra, Portugal

Location

Soltroia, Grândola, Portugal

Completion 2017

Completion 2018

Office EXTRASTUDIO

Office

Miguel Marcelino, Arquitecto, lda.

Authors

João Ferrão João Ribeiro

Authors

Miguel Marcelino

Type of work

Private

Type of work

Private

Photographs

Archive Miguel Marcelino

Photographs

Fernando Guerra

180

INTERNATIONAL ARCHITECTURE AWARD


PT175 209

3 Pombaline Apartments

Location

Lisbon, Portugal

Completion 2018 Office

Aurora Arquitectos

Authors

Sofia Couto Sérgio Antunes

Type of work

Private

Photographs

Do mal o menos

PT198 483

SH House

Location

Server do Vouga, Portugal

Completion 2016 Office

Paulo Martins Arquitectura

Authors

Paulo Jorge de Bastos Martins

Type of work Photographs

Private Its. Ivo Tavares architectural photographer

PT183 396

Installation in the Monastery of Serra do Pilar – Carnet C10

Location

Vila Nova de Gala, Portugal

Completion 2017 Office

Marta Sequeira and Pedro Matos Gameiro, with Carlos Machado e Moura

Authors

Marta Sequeira Pedro Matos Gameiro Carlos Machado e Moura

Type of work

Public

Photographs

Matos Gameiro Arquitectos Paulo Catrica Jorge Nogueira

PT221 286 Coimbra Botanical Garden Tropical Greenhouses Location

Coimbra, Portugal

Completion 2018 Office

João Mendes Ribeiro arquitecto lda

Authors

João Mendes Ribeiro

Type of work

Public

Photographs

José Campos

SELECTED PROJECTS

181


PT222 413

Casa Agostos II

Location Agostos, Santa Bárbara de Nexe, Faro, Portugal Completion 2018 Office

Pedro Domingos Arquitectos

Authors

Pedro Domingos

Type of work

Private

Photographs

Fernando Guerra Pedro Domingos

PT272 570

So House

Location Parque Natural Serra de Aire e Candeeiros, Portugal Completion 2018 Office

Phyd Arquitectura

Authors

Paulo H Durao

Type of work

Private

Photographs

EMONTENEGRO architectural photography

182

INTERNATIONAL ARCHITECTURE AWARD

PT271 427

Promise – Cottage House

Location

Grandola, Portugal

Completion 2018 Office

ATELIER 1111

Authors

Camilo Rebelo Cristina Chicau Patricio Guedes

Type of work

Private

Photographs

Nuno Pinto

PT282 444

Fonte Nova Square

Location

Lisbon, Portugal

Completion 2018 Office

José Adrião Arquitetos

Authors

José Adrião

Type of work

Public

Photographs

Fernando Guerra Hugo Santos Silva


PT397 544

Prudêncio Studio Installation Space

Location

Porto, Portugal

Completion 2017 Office

Diogo Aguiar Studio

Authors

Diogo Aguiar Adreia Garcia

Type of work

Private

Photographs

Fernando Guerra

PT467 640

New Headquarter of the Professional Association of Architects in Portugal | Northern Region

Location

Porto, Portugal

Completion 2016 Office

NPS Arquitectos Associados

Authors

Rui Neto Sérgio Silva

Type of work

Private

Photographs

Cátia Cunha Pimentel

SK253 260

Nádvorie (The Courtyard)

SK305 462

CLT houses by meadow forest

Location

Trnava, Slovakia

Location

Bratislava, Slovakia

Completion 2018

Completion 2019

Office

VALLO & SADOVSKY ARCHITECTS, s.r.o.

Office

atelier MOLNAR-PERACEK s.r.o.

Authors

Olivier Sadovsky Matus Vallo

Authors

L’ubomir Peracek, jr. L’ubomir Peracek, sr.

Type of work

Private

Type of work

Private

Photographs

BOYSPLAYNICE photography

Photographs

L’ubomir Peracek, jr.

SELECTED PROJECTS

183


SK320 323

Monument Majer

SK343 506

New Synagogue

Location

Banska Bystrica, Slovakia

Location

Zilina, Slovakia

Completion 2019

Completion 2018

Office N/A

Office

PLURAL s.r.o.

