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Another Architecture N°59 December 2015—January 2016

Follow in the footsteps of Martin Luther Learn how to build a house from demolition materials

Nature meets culture in Mad Architects’ Harbin !eatre


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Mark 59

Dec 2015 — Jan 2016

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NAP / Hiroshi Nakamura Atami 2b Belmont-sur-Lausanne Lederer Ragnarsdó+ir Oei Ulm CtrlG / 51-1 Medellín Filip Dujardin Kortrijk Diener & Diener Warsaw Jorge Suso Padul Elding Oscarson To!o Infographic Studio Proto-pe Schoorl Espen Surnevik Våler Robertneun Berlin CF Møller Aarhus Tomohiro Hata Kobe Raumzeit Kassel Office O Tremelo Studio Archea Liling Lorenzo Castro Medellín Bloot Hengelo /am & Videgård Stockholm


Perspective Martin Luther Memorials in Saxony-Anhalt


"ere are three towns in eastern Germany that call themselves Lutherstadt (Luther ci#). All three of them have constructed new museums or visitor centres.

Springer Architekten Martin Luther’s Birth House Visitor centre in Eisleben Photo Bernd Hiepe


CF Møller Architects Office building in Aarhus Photo Adam Mørk


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Dec 2015 — Jan 2016


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Mad advocates a merger of architecture and landscape. Toyo Ito’s interest in a renewed relationship with nature is reflected in cultural centre Media Cosmos. Carvalho Araújo completed two houses that are dug into the ground. Ila Bêka and Louise Lemoine show how buildings can have an impact on the way you live. Marte Marte’s projects pay homage to the castles and lo!y towers that fascinated the architects as children. Rolf Bru*ink and Niek Wagemans renovated a coach house using demolition materials harvested from an old shed. Sanaa designed spaces for public gatherings in the form of a meandering river. Małgorzata Szczurek, Przemek Dębowski and Magdalena Hajduk-Dębowska introduce contemporary architecture to 094 the Polish audience.


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Mad Architects /eatre in Harbin Photo Iwan Baan


Ila Bêka and Louise Lemoine Photo Heloïse Lalanne-Castellano

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Mark 59

Dec 2015 — Jan 2016

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‘World War I is a worldwide forgo!en war. Maciej Jakub Zawadzki on KAMJZ’s design for a war memorial, page 020


we need to shout’

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primary goal

Filip Dujardin on his installation in Kortrijk, page 036

is to

con!se the viewer’

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Text Melika Aghabeigi Photo Filip Dujardin

When Fiction Meets Reali!

Filip Dujardin designed and photographed an architectural sculpture that holds the promise of a !ture building.

In the Belgian ci) of Kortrijk, professional architecture photographer Filip Dujardin created a temporary installation called Sequence n°1, bringing his art form to life in a threedimensional sculpture.

recent installations and especially this one in Kortrijk. However, my goal was not to create a +nctional building. I only use an architectural vocabulary to produce an artistic sculpture with proper spatial logic.

How did your background in architecture photography influence this installation? FILIP DUJARDIN: Photographing architecture has made me aware of the techniques architects use to make an interesting building. I look very closely at a structure by analysing it in scale, proportion, spatial layout and as an object in a certain context. *is background gave me the tools to create my

What did you want to achieve? In my series of digital photomontages Fictions [Mark 16, page 116], my aim was to make buildings that balance between reali) and fiction without slipping into science fiction. My primary goal was to con+se the viewer with the plausibili) of these structures. In my installations I try to achieve the same eect. I had to find a way to translate

Filip Dujardin

the mechanisms present in my photographic work into a three-dimensional object. From the beginning, I realized it was not relevant to reproduce my imaginative buildings in 3D. I had to work in a more abstract way. *e installation appears to resemble a neighbourhood façade in an isolated green context. *e installation is part of the art project Flux, which celebrates the Leie River that runs through the ci) of Kortrijk. *e ci) doesn’t have a lot of contact with the river and the centre has its back to the water. I built a structure that places several architectural archi)pes in a certain sequence,

evoking a silhoue.e of a street or an unfolded house. It pulls the ci) towards the water. Why did you choose to use only brick? I used breeze bricks to achieve an unfinished effect and the feeling that this is just an intermediate phase of construction. *is reflects the universal promise of a finished building/dream. *e fact that the whole structure is quite long but not very wide adds to the impression of a structure in transition. Another reason is the fact that Kortrijk used to be the centre of brick and roof tile production in Flanders.

Kortrijk — Belgium

You o/en capture architecture designed by other people. How was it to be able to realize your own idea and then photograph it? I designed this structure knowing that I would photograph it when it was finished. It’s a temporary project and the photograph is all that will be le/ a/er it’s been demolished. In one sense the photograph will replace the actual work and in another it will become a new work of art. I perceive this process in which a fiction (a design) becomes reali) (an actual three-dimensional work) and evolves into fiction (a photograph) again as very interesting.



