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Architecture Highlights Vol.3 Copyright Š 2010 Shanglin A&C Limited Editor: Hu Yanli He Jiaxin Publisher: Shanglin A&C Limited Unit 1021, 10/F, Ocean Centre, Harbour City, 5 Canton Road, TST, Kowloon, HongKong Distributed by: AZUR Corporation 5F Aikusu Building, 1-44-8, Jimbo-Cho, Kanda Chiyoda-ku, Tokyo 101-0051 Japan Te l : 0081-3-3292-7601 Fax: 0081-3-3292-7602 E-mail: azur@galaxy.ocn.ne.jp http://www.azurbook.co.jp Designer Books (China) B-0619, No.2 Building, Dacheng International Center, 78 East 4th Ring Middle Road, Chaoyang District, Beijing, China Te l : 0086-10-5883-1335 (Beijing)

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P12  BCMF Arquitetos  Deodoro Sports Complex  P14  Forte, Gimenes & Marcondes Ferraz Arquitetos  FDE Public School  Grid House  P22  Marcio Kogan  Micasa Volume B  Mirindiba’s House  Osler House  Panama House  P38 TRIPTYQUE ARCHITECTURE  Harmonia // 57  P42 Una Arquitetos  House in Joanópolis  P46  JORGE HERNANDEZ DE LA GARZA Los Amates House Suntro House  P52  Alexander Gorlin Architects  Chicago Town House  Southampton Beach House  P58 Allied

Works Architecture  Contemporary Art Museum St. Louis  Seattle Art Museum  P62  Bercy Chen Studio LP  Beverly Skyline Residence  Peninsula House  Riverview Gardens Residence  P74 Johnsen Schmaling Architects  Camouflage House  Ferrous House  P78  LA DALLMAN  Levy House  P82  Replinger Hossner Architects Eb1 P84  Ross Barney Architects  Arts Science Technology Pavilion  Jewish Reconstructionist Congregation Synagogue  James I Swenson Science Building  Oklahoma City Federal Building  P98  Mathews & Associates Architects House Millar House Taylor KEE Enterprises

P112  Andrew Maynard Architects  Barrow House  Vader House  P116 Lyons  Hedley Bull Centre, the Australian National University  Hume City Council Offices  Automotive Centre of Excellence, Kangan Batman TAFE  School of Medical Research, University of Western Sydney  P128  Zen Architects  North Carlton Green House  P130 Morphogenesis  Corporate Office for Apollo Tyres  Residence in New Delhi  Pearl Academy of Fashion  P140  Nisha Mathew Ghosh + Soumitro Ghosh  RRM 2  St. Mark’s Cathedral Resource Centre  P146  Shirish Beri & Associates  SDM Institute for Management Development  Laboratory

for the Conversation of Endangered Species  P154  Hiroki Tanabe + Shin Yokoo Minami-Nagano Dental Clinic & Residence  P158  MOUNT FUJI ARCHITECTS STUDIO / Masahiro Harada + MAO M3/ KG SAKURA P162  Sou Fujimoto Architects  Children’s Center for Psychiatric Rehabilitation  House N   P166  Takao Shiotsuka Atelier  Ceremony Hall  Silent House  White Cave  P174  Forum Architects  AL Mukminin Mosque, Addition of Madrasah to Al Mukminin Mosque  The Assyafaah Mosque  The Singapore Chancery in Manila  P186  Boran Ekinci Architects  Metu Prep School Annexes

P192  project A01 architects  Private Residence Klosterneuburg  Production Facility and Office building for Schiebel Elektronische Geräte GmbH  P198  HOLODECK architects  22 tops  P200  eer architectural design  House b.v.  P202  Allford Hall Monaghan Morris  Adelaide Wharf  Kentish Town Health Centre  The Yellow Building  Westminster Academy at the Naim Dangoor Centre  P212  KHR arkitekter Biocenter The Church of Holy Cross  Fiberline Factory  P218  Heikkinen–Komonen Architects  Emergency Services College, phase IV  Lappeenranta University of Technology, phase VII  P224  Rolinet & associés  The Chapel of the Deaconesses of Reuilly  The Church of Ermont Taverny  P230  Anamorphosis Architects  TECHNOPOLIS  The Cultural Park of the Hellenic Cosmos (CPHC)  P244  Studio Nicoletti Associati Arezzo Law Court  P248  Pietro Carlo Pellegrini Architetto  The Guest house for the pilgrims  Historical Museum of Resistance  P252  C+S ASSOCIATI  The Nursery School in Covolo  University Hall of Residence in Novoli  Water Filtration Plant  P262  Neutelings Riedijk Architecten  Netherlands Institute for Sound and Vision  Walter Bos complex  P272  Architectenbureau Marlies Rohmer  De Matrix: five quadrangles and polyester facade elements  De Zeester: day care centre for mentally handicapped persons  Smarties: student accommodation  P280 UArchitects  Maasberg Juvenile Detention Living  Maasberg Juvenile Detention Pavillion  P290  A-lab (Arkitektur Laboratoriet)  Arctic Culture Centre  P294  Rintala Eggertsson

Architects  Element House  P298  Jarmund / Vigsnæs AS Architects  Edge House  Oslo International School  Svalbard Science Centre 78°north  P314  Olafur Eliasson + Kjetil Thorsen  Serpentine Gallery Pavilion 2007  P316 KWK PROMES architect Robert Konieczny  Aatrial House  Broken House  OUTrial House  P324  Correia / Ragazzi Arquitectos  Casa em Lousado  Casa no Gerês  P334 EZZO Paco de Pombeiro / Rural Hotel  P338  Souto Moura Arquitectos S.A.  Braga Municipal Stadium  Burgo Tower  P346  AK2 architectural studio  RELAXX,Sport and Leasure Centre   P348  Corona & P. Amaral Architects, S.L.  Vivienda en Jardín del Sol, Tacoronte  P352  Rafael de La-Hoz Arquitectos  The High Council of the Chambers of Commerce  Telefonica′s District C in Las Tablas  P362  Abalos + Sentkiewicz Arquitectos  Porte de La Chapelle  Taipei Performing Art Center  P370  Wingårdh Arkitektkontor AB  K:fem department store  Müritzeum - science and visitors centre  P378  ssm architekten ag Erweiterung Kunsthaus  P380  EM2N MATHIAS MÜLLER I DANIEL NIGGLI I ARCHITEKTEN AG I ETH I SIA I BSA  Community Center Aussersihl  Conversion Theatre 11  Extension Public Records Office Canton Basel-Landschaft Toni-Areal P390  dl-a, Devanthéry & Lamunière Architectes  EPFL School of Life Sciences  Philip Morris International Headquarters  P398  Davide Macullo Architects  House in Carabbia  House in Lumino  House in Ticino




BCMF Arquitetos


Deodoro Sports Complex Brazil

The venues of the Rio 2007 Pan-American Games were grouped into four great distinct regions of the city: Barra, ‘Sugar-Loaf’, Maracanã and Deodoro. This strategy was intended to spread and distribute the direct and indirect benefits of this major international event among all inhabitants of Rio de Janeiro, through the construction of new venues and infrastructure, as well as improvements of the existing ones. The Deodoro Sports Complex was designed considering that a similar competition venue and program would be applied to a future Olympic Games (Rio 2016), including in the same cluster the Shooting, Equestrian, Archery, Hockey and Modern Pentathlon facilities, being also permanent training areas for all major national, regional and international competitions. The cluster is now a formidable world-class legacy, which has successfully triggered the renewal and further development of this important vector of the city. The project deals with the complex issues of a unique suburban context comprising of a military neighborhood, a densely populated favela, a rough industrial area and a vast wild landscape all mixed together.