Authors

Benjamín Brádňanský Vít Halada Maroš Greš

Authors

Martin Jancok Michal Janák Eva Štrocholcová

Type of work

Public

Type of work

Public

Photographs

Ján Kekeli

Photographs

Daniela Dostálkova Katherine Thude

SK468 662

Castellum Cafe

ES141 357

CaixaForum Sevilla Cultural Center

Location

Nitra, Slovakia

Location

Sevilla, Spain

Completion 2018

Completion 2017

Office

martin dulik architekt

Office

Guillermo Vázquez Consuegra. Architect

Authors

Martin Dulik Marek Sumichrast Lívia Dulíková

Authors

Guillermo Vázquez Consuegra

Type of work

Private

Type of work

Public

Photographs

Jesús Granada Duccio Malagamba

Photographs

Dano Veselsky Martin Dulik Frantisek Risian

184

INTERNATIONAL ARCHITECTURE AWARD


ES168 523

73 viviendas de alquiler

ES172 183

097 · Yojigen Poketto

Location

Málaga, Spain

Location

Madrid, Spain

Completion 2018

Completion 2017

Office

MUÑOZ MIRANDA ARQUITECTOS S.L.P.

Office

elii (oficina de arquitectura)

Authors

Alejandro Muñoz Miranda

Type of work

Private

Photographs

Javier Callejas

Authors

Uriel Fogué Herreros Eva Gil Lopesino Carlos Palacios Rodrídez

Type of work

Private

Photographs ImagenSubliminal (Miguel de Guzmán + Rocío Romero)

ES225 201

Stone House in Cáceres

ES226 206

Cocina Hermanos Torres

Location

Cáceres, Spain

Location

Barcelona, Spain

Completion 2018

Completion 2018

Office

Tuñón Arquitectos

Office

OAB. Office of Architecture in Barcelona

Authors

Emilio Tuñón Carlos Martínez de Albornoz

Authors

Carlos Ferrater Borja Ferrater

Type of work

Private

Type of work

Private

Photographs

Luis Asín

Photographs

Joan Guillamat

SELECTED PROJECTS

185


ES233 402

icoma headquarters

ES248 233

Madroños 27 Residential Building

Location

Vitoria, Spain

Location

Madrid, Spain

Completion 2018

Completion 2017

Office estudio_entresitio

Office

Bueso-Inchausti & Rein Arquitectos

Authors

María Hurtado de Mendoza Wahrolen César Jiménez de Tejada Benavides

Type of work

Private

Authors

Alejandro Bueso-Inchausti Pablo Rein Edgar Bueso-Inchausti

Photographs

Montse Zamorano

Type of work

Private

Photographs

Alfonso Quiroga

ES267 377

BANK OF SPAIN WORKING SPACES

ES290 406

Casa 1413

Location

Madrid, Spain

Location

Girona, Spain

Completion 2018

Completion 2017

Office

PAREDES PEDROSA ARQUITECTOS

Office HARQUITECTES

Authors

Ignacio G. Pedrosa Ángela García de Paredes

Type of work

Public

Photographs

Fernando Alda Luis Asín

Authors

Xavier Ros Majó David Llorente Ibáñez Josep Ricart Ulldemolins Roger Tudó Galí

Type of work

Private

Photographs

Adrià Goula

186

INTERNATIONAL ARCHITECTURE AWARD


ES348 364

Adaptation of the archeological remains of the ancient Roman Theatre of Tarraco (I bC – II aC), and its activation as a public space

ES353 522

Church in Playa Granada

Location

Granada, Spain

Location

Tarragona, Spain

Completion 2016 Office

elisa valero

Completion 2018

Authors

Elisa Valero Ramos

Office

estudi d’arquitectura toni gironès

Type of work

Private

Authors

Toni Gironès Saderra

Photographs

Fernando Alda

Type of work

Public

Photographs

Fernando Alda Estudi d’Arquitectura Toni Gironès

ES456 617

Full Refurbishment of Castellana 81 Tower

ES457 705

A Baiuca Kindergarten

Location

Madrid, Spain

Location

Pontevedra, Spain

Completion 2018

Completion 2018

Office

Ruiz Barbarin arquitectos

Office

abalo alonso arquitectos

Authors

Antonio Ruiz Barbarin

Type of work

Private

Authors

Gonzalo Alonso Elizabeth Abalo Francisco González Varela

Type of work

Public

Photographs

Santos Diez / Bisimages

Photographs ImagenSubliminal (Miguel de Guzmán + Rocío Romero)