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‘Luther’s houses


prove that architectural austeri! can be exciting’ Florian Heilmeyer on the Martin Luther memorials that have been popping up in Saxony-Anhalt, Germany, page 070

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&e front and side walls of the old building have been preserved.


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Entrance hall Multi,nctional room Library Workspace Depot Archive

Martin Luther Memorials

Saxony-Anhalt — Germany

&e extension made at the back now houses the entrance. To the le., the exhibition building by Springer Architekten on the adjacent plot is visible. &e new entrance hall on the side of the garden.

Luther Archive Eisleben, 2015 Atelier ST Photos Bertram Bölkow Because the new programme didn’t fit in the existing building, Atelier ST created an extension on the garden side by adding a trapezoidal addition to the rectangular volume. Extending the roof downwards has made the addition an integral part of the old building. Or, as the architects say: ‘Form follows history.’ What was once a simple staircase has now become a spacious entrance hall with an open staircase leading to the library and space for the archives on the two upper floors.


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‘%e ci! of the &ture should concern Ma Yansong on Mad’s new design philosophy, page 094


people nature’


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Taking Nature Mad Architects advocates a merger of architecture and landscape.

Text Harry den Hartog

Mad Architects

Beijing — China


to the Next Level

Photo Iwan Baan


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‘It is our intention to have people gather together under one roof’

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quali) and air flow. Since our intention was to have people ‘gather under one roof’, we created a gentle, visual impression, almost as if the roof embraces you. Where do we place this large, public, accessible project in Toyo Ito’s oeuvre? Creating a comfortable environment is the key to a.racting people to use a building actively for various events. When we designed the Sendai Mediatheque [1995-2001], we got rid of walls wherever possible so that people could see and observe each other. *irteen ‘tubes’ were used to divide the space into various areas. While we were designing the

Toyo Ito

Gi, — Japan


Media Cosmos, we o/en referred to what Sendai Mediatheque had achieved. *e bi0est difference is that the ‘tubes’ became ‘globes’ in Media Cosmos, which can be entered to read or relax and open up to the ceiling to connect with the outdoors. *rough this, the relationship between inside and outside in Media Cosmos became even more intense than we were able to realize in Sendai Mediatheque.

plant], Ito initiated the Home-for-All project [minna no ie in Japanese]. Ito realized several living room-like communi) spaces at various locations for those who had lost their homes. We formulated three objectives for Home-ForAll, which were already valid in the design for Media Cosmos. ‘To revive connections between the hearts of one another’, ‘to nurture energy to live’ and ‘to be created and built by all’. During the design process for Media Cosmos we organized countless workshops with local citizens to discuss the +ture +nctions of the building. *e cultural centre is a place where the 400,000 citizens of Gi+ can meet each other, absorb information and be stimulated by the

events that happen there. In a way, the piece of architecture resembles a town. Given the problem of CO2 emission and its impact on the environment, some might say that it is to not build architecture. However, the new connections formed between different people in the process of building Media Cosmos and Home-For-All would not have been possible without the creation of architecture. It is our belief that creating architecture that can broaden these kinds of opportunities infinitely should be one of the goals for the +ture. _

In what sense does Media Cosmos reflect Toyo Ito’s post-disaster view on architecture? A/er the triple disaster that occurred in northern Japan in March 2011 [earthquake, tsunami and meltdown of the Fukushima power



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Refúgio na Montaria Montaria–Portugal 2015

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Carvalho Araújo

Braga — Portugal



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‘Architecture itself is something human’

Filmmakers Ila Bêka and Louise Lemoine show how buildings can have an impact on the way you live. Text Grant Gibson

Bêka & Lemoine

Paris — France


Ila Bêka and Louise Lemoine. Photo Heloïse Lalanne-Castellano


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Marte Marte Architects

Mountain Cabin Laterns–Austria 2011

Weiler — Austria


At the entry level, which is accessible via a flight of steps, one is protected from the elements. into the landscape as if it were a barn, the building stands out against the meadow green and winter white. Square windows of different sizes are spread out across the walls. At the entry level the structure narrows down to two supporting corner columns, which not only provides guests with the unique opportuni) to look through the building while at the same time enjoying a panorama view of the surrounding landscape, but also lends the entrance a sense of significance. Inside, a spiral staircase connects the living area on the upper level with the two more private areas on the lower level.

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&e openings punched into the double-walled concrete shell frame the landscape like paintings.






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Studio / Niek Wagemans

Utrecht — Netherlands


Story of a Shed Photo Christel Derksen

Rolf Bru(ink and Niek Wagemans renovated a coach house using demolition materials harvested from an old shed.