Forte, Gimenes & Marcondes Ferraz Arquitetos


FDE Public School São Paulo, Brazil

As a result of a recent program by FDE, Foundation for the Development of Teaching, the primary and secondary state schools built by the Government of the State of São Paulo have in common, as the choice of their constructive system, the industrialized components, the room program and the leisure areas, the articulation between the spaces and the intention to create a comfortable place, with qualified architecture for the occupants of the schools and the teaching practice. Since the beginning, the intention was to create a large integration between the public and the semi-public spaces, the internal and the external sides. Thus, the complicated site was treated to provide a large access square to the school which, when their doors are open, is transformed into an agreeable space of gathering for the community. This space is complemented by the rest of the ground floor of the building, which has a multisport court, a covered multi functional space for several activities and a recreation space in the back part of the lot. During the weekends, all these articulated spaces serve as a leisure area for the local population that is so much in need of this kind of space. The structure of the school is entirely composed of pre-molded concrete elements. This system, chosen for the control quality of execution, the speed in assembling and the accessible cost, provides the character of the school. The concrete structure of the building extrapolates its limits, also supporting the shadow elements (brise soleil). On the front part, open concrete elements with irregular openings are grouped so as to from a large mosaic which filters the light. This concrete mosaic creates interesting visual forms, both from the inside, from where it seems to frame the landscape, as from the outside, from where it looks like a giant panel. During the night, when the classrooms are lit, the mosaic doesn’t look so strong and the school gains a lighter and more diaphanous aspect. On the back part, the part with double height in the multi functional space, the shadow is created by perforated aluminum tiles. The multi functional space, which is the organizing element of the entire school, is used by the students for several activities, but also by the community on weekends and special events. It remains completely open for the external space and the shadow element is applied higher. The perforated tiles allow the light to enter during the day. They get practically transparent for those who are inside the galpão, enhancing the feeling that there is no clear limit between the internal and the external sides of the room.



Forte, Gimenes & Marcondes Ferraz Arquitetos


Longitudinal Section

Transversal Section

Grid House

Serra da Mantiqueira, Brazil In an area of 53.24 hectares, only 65,000 square meters are not covered by the lush native intact forest that is permanently protected. In this area of accidental topography, where large stones are surrounded by Araucaria trees, a small valley was chosen, protected from the winds and close to the forest. This is where the natural walking paths cross: the site where people who arrive at the plot of land go to, access to the paths leading to the heart of the forest and to the top of the hill where one sees an impressive view. Three main issues have guided the project conception: the demand for a single-story house, the wish to establish a direct relationship with the land and nature and also the need to provide privacy to the members of the family, with the main area located in one single building. Another important factor taken into consideration was the region’s high humidity levels, so a house above the ground was suggested. A structural grid in wood, with 5.5x5.5x3m modules, suspended above this nucleus for accesses, connects the existing paths and creates new ones. Thus, one may cross the bridge structure in three different ways: from above (the roof garden, which is a projection of the plot), from beneath (crossing a garden with water mirror and natural stones) and going via the middle of the house (crossing an external covered area). This grid has modules, some of which are taken up by closed environments; other ones are totally empty, allowing that the trees from the garden below cross the structure. The program in the grid is made up of a nucleus, with washing area, social area, guest room and the owner’s apartment, and three isolate modules, with two bedrooms each, for the children. Among these, the empty modules highlight the structural continuity and enhance the empty spaces where the garden can be seen. This empty and closed spaces game provides a fragmented organization of the program, protecting the privacy of the users and, at the same time, enabling an understanding of the building set as a cohesive unit. Suspended above the valley and merging into the hills, the house becomes the land and the land becomes the house, creating a new landscape. The built-up empty spaces, simultaneously inside and outside, allow us to see, under the grid, stones and garden the native forest, the surrounding trees and the supporting stones, where the house is immersed. The wooden grid, supported by a set of concrete pillars, is set on the hill on two sides, as if sprouting from the ground. At this point of contact, the land is engraved by several walls made up of stones drawn from the same area. To avoid an excessive number of pillars in the 2000-square-meter structure projection, and to provide wider open views of the garden below, large trussed beams in cor-ten steel are placed at each two modules, each one of them 11 meters long. These beams, together with the landscaping, make up an important part of this work. 16


On the top of the highest hill, from where one has the most generous view of the mountainous horizon, lies the leisure pavilion, divided up in two blocks, with the same modulation of the main residence. The pavilion is supported by metallic beams in cor-ten steel, in a wing shape, enabling 100% of the balances in the free span, on the hills’ borders. The leisure pavilion and the residence block, with the same structural grid showing antagonistic situations of land occupation – whether in the valley or on the hill, the module establishes a clear dialog with the topography. Another 3 service pavilions with garage, housekeeper’s house, accommodations for the maids, dressing rooms, warehouses, etc. are pavilion-like constructions, with the same 5.5 X 5.5 meter module, albeit in a stone structure. Large parallel panels made out of stone anchored on the ground support the slabs. While the wooden constructions are light and ethereal, these blocks are evidence of their different function through the clear support of the large panels on the ground. Three levels of landscape intervention have been defined. The idea is to rebuild the margins of the forest and create a transition between the open field and the closed forest by using native species, compatible with the region. At the same time, in the remainder of the open area, the park is taken up by paths with resting areas in the areas where the best views can be observed. Finally, at the sites close to the buildings there is a garden prior to the architecture work. At the top floor, which is a continuation of the plot, there is a linear water mirror that avoids the use of body protector and relates to the large water mirror located in the lower garden, around which the largest stone at the site. 18





Marcio Kogan Micasa Volume B São Paulo, Brazil

Popular urban Brazilian civil construction, with the consolidation of previously-precarious neighborhoods, executed with disposable material, has specialized in the building of that which was called “puxadinhos” (annexes), small enlargements, be they vertical or horizontal, taking over all the small lots. The formal city has incorporated this culture and has suggested, in the ever-new LatinAmerican cities, always fresh, always renovated, a program for architecture: building on the already-built.

Ground Floor Plan

The Store Micasa Volume B is an annex, a “puxadinho” of a previously-existing store. The building has, nevertheless, acquired a strong symbolic presence. A small tunnel connects the entrance to the Micasa annex with the showroom of the initial store, and is installed perpendicularly in relation to the new space. A patio located at the end of the lot gives access to the store and the design studio. The annex interior ground plan is a large span, conceived to configure an ample and dynamic area to house the VITRA showroom, which Micasa sells. The front façade is a broad showcase of instigating proportion, low and long, which every now and then displays the owner’s antique car collection. The store was built using rustic material and rustic executions. Rustic and modern, Micasa Volume B recalls the artisan processes of popular civil construction, and, above all, the modern Brazilian buildings, brutalism projects in a brutalism reinvented south of the equator, attentive to the local knowledge. The façades of the store were made in a not-very-common manner using exposed reinforced concrete: the outward appearance of the material, generally done very precisely with new lumber, is used here randomly, chaotically, and some wood was not even removed after curing. The brises-soleil in the offices is made of a net of reinforcing bars used for the concrete. This delicate steel lace, placed vertically, function as light filters in the large windows. The external pebbles are made from the crushed rock used to produce concrete. The building itself was fundamental to the project; actually, the project was complemented and recreated in the building itself. Some of the solutions used, such as the reinforced concrete and the metallic lace, were decided at the work site and part of the creative process was transferred to the builders. The memory of the construction remained, in an exposed archeology of the building: the “x’s” of the tape on the new windows and, on the inner walls, the workers’ notes on the project. These walls have no revestment, no paint: a raw texture of the material provides the finishing. The finalized building, beginning with the use of these materials, delicately displays the constructive phases; they are x-rays of the entire project and the work site, marks of the building’s recent history that, with the passing of time, have been added on to the always-new cities of the southern hemisphere. co-author: bruno gomes, bruno guedes. project architects: diana radomysler, oswaldo pessano, renata furlanetto, samanta cafardo, suzana glogowski, lair reis, carolina castroviejo, eduardo glycerio, maria cristina motta, gabriel kogan, mariana simas.