SELECTED PROJECTS

187


BIOGRAPHIES JURY MEMBERS


SCIENTIFIC COORDINATION

JESÚS APARICIO AWARD PRESIDENT

JESÚS DONAIRE AWARD SECRETARY

Doctor of Architecture and Professor at the Polytechnic University of Madrid

Doctor of Architecture and Associate Professor at the Polytechnic University of Madrid

Holding a degree in Architecture from the Superior Technical School of Architecture in Madrid (ETSAM), a Master of Architecture from Columbia University in New York, and a Doctorate in Architecture, Jesús approaches architecture from three different fronts: research, teaching and professional practice. As a researcher, he has obtained funding from the Academy of Spain in Rome, as well as grants from Fulbright/MEC and Bankia. He is full professor of Architectural Projects at the ETSAM and guest lecturer and speaker at numerous architecture schools and institutions across Europe and the Americas

Jesús holds a degree in Architecture from the ETSAM and won the award for project excellence as part of the Master Degree in Advanced Architectural Design at Columbia GSAPP in New York before earning his Doctorate in Architecture. As a researcher, he has earned funding from the Academy of Spain in Rome and the Fulbright Commission, as well as the William Kinne Fellows Traveling Prize and grants from the Social Council of Madrid Polytechnic University. He has lectured as Assistant Professor at the Architecture Department of Barnard College at Columbia University and he is currently an Associate Professor of Projects at the ETSAM and at Nebrija University in Madrid. He is also visiting professor at the Polytechnic University of Milan and at Suffolk University in Boston and is a regular conference speaker, project panellist and lecturer at international workshops on architecture and director of architecture seminars at various European and American institutions.

The buildings designed by Jesús have received numerous accolades, including the ar+d Prize, the Architecture and Town Planning Prize from Madrid City Council, the HYSPALIT Brick Architecture Award and the Saloni Award. In 2000, he represented Spain at the Venice Architecture Biennale. In 2005, he was selected to take part in the Spanish Architecture Biennale. In 2008, he was nominated for the Klippan Award as well as for the Swiss Architectural Award, and in 2012 he won the 39th edition of the IIDA Awards. More recently in 2016, he was runnerup at the XIII edition of the Spanish Architecture and Town Planning Biennial. He is also curator of the exhibitions “Young Architects of Spain” and “Domusae, Spaces for Culture”, director of the Ceramic Tile Studies Department in Madrid and editor of the Ceramic Essays Collection. Both his theoretical research and his architecture projects have received international acclaim and his publications include the likes of:“El Muro”, “El Hogar del Jubilado”, “Terragni, la densidad en el espacio”, “El Danteum”, “Construir con la razón y los sentidos” and “Jesús Aparicio AA40”.

Jesús is Deputy Curator of the “Young Architects of Spain” exhibition and curator of the “Domusae, Spaces for Culture” exhibition. His work has earned him the Architizer A+ Award in New York, the Excellence Award of the International Interior Design Association in the United States, as well as an award from the Association of Architects in Madrid. He has also been short-listed for the Archia and Enor awards. His work, research articles and interviews have been published internationally and he is the editor of various catalogues on architecture.

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VOCALS

STÉPHANE BEEL BELGIUM JURY MEMBER Architect and founder of architecture studio Stéphane Beel Architects Architect. Founder Stéphane Beel Architects. Former professor at University of Ghent and Leuven. In the early 80s Stéphane Beel, born in Kortrijk (Belgium) in 1955, founded his own architectural office and currently employs about 45 employees. All projects of the office are carried out with a same level of ambition, whether small or large scale, urban studies or individual buildings, in general layout or in detailing. A few examples are the ‘Rubens House’ in Antwerp, the Museum Roger Raveel in Machelen-Zulte, the Courthouse in Ghent, head office for the FNG fashion house in Mechelen, several extensions of the International Arts Campus deSingel, the Museum M in Leuven, Psychiatric Centre Gasthuisberg in Leuven, various schools and private dwellings and now also the ‘Royal Museum for Central Africa’ in Tervuren.