Text Kirsten Hannema Photos Jeroen Musch


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modernism. Grace Farms’ intervention in 2007 preserved rolling farmland of great natural beau) from becoming yet another cluster of ostentatious mansions. To create a structure that would express its concerns for nature, communi), social justice and faith, the Foundation invited Bill Lacy, former executive director of the Pritzker Architecture Prize, to propose 25 architects. Together, they narrowed the list to ten and explored the work of four finalists: Weiss/Manfredi, Machado Silve.i,

and the Japanese firms of Shigeru Ban and Sanaa. Each submi.ed proposals and when the partnership of Kazuo Sejima and Ryue Nishizawa showed their first model of the River, the selection knew they had found the right scheme. Two months later, in May 2010, Sanaa was awarded the Pritzker. In its citation, the jury praised the architects for their ‘vision of a building as a seamless whole, where the physical presence retreats and forms a sensuous background for people, objects, activities, and landscapes’. *ose qualities are

In essence, the building of glass, concrete, steel and wood is a single long roof that seems to float above the surface of the ground as it twists and turns across the landscape. &e amphitheatre in the foreground seats 700.


few kilometres from Philip Johnson’s Glass House in New Canaan, Connecticut, Sanaa has created a structure that is even more transparent and immaterial. Aptly named the River, it comprises a canopy of Douglas fir, supported on slender steel poles, that descends a gentle slope in a series of switchbacks, widening at five points to embrace rounded glass enclosures that seem as insubstantial as soap bubbles. From one end to the other is 140 m, but it is tucked into a space half that length. From above, the gently bowed roof of anodized aluminium panels picks up the light as though it were a watercourse, and constantly shi/ing perspectives give it a sense of motion. *is linear shelter was commissioned by the non-profit Grace Farms Foundation to house its non-denominational worship space, as a gathering place for the communi) and as a belvedere from which to observe a 32-hectare nature preserve. *eir first impulse was to save this last undeveloped plot of countryside in Fairfield Coun). For nearly two centuries, New Canaan was a quiet country town distinguished by white, high-steepled churches, and that image lingers on. Forests were cleared for farming, watermills provided power. *is was the cradle in which Colonial America was nurtured before it won independence and set off to conquer the wild and ru0ed west. In the late 1940s, Marcel Breuer, Philip Johnson and other protégés of Walter Gropius at the Harvard Graduate School of Design se.led here on their way to New York, and the houses they built encouraged fellow spirits, so that New Canaan became an unlikely hub of modernism. Unfortunately, its proximi) to the metropolis also lured wealthy commuters and vulgar excess is eroding the frugal legacy of


eloquently expressed in Grace Farms, as they were in the glass rotundas of the museums in Kanazawa, Japan, and Toledo, Ohio. Since then the firm has designed the massive Rolex Center in Lausanne and other foreground buildings. ‘We collaborated closely with Sanaa from the start,’ recalls Grace Farms President Sharon Prince. ‘Our 35-page program and the site gave them a lot of freedom, and the original design was tweaked right up until the ground-breaking in 2012.’ She praises the porosi) of the structure and the absence of a

New Canaan — CT — USA

single front door – features that allow visitors to explore the entire proper) however they choose. But the layout is subtly choreographed to enhance their enjoyment. A long driveway leads to a parking lot that is concealed behind a ridge. Barns have been converted to new uses and they flank an entry plaza that opens up to former horse paddocks, a garden and an athletic field. Olin, a Philadelphia-based firm, restored the landscape. Paths lead up to the River. At the top is the Sanctuary with its raked seating, which


hosts a Sunday service and secular discussions and performances during the rest of the week. Slender glulam beams and metal tie-rods support the 29-m span of the gently bowed fir roof, which rests on the same perimeter columns that support the canopy. Indeed, the differently sized enclosures are so transparent that they merely punctuate the flow of the covered concrete walkway as it twists and turns 13 m down the slope. From this high point one can see the entire ribbon of the roof; from below it feels tightly coiled and stacked, →

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In the November/December issue, Material Futures, we dissect the fabric of tomorrow. Our Harvest pages are packed with daring, bold interiors, while our Kitchens special celebrates the hub of the home. BMW’s Adrian van Hooydonk divulges where mobility is headed, and we take a critical look at e-tailers of design.

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Mark 59


Exit Mark 60

Feb – Mar 2016

Photo Daici Ano


*e latest residential project by To3o-based TNA is an ode to the great Japanese novelist Natsume Sōseki (1867-1916), who once lived on the street where the house is located. We spoke to architect Makoto Takei to learn more.


OMA’s Reinier de Graaf talks about his reading habits and favourite books *e National Waterline Museum in Bunnik, the Netherlands, by Anne Holtrop


An interview with production designer and film producer Alex McDowell

Alpine Shelter at Mount Skuta, Slovenia Š OFIS Architects

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