Marcio Kogan Mirindiba’s House São Paulo, Brazil

Although the imaginary and the discourse are also forms of doing architecture, it is the construction, the material, which is most directly associated to its essence. The critics coined the words brick and mortar as syntheses of various processes which envelop architecture into human knowledge. The construction, contrary to how it initially may sound, is not merely a group of actions practiced on a site, or the work that directly produces the materiality of the architecture. The construction, before all else, is a projective intellectual undertaking: the drawing organizes the production and elucidates the creation. There is no way to separate the practical inventiveness of the stone mason from the intellectual inventiveness of the architecture. They merge together in the construction. A good construction, therefore, assumes not only choice production know-how, but also a clear resolute drawing. The drawing requires knowledge of the means to accomplish it, knowledge of the materials and the practical execution, as well as the knowledge of the language of drawing. In a good construction all of these elements inter-relate, without any restraints. The House is an impressive example of construction, good drawing and good execution on building the architecture. The details, exhaustively and precisely drawn are fulfilled in a perfect execution. The use of materials, the shape, the intention of the drawing, quietly materialize, as thoughts on a drawing board. This precise drawing glimmers in the architectural detail. Each small re-entering angle of the house was deliberately thought out. The cleanliness and the organization of the project are evident in the finished house. The qualified labor works as meticulously as handicraft artists, finally giving weight, shape and color to the architecture. The project, it can be said, is not industrialized. Above all, it is a project, the same of which can be said for the majority of Brazilian constructions, of unrelated units frequently consisting of special and unique constructive components. Immediately to the right, in the entrance of the house, a large living-room completely opens, using two window-frame moldings that are entirely built into the wall, creating cross-ventilation and an area of continuum space that is totally free. There is no structural interference in this space. The living room opens to a delicate woodenfloored garden with a reflecting pool and minimum vegetation. The perfection of the execution, the surprisingly free and continuous space and the play of volumes; invoke a cinematographic atmosphere. The constructive materiality meets with a said imaginary architecture. A small atrium articulates the remaining areas: the way to the dining room and to the kitchen and, vertically, to the other places programmed into the house. On the first story are the intimate areas and, on the second, a more reserved social area. In this room, two large wooden lath doors open to a deck which, on one side, a beautiful view of the city and, on the other, a view of the garden which, downstairs, is protracted from the living room. Upstairs, the precision of the drawing and the execution continues to impress and create the cinematographic atmosphere of the house. co-author: renata furlanetto. interior design co-author: diana radomysler. team: oswaldo pessano, samanta cafardo, suzana glogowski, lair reis, carolina castroviejo, eduardo glycerio, maria cristina motta, gabriel kogan, mariana simas.


Main Facade

Ground Floor Plan

First Floor Plan

Second Floor Plan





Marcio Kogan


Osler House

Brasília, Brazil The plan of the Osler house is structured by a ground floor volume, a suspended volume and a deck with an outdoor pool. The box of concrete and wood on ground, houses the main suite, a bedroom, bathroom, the utilities area and the garage. The vertical wooden brises filter the light and can open in their entirety, diluting the relationship between the internal and the external. The upper volume, propped on the ground-floor volume, on one side, and on pilotis on the other; accommodates the living room, the kitchen (done with low-height furniture) and a small office. This upper box creates a shady area and over the ground-floor prism, an extension of the living room, is the solarium. An outdoor staircase connects the deck alongside the pool to the upper solarium. An indoor staircase forms the daily circulation of the house. Near the main circulation, in the foyer of the house, an Athos Bulcão panel was especially designed and it is, possibly, his last project. The tiles that are in most famous classic buildings in Brasília build the space here as well; a work of art designed for the house, designed with the architecture, that the artist could not see completed. The brises, the pilotis, and the plan with two perpendicular volumes are, in this house, a commentary of the modern architecture of Brasília; the panel by Athos Bulcão, a great privilege for the inhabitant and for the architects. co-author: suzana glogowski. interior design: diana radomysler + marcio kogan. team: oswaldo pessano, renata furlanetto, lair reis, samanta cafardo, carolina castroviejo, eduardo glycerio, maria cristina motta, mariana simas, gabriel kogan.


Marcio Kogan Panama House São Paulo, Brazil

The site of Casa Panamá is located in one of the garden neighborhoods, just some blocks from Paulista, the financial center of the city of São Paulo. The client has an important art collection, above all, modern Brazilian art, and the house was designed to house this collection. The works of art are scattered throughout all the areas of the residence, from the bedrooms to the gardens. The interior plan is organized into 3 floors and a sub-solo. Upon entering the lot, a tree-covered patio leads the guest to the door. A social hall distributes part of the program of the house: a library, vertical circulation, the utility rooms and the living room. From within the library you can see, in front of the exterior stone wall, a Maria Martins sculpture, reposing over a reflecting pool. The living room has large spans that open, in their entirety, to the garden, building a spatial continuity between interior and exterior. In the garden, the pool, installed on the side of the lot, mirrors the stones of the wall. On the second floor, a large corridor connecting the bedrooms also works as a gallery exhibiting the paintings and sculptures. Two windows, at the ends of the corridor, bathe this area with light and, in front of one of them a sculpture made by Brazilian Amilcar de Castro constructs the space. An office annexed to the master suite overlooks the garden, as do the other bedrooms. The façades of the rooms have brise-soleils made of sliding vertical wooden lathes. The brise-soleils are important to guarantee greater comfort, protecting from direct sunlight and creating a texture with the light. One of the architectural premises of the house is to organize the space from a wooden box that is placed inside a C-shaped concrete cask. This concrete cask is formed by cement slabs and a wall and, in relation to the wooden box, determines the translucent and transparent areas. On the third story, a game room and an academy connect to a wooden deck, the terrace of the house. The utility rooms of the house and the garage are located on the sub-solo. The stone and the wood, materials that refer to traditional Brazilian building, are mixed with modern materials, such as reinforced concrete and plastic and which create an architectural language. Reflecting concern with the precision of the construction, all of the details of the house were elaborated by the office, even some of the furniture that was specifically designed for the house. co-author: samanta cafardo. collaborator: renata furlanetto. interior design co-authors: diana radomysler, carolina castroviejo. team: oswaldo pessano, suzana glogowski, lair reis, eduardo glycerio, cristina motta, gabriel kogan, mariana simas.



Ground Floor Plan

First Floor Plan

Second Floor Plan 33







Harmonia // 57

São Paulo, Brazil The project in Harmonia Street is located in a neighborhood in the west side of São Paulo, where artistic life and creativity penetrates easily, where galleries and walls are mixed up, functioning as a stage for new expression forms. The alley in front of the building is an example – its graffiti present a concept of experimentation that flows out from the street into the construction. Like a living body, the building breathes, sweats and modifies itself, transcending its inertia. The walls are thick and covered externally by a vegetal layer that works like the skin of the structure. This dense wall is made of an organic concrete that has pores, where several plant species grow, giving the facades a unique look. In this great machine, where the rain and soil waters are drained, treated and reused, a complex ecosystem is formed within the local. As in Deleuze’s theory, this ecosystem is a multifunctional universe made of several interconnected machines. It’s a zone of multiplicity, where meanings and actions float between the unsaid, resulting in dynamic entities. Its insides are exposed in the facades while the interior spaces are well finished with clear and luminous surfaces, as if the construction was inside out. The pipelines that serve the whole building – as well as the pumps and the water treatment system – are showing in the exterior walls, embracing them like veins and arteries of a body. The building is like a neutral, grey base, sculpted and deformed. The aesthetic is a result of the process – the structure is rough and has a primitive elegance – a reflex of the actual concern with environmental issues and the investigation of ways of intervention. Its volume is quite simple, but also remarkable: two grand vegetal blocks are connected by a metallic footbridge, cut by concrete and glass windows and terraces. Between the blocks a internal plaza opens like a clearing and acts like a place of encountering. The terraces are spread in each floor, creating a visual game between volumes, lighting and transparency in the internal spaces. The frontal block is completely suspense, levitating over pilots, while the back block is solid, complemented by a birdhouse-like volume on top of it. Once again as a living body, its windows open up to the exterior with its concrete lips and terraces cut out pieces of the main volumes in different points, like eyes looking at the city from several points of view, while a giant concrete mouth invites automobiles to be swallowed to the inside of the building. The result of this ensemble is an exceptional edifice that presents a new perspective on “live architecture”. 38



Ground Floor Plan

Second Floor Plan

First Floor Plan

Top Floor Plan

Longitudinal View

Longitudinal Section


Una Arquitetos House in Joan처polis

Joan처polis, S찾o Paulo, Brazil The house was designed for friends on the border of S찾o Paulo and Minas Gerais states. The condominium is located along the banks of Piracaia Lake which belongs to the water supply system of the capital. Commonly encountered in these condoms, lush houses with its constructions occupy almost all of their own sites, leaving no space between one another. Our attempt was to seek the opposite: get more integrated with the descending slope bringing about its attributes, as to keep the house protected from the surrounding constructions, searching for comfort. The process was realized in sections, using the balance of soil volume to fulfill the embankment. The stone walls were built with the use of local techniques with rocks collected locally, originating a continuous but not straight line, for self-sustention, that forms the framing wall. Thus, three interrelated courtyards are formed. The walls broaden out and draw back as if in a movement giving room to the internal spaces. Out from the street there is only the view of the white tower which holds the whole infra structure and a 8x40 meters horizontal ruler comes up as the roof garden. This solution guarantees efficient thermal inertia. A first plateau comes in an intermediate level between the street and the house. This level takes you up to the roof garden or downstairs through a little tunnel leading to the entrance gateway that reaches the courtyard outside from the living room. During the day the ambiences open up completely, giving place to a vast porch and by night they can be closed up keeping the transparency. The characteristics of the materials were respected. The molded concrete is structured in modulated spans of 4m, regardless its length. Moreover, the specifications and details were premises to the cost saving construction process. The house opens up to a second grass-plateau leveled with the pool. Located at the edge, it pleases the eyes with visual continuity between its waters and the lake far in the distance. The construction of the pool and its solarium holds underneath a pool table room and a storage, which opens up to the third plateau. Construction is landscape, geography, setting and history that melt away as an object.