PETR PELČÁK CZECH REPUBLIC AND SLOVAK JURY MEMBER Architect and founder of architecture studio Pelčak a Partner architekti Petr Pelčák was born in Brno in 1963. He studied achitecture at the Technical University in Brno. He established an office along with his partner Petr Hrůša in 1991 and started his own architectural studio in 2008. Its portofolio consists of a wide range of projects from city-planning to interiors. He taught at the Faculty of Architecture in Brno from 2003 to 2016. He is also the author and editor of a range of publications concerning theory and history of architecture and a member of the Mánes Association of Fine Artists, Obecní dům Brno Association, the Sächsische Akademie der Künste, Deutsche Akademie für Städtebau und Landesplannung and the Czech Chamber of Architects. His work has been awarded a number of architectural prizes.

His work is featured in numerous international magazines including the prestigious architectural monograph of El Croquis in 2005 and in 1999 and 2011 monographs were published about his recent work.

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INTERNATIONAL ARCHITECTURE AWARD

PHILIPPE PROST FRANCE JURY MEMBER Architect and National Award Winner for France at BigMat’15 Architect, urban planner. Founder of the Philippe Prost Architecture Studio. Professor and president at the Paris‑Belleville National Higher School of Architecture. After 10 years working in research, he spent the following 15 years leading restoration and landscaping works at Vauban Citadel in Belle-Ileen-Mer. On 11 November 2014, he presented the Notre-Dame-de-Lorette International Memorial, which was awarded numerous international prizes, and last spring, the French Mint opened to the public. He is currently leading the renovation of Vauban port in Antibes and Gallice port in Juan les Pins. In all his projects, no matter what the scale, memory and context are at the heart of the architect’s creation. He has authored numerous articles and publications, including Vauban, le style de l’intelligence, Une oeuvre source pour l’architecture contemporaine which won the Prize for an Architecture Book from the French Academy of Architecture in 2008.


VOCALS

PAOLO ZERMANI ITALY JURY MEMBER Architect and academician of the Accademia Nazionale di San Luca in Rome Paolo Zermani was born in 1958. Since 1990, he has been Professor of Architectural Composition at the Faculty of Architecture in Florence, and since 2015 he has taught Prescription at the Academy of Architecture of Mendrisio. He is a member of the San Luca Academy artist’s association and founder of the ‘Identity of Italian Architecture’ conferences. His work has been published in leading international architecture journals. His publications include ‘Identità dell’architettura’ I and II (1995 and 2002), ‘Oltre il muro di gomma’ (2010) and ‘Architettura: luogo, tempo, terra, luce, silenzio’ (2015).

FUENSANTA NIETO PORTUGAL AND SPAIN JURY MEMBER Architect awarded the Alvar Aalto Medal in 2015 Fuensanta Nieto has worked as an architect since graduating from the Universidad Politécnica de Madrid and the Graduate School of Architecture and Planning at Columbia University in New York in 1983. She is a professor at the Universidad Europea de Madrid (UEM). From 1986 to 1991 she was codirector of the architectural journal ARQUITECTURA, published by the Colegio Oficial de Arquitectos de Madrid. She chairs and participates in international conferences and juries and is a founding partner of Nieto Sobejano Arquitectos. She is the recipient of the Aga Khan Award for Architecture (2010), the Alvar Aalto Medal (2015) and Gold Medal of Merit in the Fine Arts in 2017.

His recently completed and ongoing projects include the architectural and liturgical adaptation of the Basilica of S. Andrea in Mantua, the restoration and reconstruction of Novara Castle, the School for Europe in Parma and the new exit for the Museum of the Medici Chapels in Florence.

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BIOGRAPHIES WINNING PROJECTS


EDUARDO SOUTO DE MOURA

WIM GOES ARCHITECTUUR BVBA

PETR STOLÍN ARCHITEKT S.R.O.

BIGMAT INTERNATIONAL ARCHITECTURE AWARD GRAND PRIZE

NATIONAL PRIZE. BELGIUM

NATIONAL PRIZE. CZECH REPUBLIC

Wim Goes (Ghent, 1969) obtained a Master’s Degree in Architecture at the Sint-Lucas School of Science and Arts in Ghent/Brussels, Belgium. He worked with architect H. Koch on self-built low-cost housing as well as in workshops such as Atelier Maarten Van Severen.

motto No architecture is too small!