Main Level Floor

Upper Level Floor

Los Amates House Morelos, Mexico

Los Amates House lies in a tourist resort in Morelos, 60 kilometers South of Mexico City. The vegetation and the warm weather of the area, as well as the customer’s needs, were three important factors for the design of this house. A light stone platform separates the house from the ground. In the first level, light vertical reinforcements and a glass curtain give a free space to the dining room-parlor area. A detailed wooden lattice makes it possible to communicate the guest’s bedroom with all the other services of the house and it gives warmness and texture to the project. A thin concrete plane that folds itself structures and gives the private space of the house in the high floor; an outdoor corridor serves as mirador and link to communicate each space in this level. The double height in the parlor and a light folding glass integrate the house to the context and make it possible that the outer and inner spaces become one. The swimming pool complements the program; it begins in the platform and it makes it possible to merge the atmosphere of the house with its natural surroundings. 46






Suntro House

Oaxtepec, Mexico The house is located in the residential area of Oaxtepec among delightful natural surroundings. The lot is oriented to the northeast with a splendid sight of the Tepozteco. The sunlight falling on this white volume creates striking images produced by the whimsical movements of shadows and reflections. The shape responds to the high local temperatures and the spaces are organized in or there to make the best of the setting and to promote the continuous circulation of air, thus ensuring cool interiors even at the height of the summer. The exposed concrete floor creates a sense of continuity, devoid of obstacles, beyond the glassed-in areas. The topography presents an unevenness that was approached for the pool to stay at streets level letting the rest of the house uprooted midlevel. The wide open room which unites the dining and living rooms offers a fluid space and a complete openness to the out side. Situated at the same level as the terrace, it extends all the way to the pool; in this way creating more space if weather permits. The uncluttered style of the place is respected by the white furniture which features very refined lines. The organization takes place in a clear division in the horizontal direction of the house locating in the ground floor the public and recreation areas and in the high floor the dormitories connected with the lower floor by an inner-outer circulation. The different habitable spaces fit in a transparent area that makes its continuity with the exterior by the concrete floor that extends to the open areas, allowing to the users to move in a fluid space without obstacles. The floating volume rising above the living room and dinning room suggests a seductive lightness which simultaneously, depending on one’s perspective, creates the effect of illusionary planes with its interplay between volumes and empty spaces: a rationally controlled formal exercise. In keeping with the simplicity of the out lines, the interior emphasises the sculptural character of the building, making use of fundamental elements such as contemporary design items and various works of art.




Alexander Gorlin Architects


Chicago Town House Chicago, Illinois, USA

Located in a residential neighborhood of single family homes in Chicago, on a lot of 125' x 25', this 2,800 sq. ft. townhouse is limited in width by the narrow lot, and also the zoning code that limits its height to 25' to the bottom of the roof joists. These restrictions offered the opportunity to lower the entrance to four feet below grade in order to maximize the height of this three-story residence. The entrance is located in the center of the plan, limiting circulation to the area of limited light and air within the body of the house. Set between more traditional homes, the contrast between old and new is highlighted by the cantilevered living area over a private garden in front. On the right, a dramatic stair leads up to the main level, then continues to the floors above, slicing through to a glass skylight that floods the interior with natural daylight. On the main level, a continuous loft-like two-story space is open from front to back, with the living area overlooking the street and a music area in the rear framing the kitchen and open dining area in the middle. The master bedroom and bathroom appear to float, suspended above this volume of space. Privacy is casually achieved with garment racks that utilize the owner’s wardrobe as a curtain or screen from the street. The main stair winds up the side wall from the master bedroom level to the roof deck above. In the rear, the garage is located on the service alley, defining a garden area between it and the back of the house.


Ground Floor Plan

First Floor Plan



Ground Floor Plan

First Floor Plan

Alexander Gorlin Architects


Southampton Beach House Long Island, NY, USA

This striking, modern summerhouse is set on a narrow spit of land between the ocean and the bay. While simple in form, the house is rich in texture, color and detail, with African teak offsetting pale limestone. At the entrance, the second floor cantilevers outward from the principal mass of the building in a bold formal gesture, creating a sheltered patio adjacent the main entry. From here, an open staircase rises through a two-story glass atrium to the main level. Inside, the house is organized around a large, open living area. A central fireplace subtly partitions the space, creating an informal dining room to one side and a sitting area to the other. A light monitor in the ceiling above adds volume to the space and washes the room in a diffuse light. The living room opens onto a terraced patio and pool beyond. Above, a great wing-like canopy extends from the building, shading the house. In marked contrast to the substantial mass of the limestone building, this finely tapered form floats above the patio. Clad in a soft gray metal, it seems almost to disappear against a pale sky. The pool looks out toward the ocean while a wooden boardwalk traces the gentle rise of the sand dunes, leading to a private beach below. At the roof, a terrace offers spectacular views of the ocean and the sound. Bold sculptural elements, clad in a pale metal, punctuate the expanse. Their surfaces – gray and flat in the morning light – take on a warmer hue as the sun rises in the sky. At sunset, they are set ablaze with color.


Longitudinal Section


Cross Section


Allied Works Architecture

Ground Floor Plan


Second Floor Plan

Contemporary Art Museum St. Louis Missouri, USA

The Contemporary is a 27,000 s.f. non-collecting arts institution in a developing area of downtown St. Louis. Its mission is not to preserve, but to provoke – to challenge assumptions about the role of creative expression, to break down the divisions between art and everyday life. In the context of this institution, art is something to be experienced, remembered, and shared with others. It was conceived as a public forum and as a catalyst for creative production – a singular architectural act that is completed by the energy of the work and the individuals it houses. The design balances the need to provide flexible and durable space for exhibitions and programs with the desire to achieve maximum transparency at ground level. In addtion, the program includes an education studio, retail, cafe, performance space and offices. The site is located adjacent to the recently completed Pulitzer Foundation for the Arts. It continues to be a focal point for the arts community in St. Louis and a resource for artists and educators from across the region. Economy, simplicity and adaptability have been incorporated into every facet of the building. The continuity and flow of public space offer an open-ended experience to the visitor. Natural light and views to the exterior connect the art and the audience with the city beyond. Variations in scale, proportion and enclosure, the interplay of planes and curves provide a diversity of experience and sensation that embodies the spirit of the institution.


Building Section



Allied Works Architecture

Ground Floor Plan

Third Floor Plan

Fourth Floor Plan

Seattle Art Museum Seattle, USA

In the spring of 2007, the Seattle Art Museum opened a major new expansion at its flagship downtown location. Designed by Allied Works Architecture, the 450,000sf museum allows SAM to exhibit its remarkable collection in innovative ways and suit its broader public mission. A significant increase in the museum’s holdings and a visionary public-private partnership were the catalysts for the construction of a dramatic new 16 story building that establishes a new presence in the physical and cultural landscape of the city. Situated on the edge of Seattle’s high-rise district, The museum shares the block with a new forty-story commercial tower. Through a phased expansion, it will grow vertically within the building volume over a period of twenty years. Planning for the growth of the institution and the collection required innovation to accommodate spaces with dramatically differing use and character while maintaining the unity of the architectural expression. Floor plates may be reconfigured and the stainless steel and glass building envelope tuned in response to changing spatial demands and qualities of light. The new expansion will redefine the relationship between the museum, the collection, and the city. Separation between art and the public realm is dramatically reduced – views into the gallery levels guide visitors to the collection and temporary exhibits bring an ever changing array of work to street level. Movement through the galleries is facilitated and enriched with open circulation and views that return to the city at each level, incorporating the landscape into the experience of the collection. In addition to new public spaces and galleries, the new museum offers education studios, auditorium, retail, restaurant, and spaces to serve all aspects of the museum’s operations.


Sixth Floor Plan

Seventh Floor Plan

Building Section


Bercy Chen Studio LP


Beverly Skyline Residence Austin, Texas, USA

The concept revolved around the notions of recycling a building, reusing natural and manmade resources and reclaiming the ancient ideal that building can and should be sacred places, especially the home. The project began as a modest remodel, but turned into a full master-planning for the site; including complete interior and exterior recycle, an addition to an existing 1970’s home, as well as re-organization of the garden. As the original house was poorly sited, a large motivation of the design was to reconnect the house with its site by utilizing the steep topography to capture the expansive views. One goal was to integrate the architecture with the native garden and creek at the bottom of the property. To fully enjoy the reclaimed views, the house is wrapped by exterior decks with glass railings. The inspiration is kiyomizu temple in Kyoto, Japan, (founded 7th century a.d.) which sits above the landscape and provides panoramic views of the city. In the spirit of reclaiming value, recycled materials are employed at every possible opportunity. The front facade of the house is comprised of recycled glass blocks, which were provided by the owner as a condition of the commission. The originally monolithic nature of the house is further dematerialized through the use of slats installed as rain screens. This wall assembly seems to dissolve the facade of the house, particularly at corner conditions. The project also makes extensive use of harvested rainwater stored in pools and reservoirs to re-connect the house with its site. The water system lends a sense of drama to the intervention. A series of cascading ponds serve as part of the rain water collection system on the utilitarian level. On the aesthetic level it provides a peaceful transition between the landscape and the architecture. The selection of plants in the garden is primarily plants native to the central Texas region. This minimizes the usage of water, and follows principles of xeriscaping. The garden is planned around existing mature trees and shrubs with various ground covers and perennials. The intention was to preserve the characteristic of the site as much as possible and retain the essence of a landscape native to the edwards plateau in the hill country.


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Third Floor Plan 63




Bercy Chen Studio LP

Second Floor Plan

First Floor Plan

Peninsula House Austin, Texas, USA

The project began with a 1980’s home-builder house fronting on Lake Austin that sits on a dramatic site with 180 feet of lake frontage. The original house did little to connect with the site and could have been found in any sub-division. As reconceived, the house is a prism for reflections and is designed to enhance the subtle interactions of changing light and reflections between the house and the lake. Through the use of glass, steel, detailing and light the house has been adaptively reinvented, radically changing its role in the landscape and its relationship with the lake and mountain beyond. Exterior material strategies relate to a concept of slowness and the idea that one has to wait to fully experience the intent of the work. Weathering materials as well as vegetation are utilized to more fully integrate natural processes and to give a sense that the project is not complete once the architecture is finished, but rather only once the vegetation and weathering processes have “caught-up”. the use of reflective materials like water and glass further taps into this notion by setting up conditions that are constantly changing with the passage of the day. Moreover, the level of detail in the project also speaks to the idea that one cannot fully experience the project at first reading. If successful, one’s understanding of the project deepens with each visit and under differing natural conditions. In relating to the existing building, a wood-slatted solarium with the same slope as the existing roof was added and rotated 20 degrees to follow the side property line. In this way, the addition makes the most of the fan shaped site and creates an opportunity for a new swimming pool. A reflecting pool runs along the house and spills into the pool. The pool in turn connects to the boathouse thereby creating a visual extension of the lake and reflecting the image of mount bonnell. The interior architectural strategy relies on opening up the space and allowing the play of natural light reflected off moving water. The interior utilizes reflective and translucent surfaces such as acrylic panels, etched glass, copper and steel combined with white plaster walls and ceilings. These surfaces create a subtle reflection of light and the motion of water on interior surfaces. The carefully orchestrated reflections bring the lake deep inside the house. The relationship of the house to the site is further developed through the use of sliding glass doors, exterior terraces and roof-top gardens. Rather than providing typical exterior patio spaces, interior spaces are coupled with exterior features such as reflecting ponds, private courtyards, and grass patios in which glass doors actuate the connection between inside and out. additionally, a grouping of three roof-top gardens add a second layer of landscape in which visual connection from one garden to another suggests outdoor opportunities not immediately apparent from the ground level. The former attic of the house is one of the places where the inventive adaptation of the original house can be most appreciated. By utilizing the existing geometry as well as incisions inspired by gordon mattaclarke, the existing attic is transformed into a library and children’s area. The redesign of the ground floor was inspired by the possibility for a panoramic view of the lake. Like a Japanese scroll the view unfolds to the furthest extents of the ground floor and implies the continuation of the view outside the frame. The relatively dim lighting inside contrasts with the outside light and further articulates the view. 66








Bercy Chen Studio LP Riverview Gardens Residence Austin, Texas, USA

Riverview gardens is a series of 3 identical houses located in Austin, one block north of lake Austin (now lady bird lake). The homes were inspired by Hamilton pool, a deep natural escarpment which forms a dramatic waterfall near Austin. In the spirit of that waterfall, rainwater is directed to the end of each riverview garden house and falls 3 stories in a sheet to form a dramatic waterfall, not unlike the rain screen found in classical Chinese gardens. The rainwater is then collected in an 80' long shared pond which on a breezy day provides some natural cooling to the houses.

First Floor Plan - UnitⅠ

Each unit contains 2700 square feet of conditioned space and an equivalent amount of outdoor living space. The units are raised off the ground to provide covered parking and a recreation area below while capitalizing on views of the lake above the tree line. Each house’s plan is stretched on axis toward the river to frame the primary view while creating semi-private yards between the houses. Spatial organization is driven by the view of the lake. A series of glass and vegetative screens divide the primary spaces on each floor, each creating a filter between the public space facing the lake and the private space on the opposite side. As one moves from public space to private, the view of the lake is gradually obstructed, retaining the plan’s organizational focus while allowing increasing amounts of privacy. The houses are monolithic on the east/west axis and completely open with glass on the north/south axis allowing uninterrupted views to the lake. The minimized footprint ensures large shared yards with dramatic 40' tall Brazilian hardwood walls. A cactus wall, like painter Diego Rivera’s legendary Mexico City studio fence, will frame the lots at street level.

First Floor Plan - UnitⅡ

Spatial partitions along each building’s axis are entirely glass to allow shared views. A central courtyard serves as part of the circulation. The courtyard is framed by clear glass walls allowing uninterrupted views through the interior rooms and out to the lake. The courtyard allows private access to the outside and creates semi-private exterior spaces. All roof surfaces are occupiable. The main roof is designed as a partially enclosed “room” with tall translucent panels ensuring privacy, framing views, and reflecting the light of the sky. First Floor Plan - UnitⅢ

Third Floor Plan

Second Floor Plan



Johnsen Schmaling Architects Camouflage House

Green Lake, Wisconsin, USA The Camouflage House sits on a steep lake bluff, its narrow, linear volume nestled into the hillside. Approaching the house from the rugged access road weaving through the site’s heavily wooded plateau, the building’s faint, low-slung silhouette virtually disappears in the surrounding vegetation. With its simple plan, restraint use of materials, and precise detailing, the house achieves an elegant clarity and rustic warmth that nevertheless avoids bucolic sentimentality. Echoing the trees’ arresting verticality and the rhythmic shifts between the trunks as one moves through the site, the building skin is composed of solids and voids – wall and glass panels – whose seemingly random organization overlaps with the strict 48" base grid of the building’s exposed structural columns. This first façade layer is clad in untreated vertical cedar and serves as the backdrop for a series of polychromatic Prodema wood veneer panels that reverberate the everchanging hues of the surrounding deciduous trees. Over time, the cedar walls will weather to a silver-gray, while the wood veneer panels will retain their original color and pristine finish. From the small clearing of the entry court, the low roof of the open breezeway connecting house and garage leads to a linear, glazed entry foyer that penetrates the two-story, 2,700 SF bar building and terminates into a partially covered balcony with spectacular views of the lake. Stairs connect to the lower level, which is fully exposed on the lake side and houses all bedrooms, providing access to the zero-edge bluff terrace that stretches along the entire length of the building and to the master bedroom “grotto”, an intimate outdoor space between the western edge of the house and the site’s imposing rock formation. On the upper level, kitchen, dining and living functions occupy an open space that can extend into the adjacent spacious screen porch by retracting the large, foldable glass door system separating the two. Throughout the spring, summer, and fall, the screen porch functions as the home’s lung, taking advantage of the mild lake breezes. The inside of the house, while unapologetically contemporary, continues Wisconsin’s long history of lake cottage architecture. Meticulously detailed, the entire entry level of the Camouflage House is clad with clear-sealed MDF panels, held apart by reveals that accentuate the strict structural rhythm of the house and align with the exposed engineered wood beams above. Exposed integrally colored concrete floors throughout the house complement the warmth of the MDF walls, as does a three-sided CorTen steel-clad fireplace forming the focal point of the open living hall. Throughout the house, sustainable materials were specified, such as low-VOC paints, recycled products, native woods, and high-performance glazing.