From 1975 to 1979 he collaborated in the architectural practice of Álvaro Siza. From 1981 to 1991, he was assistant professor in his alma mater, and later began to serve as professor in the Faculty of Architecture in the University of Oporto. Own office since 1980. He has been visiting professor at the architectural schools of ParisBelleville, Harvard, Dublin, ETH Zurich, Lausanne, Mendrísio and Mantova. He has participated in numerous seminars and given many lectures both in Portugal and abroad. His work has appeared in various publications and exhibitions. In 2001 received the Heinrich-TessenowMedal in Gold, in 2011 he received the Pritzker Prize, in 2013 the Wolf Prize and in 2017 the Piranesi Prize. In 2018 received the award “Leone d’oro” in La Biennale di Venezia. In 2019 received the award “Arnold W. Brunner Memorial Prize 2019, American Academy of Arts and Letters, New York, U.S.A.

In 1999 the practice Wim Goes Architectuur was founded, later partnered by Tim De Messemaeker. His interest in contemporary art changed his vision on the position of people in art and architecture, allowing the human presence, and remains an ongoing investigation both in the office and in academic research. Wim Goes has been teaching at the KU Leuven faculty of Architecture, Sint-Lucas Ghent/Brussels in Belgium since 2005 and was appointed visiting scholar at the Victoria University Wellington (NZ) in 2017. He lectured and/or was a guest critic in universities such as the EPFL in Lausanne (CH), the Academy of Architecture in Mendrisio (CH) and Aachen (DE) amongst others. His projects have been published in magazines such as A+U (JP), the Architectural Review (UK), and have been featured in the Belgian Pavilion of the 15th International Architecture Biennale in Venice (IT) as well as in exhibitions at the Royal Academy of Arts in London (UK), the Ministério da Educação in Rio de Janeiro (BR) and the ETH Zurich (CH).

studio/practice Petr Stolín studied in years 1978 – 1983 at Faculty of architecture of VUT in Brno. After that, he worked in atelier of famous studio SIAL under Karel Hubáček. Beginning with the year 1993 he runs independent architectural practice. In his project he often works with his brother, a sculptor and conceptual artist Jan Stolín. Presently he runs atelier at Faculty of Fine Arts nad Architecture of Technical University in Liberec with Alena Mičeková, who works in the studio from 2007 and is co-author of fundamental projects. As a student she participated on some projects as early as 2003 as a part of her practice. motivation, creed, goals Our creed and motivation is to work with available, inexpensive materials and items, simplify thnigs and minimise their demands and space. Recently we are most interested in transparent materials and their subsequent layering. Most of all we like to let the materials distinguish themselves in their primary shape and use their base functions. We like to experiment. All of this pushes us to the brink of absolute simplicity in all aspects and architectural expressions. Even though the architecture seemingly gains certain commonness and tediousness, requierements for high quality selection of materials and orientation in everyday balast only rises. It is necessary to „pick out“ only those pieces that are worthy of being part of first-rate architecture available to the whole public and increase its role in society this way.

BIOGRAPHIES  WINNING PROJECTS

193


ÉRIC LAPIERRE

AMANZIO FARRIS ARCHITETTO

GUTGUT

NATIONAL PRIZE. FRANCE

NATIONAL PRIZE. ITALY

NATIONAL PRIZE. SLOVAKIA

Éric Lapierre is architect and theoretician of architecture. He is the founder and principal of Éric Lapierre Experience (ELEx), his Paris based organization that coordinates both his activities as builder, writer and curator. ELEx buildings have gained international recognition through many awards and publications. They aim at keeping architecture as a sophisticated cultural medium in the contemporary ordinary condition.

Amanzio Farris, was born in Cagliari – Italy – on November, 1972.

Éric Lapierre teaches design and theory of architecture at École Polytechnique Fédérale de Lausanne (EPFL) and ENSA Marne-la-Vallée Paris Est. He is guest teacher at Harvard University Graduate School of Design for 2019 winter semester and has been guest teacher at Accademia di Architettura di Mendrisio, Université de Montréal (UdM), Université du Québec à Montréal (UQAM), and KU Leuven in Ghent.