Floor Plans




Johnsen Schmaling Architects Ferrous House

Spring Prairie, Wisconsin, USA The Ferrous House sits in a row of unexceptional 1970’s ranches, part of a narrow subdivision hugging the edge of a wooded nature preserve west of Milwaukee. An existing dwelling that had fallen into serious disrepair was entirely gutted and stripped of its roof, but the limited construction budget required the reuse of the existing foundation, main perimeter walls, and plumbing cores. The main level of the house, a simple rectangular volume with 1,380 sf of living space, is wrapped on three sides with a suspended curtain of weathering steel panels, their warm color of ferrous corrosion echoing the hues of the derelict farm equipment left behind on the area’s abandoned pastures. The steel wrapper protects the inside of the house from the scrutiny of suspicious neighbors and the elements; in the back, it extends beyond the building’s perimeter, where it shelters the sides of a linear south-facing patio. Linear storage boxes, containing built-in closet systems and living room cabinetry, penetrate the steel curtain and cantilever over the edge of the building, adding desperately needed square footage without altering the original footprint of the house. In a carefully choreographed entry sequence, wide exterior stairs run along the front of the house and lead into a glazed foyer, an extension of the main circulation core that transforms into a small observatory above the roof. The slightly tilted roof plane is supported by a filigree of exposed metal and wood trusses, adding height to the living spaces and allowing northern light to wash the inside of the house through a translucent, Nanogel-filled glass band. At night, the window band radiates its warm light into the distance, subtly evoking the iconic clerestory glow of the dairy barns that once dotted the region. The Ferrous House offers a resource-conscious solution to the challenges of an aging, and often ill-conceived, suburban housing stock. In contrast to a radical tabular as a approach, the project demonstrates how the bones of an obsolete building can be utilized and transformed into the framework for a contemporary dwelling.





Milwaukee, Wisconsin, USA This post-tensioned concrete and steel-clad residence sits atop one of the great, deep ravines feeding water into Lake Michigan. Noted for its exemplary detailing and material innovations, the project integrates the building’s structure and skin, both developed by LA DALLMAN in collaboration with regional metal fabricators and engineers. The sculptural characteristics of land form provide inspiration for the design. The house builds up earthen density with quiet, stoic volumes of weathering steel on the public facade. This restrained face cradles the entry sequence and helps anchor the house to the site. Primary living spaces are carved out of the deep strata of the first floor mass and enclosed in glass, creating wide views into the landscape. These spaces are simultaneously embedded within and thrusting free of the eroded mass of the house. The building offers a rich set of intentional juxtapositions: the second floor slab of post-tensioned concrete allows for the progressively cantilevered massing, a steel box hovering above a long-span living space, and a delicate, 42' length of wrapping window wall; the reserved front facade gives way to the unexpected, extroverted and expansive rear façade; the sharpness of the form contrasts with the velvet texture of the weathering steel. Woven together, these opposing qualities produce a project that celebrates and roots itself in the site.




Head Section

Sill Section




Replinger Hossner Architects

Main Floor Plan


Second Floor Plan


Seattle, USA Located in a modest neighborhood Southwest of Seattle, this house represents a dramatic solution to a common issue presented by residual building lots in the Seattle area – steep slopes. Steeply sloped lots are among the most common remaining undeveloped single family building sites available. While often alluring with potential drama and views, steep sloped environments are often geologically unstable and contain fragile eco-systems. They are generally difficult to access and their development is highly regulated. Eb1 is designed as a specific response to this environment. The striking cantilevered design allows the entirety of its 2,000 square feet of living space to rest on two 16 foot long concrete piers set 16 feet apart and braced together with steel. The pier footings step with the grades and are in turn supported by three-inch diameter, pneumatically driven, steel pin pilings. This foundation system allows for development to occur with an absolute minimum ground disturbance and environmental footprint. Site impact was further mitigated by obtaining an access easement from above the site, avoiding grading through the steep slopes from the adjacent street below. A theme of minimal simplicity is maintained throughout the design, from the massing concept of a cantilevered box, through the restrained material palette and detailing. Light and views are captured in interior spaces composed of planes of white plaster, ebonized wood flooring, glass and steel. The exterior of the box is defined by a single wall of glass to the view contrasting with the abstract compositions of openings on opposing wood clad walls.



Ross Barney Architects

First Floor Plan

Second Floor Plan

Arts Science Technology Pavilion

Oakton Community College, Illinois, USA The growing demand for Computer and Manufacturing Technology and Art and Architecture were the driving force behind the new 59,533 square foot Arts, Science and Technology Pavilion on the Ray Hartstein Campus of Oakton Community College. The design of the new addition allows individual programs to co-exist within this single building yet have a unique identity. The building addition reflects the internal circulation of the existing campus. It also completes the “street” concept, creating a conceptual switch back in a central student gathering area, envisioned as the most active space for everyday student life. Spaces along the path include Information Technology offices and support space, open computer labs, general classrooms, art and design studios, Information Technology offices, common areas, and a large multi purpose facility. The Technology Center contains laboratories for Classroom, Computer Lab, ELT Lab, Cisco Lab, LAN Lab, Engineering Design Classroom, CNC Lab, Manufacturing/Automation Lab, Architecture Studio, Painting and Drawing Studio, and Graphic Design Lab. The new building facade features metal panels and masonry blending with the original structure. Site improvements, including additional parking and storm water retention areas, are designed to unify the campus by organizing green space and pedestrian paths.

Day-lighting figures prominently into the design providing spacious, light filled laboratories for learning. With a grant from the State of Illinois Green technologies including an under-floor air distribution system, were integrated. This reduces the project’s impact on the environment, reduce energy consumption, and to provide a more comfortable environment for the students and faculty. This technology driven building design has created a heart for this Community College in suburban Chicago. The building addition to this single building campus provides the College with an identity in the competitive higher education environment. 84





Ross Barney Architects

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Second Floor Plan

Jewish Reconstructionist Congregation Synagogue Evanston, Illinois, USA

The new synagogue for the Jewish Reconstructionist Congregation replaces the old building at the edge of a residential area, across from a city park and the tracks of the Skokie Swift commuter train. The design balances the limitations of a small site with an ambitious program that uniformly promotes its worship, educational, and community objectives. The project demolished the existing 21,400 square foot synagogue and constructed a new 31,600 square foot facility on the same site. The new building has three floors containing the Congregation’s offices, early childhood program, and chapel on the first floor; their education offices, classrooms and library on the second floor; and the sanctuary, social hall and kitchen on the third floor. Several ideas were formulated to make a sustainable transition from old to new. The new building is built on the foundations of the old. Local demolition rubble is placed in wire cages to create “gabion” walls to retain the edges of gardens and children’s playgrounds. The memorial trees that shade the existing building were cut down and reconstituted as paneling on the Ceremonial door in order to preserve the memory of those associated with their planting and care. The Congregation has placed, throughout the building, their collected words – lyrics, testaments, calls for protest – to be added to and to be enshrined in the building as a permanent testament of the Congregation’s work. Art has been commissioned to contain the Torah scrolls and other ceremonial features.

Section A-A 88

Third Floor Plan


Ross Barney Architects

James I Swenson Science Building

University of Minnesota, Duluth, Minnesota, USA The new Science Laboratory Building for the University of Minnesota at Duluth is situated on one of the main corridors through the 244 acre campus. The site for the new facility creates links between the teaching and research functions of the Science Department and the academic and residential areas of the campus. The port of Duluth and Lake Superior provide a spectacular backdrop for this state-of-the-art laboratory facility located in this harsh northern climate. This research and teaching laboratory with support spaces for programs in Chemistry, Fresh Water Research and Biology emphasizes healthy and productive work environments. The 50 ft wide lab building provides the opportunity for daylight to spill into the research and teaching laboratories. Teaching labs are located along the main pedestrian path of the building. Support spaces are communal and happen near the intersection of research and teaching labs. Research labs are defined by a single corridor down the middle. The new facility provides space for 16 undergraduate instructional laboratories for 2100 students and an additional 16 research laboratories for faculty and post doctoral researchers.




Third Floor Plan

Second Floor Plan

First Floor Plan



South Elevation 94

West Elevation


Ross Barney Architects


Oklahoma City Federal Building Oklahoma, USA

The devastation that was witnessed on April 19, 1995 will never leave the minds of Americans. 168 people perished in the aftermath of the bombing of the Alfred P. Murrah Federal Building. The General Services Administration immediately sought to replace the facility. The building site is a transition zone between the Central Business District and the North Downtown neighborhood. Security design is paramount to the Federal employees and its neighbors. Building mass, glazing inside the courtyard, and bollards help to maintain a sense of security. This new facility is about the future, seeking to reunite the federal community and stand as a symbol of freedom. The 185,000 square foot building is constructed on a 2 city block site, one block north and west of the former Murrah Building site. This neglected part of the city is plagued by surface parking lots and rare green space. To help the economic revitalization of the neighborhood, the historic city grid is maintained to encourage pedestrian and vehicular traffic creating active street life and a sense of community. Security design was incorporated based on the GSAs current Standards for secure facilities including blast resistant glazing. Structural design resists progressive collapse. The building was designed to receive a LEED Silver Rating. Sustainable design initiatives and workplace productivity are maximized and include daylighting and ergonomics. Most expanses of curtainwall in the building are oriented to the north, northeast, and northwest and have shading elements to limit the impact of western summer sun. The south facing curtainwall is protected with a combination of shading elements and a deep roof overhang. The Art in Architecture component of the building incorporates a water feature that acts as an additional security barrier. The boulders for this Brad Goldberg designed fountain were farmed from an Oklahoma Buffalo ranch. Artist Doug Hollis installed 46 star sculptures around the building, commemorating Oklahoma as the 46th of the United States of America.



Level 2 Plan

Level 1 Plan

Lower Level Plan 97

Mathews & Associates Architects

Ground Floor Plan

First Floor Plan

House Millar

Nelspruit, South Africa This house is situated in Noordsig, a nature reserve security estate in Mpumalanga. The brief was for a simple yet graphically strong design anchored in the African landscape. The entrance wall as an element had to be a dominant feature; dry stacked rock from the region was used which welcomes the visitor and leads the eye over a reflecting pool towards the view. The dry-packed wall also screens off the kitchen and forms a backdrop off of which the kitchen cantilevers in a staggered arrangement. The clients wanted a quiet house set in the natural surroundings with the roof not disturbing the skyline from any external viewpoint. This was the main reason for choosing a flat roof insulated with polystyrene board to compensate for the hot climate. The concrete roof floats and cantilevers over the main house keeping the Lowveld sun from the glass. These clerestory windows make the otherwise heavy concrete roof appear to float lightly above the house’s solid street elevation. The study at the front door was treated as a separate element to establish a landmark and to distinguish between home and work. The main feature of the study is the skylight which transforms into a vertical slit window and dissolves into the floor, slicing into the platonic block and creating a deep set window which provides a complete view of the outside world while making it hard for anyone outside to see into the room. The balustrades of galvanized steel mesh were chosen because they provide a solution which gives unobstructed views, needs no cleaning or maintenance, solves the safety problem of climbing toddlers and forms an additional layer of detail on the elevation which visually enhances the façade and becomes a subtle linking element. Raw off shutter in-situ concrete was used for the roof, TV units, cantilever stairs, piano stage, stepping stones and signage. Dry packed stone from the area not only anchors the house to nature but is also juxtaposed in texture against the smooth painted surfaces. Natural stone floors and galvanized steel balustrades extend further on the theme of down to earth, humble and honest materials. Dark powder-coated aluminium window frames were chosen to disappear into the shadows.


UK & South Africa English





UK & South Africa English

Mathews & Associates Architects House Taylor

Pretoria, South Africa This home is situated in the east of Pretoria near the southern slopes of the Bronberg mountain range. The site is entered from the west with views towards the south from the first floor. It was designed for a renowned sculptor with a modern hands-on approach to building and design. This home provided the opportunity to experiment with new materials, ideas and sculptural building elements. The home consists of a single storey north facing three-bedroom house linked to a double volume sculpture studio which accommodates the client’s large sculptural works. It is located on the western side, closest to the site entrance for ease of transportation. The garages and staff facilities are to the south, on a lower level, and are linked to the main house by the multi-levelled kitchen and courtyard spaces. On entering the site, guests are lead by the driveway towards the front door, located next to the prominent staircase structure. From the front door there is a choice of going either into the sculpture studio or turning into the lounge. The lounge opens out onto a large wooden deck to the north and private courtyard to the south. This home also acts as a showpiece for the client’s work as the bedrooms are linked with a gallery passage with viewing portals focusing on strategically placed sculptures in the garden. Drawing inspiration from the client’s sculptural works, the materials used for the home are bold, raw and honest, consisting of granite slab floors, timber decking, brick walls and rough granite wall cladding. The interior is bathed in natural light through the extensive use of windows and skylights as design features. These include the collection of skylights in the roof slab above the studio as well as the various deep boxshaped and funnelled steel and concrete window boxes. They focus attention to the outside world while becoming sculptural elements themselves.

First Floor Plan

Ground Floor Plan




Mathews & Associates Architects

Ground Floor Plan

UK & South Africa English

First Floor Plan

KEE Enterprises

Brooklyn, Pretoria, South Africa The brief was to design an office block that would stand the test of time and would contribute to the architecture of the Brooklyn circle precinct in Pretoria. The building was designed to create a pleasant and productive working environment for the three firms of Brink Bonsma and de Bruyn Attorneys , Mathews & Associates Architects and the offices of a coal mining company Universal Coal . The importance of solving a sharp corner in a busy urban context was one of the main design challenges. A further concept was to create a series of ‘Art Walls’ for the city; the idea was to take the most prominent wall of the building and incorporate art and graphics into the structure, thereby transforming the wall into a sculptural canvas which is integral to the building. In this project the most prominent element is the suspended concrete wall on the southern side, facing the Brooklyn traffic circle. For this concrete wall to act as an artwork on a massive scale diagonal planks were used to cast shapes into the concrete in a random pattern, forming a graphic artwork, while on the western side of the building the planks are fixed to the wall to repeat the pattern, but in the positive. The concrete wall is cut out to reveal the windows and sight lines on the first floor and the entire wall impressively “floats” on steel columns, displaying the wall as an element and visually exposing and connecting the more public boardrooms on the ground floor with the outside. Vertical circulation has been accentuated by the concrete fins breaking through the roof, defining the staircase and lift, with the glazed openness of the core providing views to the south. Internally the various services such as the lighting, air-conditioning, sound system, cable trays and air-conditioning ducts are exposed and celebrated, treated as design elements or pieces of sculpture. A commissioned sculpture seated on a bench in front of the building is framed by a cut-out in the concrete wall, creating a place where architecture and art truly meet.








Andrew Maynard Architects

Ground Floor Plan

Barrow House

Melbourne, Australia The Barrow extension appears as an arrangement of timber boxes, each independently rotated and subjected to varying amounts of extruding and manipulating forces. These separate actions result in a variety of shapes, which united, create an interior of differing volumes and organizations, providing an interesting double story addition to this weatherboard house. The extension challenges the normally lightweight and fragile nature of timber construction; added wall thickness to different areas results in a structure with a fluctuating sense of mass. The dynamic and varying nature of these environments is further enhanced by differing window arrangements and framing techniques. Frequently the windows are setback within the frame of the wall, sometimes flush and occasionally extruding beyond the timber frame. The strategic placement of the new addition to the western end of the site and the extension to the old part of the house in the east openly embrace the central garden which becomes part of the living space. The extension nurtures the dynamic, day time activities, whilst the low key, more relaxed, activities of the afternoon are enjoyed in the sunroom reflecting back on the yard and pool, watching the cinematic shadows play across the irregular face of the Barrow extension.