Since 2005 he is involved in research and teaching activities at the Politecnico of Milan and to the University La Sapienza of Rome.

GutGut is a dynamic architecture studio based in Bratislava, Slovakia, with experience ranging from small interventions through to housing and masterplanning. The transgenerational duo Štefan Polakovič and Lukáš Kordík have been shifting the line between private and public domain, testing the boundaries of each project brief. Their built portfolio includes the award-winning refurbishment of a prefabricated socialist block in Rimavská Sobota, a residential complex on Dunajska Street in Bratislava and the conversion of an industrial complex Mlynica into a dynamic mixed use hub combining living, co-working and offices. GutGut has developed a strong design ethos focusing on re-claiming and maximising of space for social interaction and softening the boundaries between private and shared space, bringing back values of community and exchange. GutGut is active as the co-organizer of the DAAD (Architecture and Design Days) festival in Bratislava - an international platform encouraging critical discourse on local issues. The studio has been the recipient of the CEZAAR award – the highest architecture accolade in Slovakia – for a number of their projects, in 2019 project Mlynica has been selected among the 40 shortlisted works that competed for the 2019 European Union Prize for Contemporary Architecture – Mies van der Rohe Award. (http://www.gutgut.sk)

Among other books, Éric Lapierre has edited Guide d’architecture de Paris 1900-2008, Ed. du Pavillon de l’Arsenal 2008 ; Identification d’une ville – Architectures de Paris, Ed. Picard 2002 ; Le Point du Jour A Concrete Architecture, Ed. Le Point du Jour 2011 ; Architecture Of The Real, Ed. du Moniteur 2004. Éric Lapierre is adviser architect to Bordeaux Métropole, member of Commission du Vieux Paris and chief curator of Lisbon Architecture Triennale 2019 The Poetics of Reason in which he present the exhibiton Economy of Means.

194

He graduated in architecture at the University La Sapienza of Rome in 2003 and since 2004, carries out his professional activity in Rome. His work is to merge theoretical research activities with construction responsibility, for the purpose of create areas of mutual influence, interaction and confirmation.

In 2009 he got a doctorate in research (Ph.D.) in Architectural Design and Theory at the University La Sapienza of Rome. His doctoral dissertation, entitled ‘Situare l’azione. Uomo, spazio, auspici di architettura’ was published by the editor Alinea, Firenze, in 2012. His work as a designer has been appreciated by awards and publications. His main areas of interest, include design intervention in consolidated contexts, and the control of perceptual and dimensional parameters in interior and outdoor spaces.

INTERNATIONAL ARCHITECTURE AWARD


RAW/DEABAJOGARCIA

BINARIO ARCHITECTES

ARCHITECT ONDŘEJ TUČEK

NATIONAL PRIZE. SPAIN

FINALIST

FINALIST

RAW/deAbajoGarcia is an architecture office founded by Carlos García Fernández (1982, Asturias) and Begoña de Abajo Castrillo (1986, León) in New York in 2013 and they are currently based in Madrid. Both of them hold a Master in Advanced Architectural Design from Columbia University where they studied as Fulbright fellows. They are also architects from Madrid School of Architecture (ETSAM). In parallel to their professional practice they are currently developing their research and teaching work at the Polytechnic University of Madrid.

Binario architects started in 2010 and represent the culmination of a long collaboration between architects Delphine Péters and Andrea Tenuta.

In my architectural studio we deal with projects of public houses, residential buildings, reconstructions and urbanism. I work for public and private investors. I provide a complete design service, from the study, through projects for consultation with the authorities to the implementation documentation and author supervision. My approach to each job is individual and I closely cooperate with the client - the quality of the emerging environment (whether public or private) is always the priority for me. I participate in architectural competitions as an author, organizer and juror as well. We are currently working in a team of 5 architects. Our clients include public Municipalities as well as private developers and investors. From 2019 I am member Supervisory Board od Czech Chamber of Architects and I am teaching building typology on Faculty of Architecture at Czech Technical University.

Carlos García Fernández Carlos García Fernández holds a PhD in Architecture from the Madrid School of Architecture and while his academic training he also studied at TU Delft in Holland. He has been fellow at the Spanish Academy in Rome and visiting researcher at Keio University in Tokyo, in the Sejima Laboratory. He is currently working as an Associate Professor at the Architectural Projects Department at ETSAM. Begoña de Abajo Castrillo Begoña de Abajo Castrillo is National End of Studies Prize (Ministry of Education) and End of Studies Prize 2012 (UPM). She also studied at the Illinois Institute of Technology in Chicago and she is currently developing her PhD as researcher in the Architectural Projects Department at ETSAM.

Andrea Tenuta graduated from the IUAV in Venice in 2001. Delphine Péters graduated from ISA Saint-Luc in Liège in 2000. She graduated in 2002 with a Masters in Conservation of Monuments and Sites from KUL. They both collaborated with architecture offices based first in Venice and then in Belgium between 2001 and 2008. They are prizewinners of several competitions covering topics such as patrimonial restoration and rehabilitation, educational infrastructure and collective housing. Their specificity comes from their complementarity and their links with other areas such as urban planning, landscape, scenography and also collaboration with passionate artisans. Binario Architects is also very sensitive to the sustainability and the rational use of energy. That is why they systematically integrate this reflection across their architectural design.

She has worked with Alvaro Siza in Porto and afterwards she became a member of the Foster and Partners Madrid team.

BIOGRAPHIES  WINNING PROJECTS

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SEPTEMBRE

IPOSTUDIO ARCHITETTI

FINALIST

FINALIST

Septembre is a Paris-based firm working with architecture and urban strategies in an international working field.

Ipostudio is a working group set up in Florence in 1984.

With backgrounds in North Africa, Germany and Scandinavia we have a rich common ground of thinking and doing. The diversity of our projects lies in the desire to examine new places, to merge into a given context, to assume the constraints and use them to enhance the qualities of space. One of our latest projects, a residential building in Northern Paris, Belleville, received a nomination t​ o the EUMiesAward 2017. Our team is composed of architects, urban planners and interior designers: Lina Lagerström, Memia Belkaid, Sami Aloulou, Emilia Jansson and Dounia Hamdouch.

It operates in the architectural design sector focusing on civil architecture, developing social-, health- and educational as well as social-housing projects. Ipostudio works also on urban renovation, landscape redevelopment and the reuse of monumental and listed building complexes. Ipostudio’s projects received awards in national and international design contests, having been published in Italy and abroad and displayed at exhibitions, including the Venice Biennale and the Triennale of Milan. They have been invited to several universities, seminars and conferences in Italy and abroad. They have also been accorded special mentions: the Award “Premio Architettura Toscana 2017”, the honourable mention of the Italian Gold Medal for Architecture and the XIX Compasso d’Oro ADI 2001. Their work has been published in several books and architecture magazines, including the monograph Ipostudio, la concretezza della modernità, by Marco Mulazzani Electa, “Documenti di Architettura”, 2008. The latest works are the new Museo degli Innocenti, in Florence, the MICAS Malta International Contemporary Art Space in Floriana, Malta; the Extension of the EOC Lugano Hospital, the New Entrance of the Careggi Hospital in Florence, the Internaat in Lommel (Belgium), the Nursing home for the elderly in Montemurlo.

196

INTERNATIONAL ARCHITECTURE AWARD

ANDREIA GARCIA ARCHITECTURAL AFAIRS AND DIOGO AGUIAR STUDIO FINALIST ANDREIA GARCIA (Guimarães, 1985) is an architect, curator and professor interested in the boundaries of architecture as way to call for a collaborative reflection, destabilizing established ideas on the future of cities and architecture. Founder of Architectural Affairs (2016), she specializes her practice in disseminating architecture through project, curatorial and editorial works. Andreia holds a PhD by the Faculty of Architecture of the University of Lisbon (FAUL, 2015) and was awarded the Professor Manuel Tainha Prize, given annually to the best Architecture PhD dissertation. She is teaching fellow at Architectural Association (AA) and tenured professor at Universidade da Beira Interior (UBI). Since 2016 Andreia Garcia is co-founder and co‑curator of Galeria de Arquitetura. www.andreiagarcia.com DIOGO AGUIAR (Porto,1983) is an architect by the Faculty of Architecture of the University of Porto. In 2010 he cofounded studio LIKEarchitects, an internationally awarded practice in the fields of Art and Architecture. Aguiar is also co‑author of the Eco-Resort, in Pedras Salgadas, Portugal, built in 2012, which has won the ArchDaily Building of the Year Award. In 2016, he launched Diogo Aguiar Studio, which was invited for the official Portuguese representation to the Venice Architecture Biennale 2018, curated by Nuno Brandão Costa. Diogo Aguiar is cofounder and co‑curator of Galeria de Arquitectura, an independent space in Porto dedicated to a reflection on the city and architecture. www.diogoaguiarstudio.com


PETER JURKOVIČ JRKVC

MGM ARQUITECTOS

FINALIST

FINALIST

Peter Jurkovič is an architect, based in Bratislava, Slovakia. After leaving an established architectural office (gutgut) he founded a studio called JRKVC. In his work he focuses on residential projects and design. What drives the studio is a continual effort to find the right balance of form and content.

José Morales Sánchez, Seville, 1960 Graduate from E.T.S.A Seville, 1985 Lecturer, Architectural Projects Department, E.T.S.A. Seville, from 1986 Professor, Architectural Projects Department, E.T.S.A. Seville, from 2004 FAD Award of Thought and Criticism, in 2006 Juan González Mariscal, Seville, 1961 Graduate from Seville School of Architecture in 1986 Lecturer, Architectural Projects Department, E.T.S.A. Seville, from 1987 Sara de Giles Dubois, Seville, 1972 Graduate from E.T.S.A Seville, 1998 Lecturer, Architectural Projects Department, E.T.S.A. Seville, from 1999

TRANS ARCHITECTUUR STEDENBOUW HONORIFICIC SPECIAL MENTION YOUNG ARCHITECTS TRANS architectuur I stedenbouw, founded in 2009 by Bram Aerts and Carolien Pasmans, quickly gained a strong reputation and was named laureate in numerous competitions. The office is working from Ghent on a further expanding portfolio. Every design is imbued with an urban gesture: TRANS uses each design to further build on the generous city, a city that is inclusive and celebrates urbanity. The Flemish Government and numerous cities, entrusted TRANS assignments in the cultural and public sector. Among other things, the Balenmagazijn Gent, Leietheater Deinze and Theater Malta Bree were realized or are nearing completion. TRANS touches every level of scale and was, among other things, laureate of the international competition for the realization of a public restaurant at Interieur Kortrijk 2016. With its first realization, TRANS was already nominated for the Provincial Architecture Prize Flemish Brabant. This honor was also awarded to the agency in 2015. The activity of the associates in the academic world, at the KULeuven and at the University of Antwerp, enriches the design practice. The work of TRANS is widely published and the office is constantly invited to give lectures. In the fall of 2018, a monograph was published by nai I 010.

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CREDITS

Published by BigMat International S.A. Edited by Jesús Aparicio Jesús Donaire BigMat International S.A. Coordination Alberto Luengo Carlos Izquierdo Jesús Aparicio Óscar Cruz Translations Marcella Bracco Virginia Cabañas Design gráfica futura Printed and bound by Composiciones RALI S.A. Paper 135 gram matt coated Typography Montserrat © of the edition BIGMAT INTERNATIONAL S.A. 42-44 Avenue de la Gare L-1610 Luxembourg Tel. +352 28 4878 1075 www.bigmat.com © of the President Coutant and President Aparicio images Pablo Tribello © of the images The authors of the images © of jury images Vincent Urbani © of cover image Germán Cabo All rights reserved. The total or partial reproduction of this book, its inclusion in a computer system or its transmission by electronic mechanical or other means by photocopy or recording, is forbidden without the copyright holders’ prior authorization in writing Periodic publication ISSN: 2535-8847 Printed in Spain Bilbao 2019

Acknowledgments We would like to thank architect Jesús Aparicio for the development and scientific coordination of the BigMat International Architecture Award 2019. More information: BigMat International Architecture Award www.architectureaward.bigmat.com BMIAA: BigMat International Architecture Agenda www.bmiaa.com Twitter @BMIAAGENDA Instagram @bigmataward Facebook BMIAA BigMat International Architecture Agenda



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