Andrew Maynard Architects Vader House

Melbourne, Australia Vader house’s distinctive form interrupts the symmetrical roof line of Fitzroy, breathing new life into this Victorian Terrace. This framed steel skeleton reclaims the unusually high existing boundary wall into its interior. It then responds to site setbacks resulting in a subverted answer to rescode, producing high folded internal planes, double height ceilings, a mezzanine level and spacious interior. There is no formal zoning in plan. Created is a flexible space were programs can symbiotically coexist. The elements that compose Vader also posses this versatile principle: The sculptural staircase doubles as storage space, the shield of louvres serves as sun and privacy screening, the timber flooring opens to reveal a cellar deep beneath Vader and the external deck retracts to unveil a spa. This versatile and flexible character allows this extension to respond to client needs and does not risk becoming static. Strategic placement of the courtyard at the centre of the design ensures the entire site is utilized, and allows abundant natural light and ventilation to infiltrate the terrace and the extension. The modest material composition of Vader House is completed with a refined colour palette, carefully splashed with bold red conjuring a dynamic energy to the environment.






Ground Floor Plan

Typical Floor Plan

Hedley Bull Centre, the Australian National University Acton, Canberra, Australia

This new four level building at the Australian National University in Canberra accommodates three Colleges specializing in international relations and comparative politics. Located at one of the University’s principal entry gateways, the building forms the hub of a new international studies precinct. Its hexagonal plan form references the adjacent Coombs Building, metaphorically connecting the new building to this important ANU landmark and its originating role in the development of international studies in Australia. As an object in-the-round, the building emphatically marks its prominent street corner. The form is cut through on the principle façade, connecting inside and outside and giving views to the surrounding Canberra hills. The ground floor accommodates the Centre’s public spaces – entry foyer, discursive teaching and lecture room, seminar spaces and a public café – all arranged around a central forum space which acts as a focus for meeting and exchange. The upper levels accommodate the work, study and research spaces for Entre staff, visitors and students office for quiet, reflective work are located around the perimeter. The inner offices are positioned around the central forum space which provides light and outlook to these areas. The hexagonal floor plan generates a continuous ‘loop’ linking together a series of shared meeting, utility and group spaces at each level, promoting interactivity and exchange between occupants. The two open timber staircases link four levels of the building. The building’s exterior, with its references to the globe, is made from digital pre-cast concrete panels with incised meridians which tightly wrap the building. The contrasting enclosed interior space is lined with Australian timbers, referencing the landscape of the ANU campus. 116





Lyons Hume City Council Offices

Broadmeadows, Victoria, Australia In 2005, Victoria’s Hume City Council, proposed consolidating its offices into a united and seamless organisation, to build a sustainable city of higher density around a new transit node. The project provided a significant opportunity to design a 5 Green Star rated office building for this progressive organisation. Built opposite a major shopping centre the new Council offices are an important civic marker in this fastest growing suburb of Melbourne. A compact six level form was proposed, creating a narrow footprint which admits natural light deep into the interior.

Typical Floor Plan

The orientation of the site also favoured a long floorplate facing northeast. Lifts, amenities and open circulation escape stairs at the east/west ends of the building allow for seamless occupation of the office areas. Open stairs create an internal circulation axis to encourage access between departments. The foyer is an extension of the external public realm, visually connecting it to the adjacent large scaled civic plaza. The building’s approach to sustainability is threefold; low energy usage, water conservation and occupant comfort. This was in response to the Council’s understanding that motivated, healthy staff provide better services to the public. Passive design principles – good orientation, sunshading, thermal mass and high performance glass – are integrated into the design. This building achieved a 5 Green Star environmental rating, best practice in Australia. The Hume City Council has demonstrated through this building its commitment to a sustainable Transit City vision, leading the way for future developments in the city.


Ground Floor Plan






Ground Floor Plan

First Floor Plan

Second Floor Plan

Automotive Centre of Excellence, Kangan Batman TAFE Docklands, Victoria, Australia

The new Automotive Centre of Excellence (ACE) in Melbourne’s Docklands accommodates a dedicated training and showcase facility for Australia’s automotive trades and manufacturing. It consists of high-bay workshop spaces, specialist workrooms, classrooms and office accommodation. A strategy was needed to develop an appropriate civic scale for this small public building in the context of its surrounding commercial urbanscape. Lyons looked at the history of the Docklands to identify a gesture to allow the building to compete with its high rise neighbours – in particular the history of the “big shed”, evident in the adjacent railway sheds. The roof is a large, simple gable which connects ACE to other Melbourne based industrial training spaces. The building also absorbs sources from automotive culture, and its relationships with the city; kerb signs, tyre treads, city overpasses, and the sheen of car showrooms. The interiors evoke something of the automotive predilection for contrasting the technological and mechanical with the finished and the smooth. The main foyer with its monumental staircase acts as the key circulation pathway through the building. Visitors experience a transition from traditional technical college materiality: raw blockwork, exposed steel and concrete to contemporary applications of carbon fibre and glass projection technology. The shed facade system incorporates automated louvres which enable the workshop spaces to be naturally ventilated. The offices and classroom spaces are cooled by an active thermal mass system. In combination with other environmental sustainable design features the building has achieved a 5-Star Green Star environmental rating.




School of Medical Research, University of Western Sydney Campbelltown, New South Wales, Australia

This building accommodates a new foundation medical school at the University of Western Sydney, Australia. The school is based at the University’s Campbelltown campus in the heart of Sydney’s rapidly expanding western suburbs. It was proposed as an integrated medical teaching and research environment based on the contemporary educational principles of student centred learning and collaborative interdisciplinary research. This University’s aim is to establish and contribute to a grass roots local and indigenous health service culture. Other major objectives were to create an iconic gateway for the Campus and to attract the best students and the best postgraduate research and teaching staff – a proud institutional addition to the western suburbs. In support of the client’s educational objectives, the key idea for the building was to create an iconic socio-educational external hub space. The hub space becomes another pivotal external space, joining with and extending the vocabulary of the other external forum spaces through the campus. It provides a focal point for the three different programmes (teaching laboratories, office accommodation and research laboratories) to come together to discuss medicine. The strong visual and spatial interconnection of the curved link which forms the external room blurs the programme’s delineation, mixing researchers, educators and students. It acts as a ‘super-foyer’, more like a classroom than a circulation corridor. This external room is covered with a tree-like canopy which is seen as an extension of the woodlands to the north. Problem based learning pods clad in recycled timber are like cubby houses, providing home room identity for the students overlooking the hub. All spaces within the complex are interconnected vertically with generous open stairs. Communication and sharing between staff and students is optimized. Teaching spaces are spacious and comfortable, displaying the latest digital learning technologies. Laboratories are designed on a generic platform allowing for changing research needs. While the three programmes are articulated in plan as separate forms connecting to the hub link, they are joined together formally under one roof structure which slopes to the north. The solid east and west walls of the modules are rendered similarly in precast ‘brick’ panels, coloured to match the campus palette, in contrast with the transparent north and south facades. The ‘gateway’ administration module is lifted off the ground to create a spacious colonnade at the building entry encouraging access through the hub space for all entering the campus. The building is sited to take advantage of best practice solar orientation. High level s of natural lighting into all occupied spaces allow energy consumptions to be reduced. Low energy modular airconditioning is used throughout, also providing occupant control, particularly within the offices.


Ground Floor Plan

Typical Floor Plan 125

East & West Elevation


North & South Elevation


Zen Architects

North Carlton Green House Melbourne, Australia

The House is an environmentally sensitive extension to a single storey, two bedroom, Victorian terrace house on a small 166m² site. The client required the small site to be used to maximum potential to increase floor area of the house while also increasing the garden space. Planning and heritage restrictions limited the ability to build up, so the desired increase in floor area would require a greater building footprint, inevitably reducing the garden area. A solution would require an innovative approach to integrating garden with the building. The curved roof over the first floor addition is more than just an allusion to the palm trees on the site but appeases the restrictive planning controls. The roof falls dramatically to the south-east preventing overshadowing of neighbours and dips to the west hiding it from the heritage streetscape. Floor area increased from 90m² to 132m² but importantly, garden area also increased from 20m² to 35m². The area of garden lost to the increased building footprint is replaced with rooftop garden accessed via an internal bridge over the void from the first floor mezzanine. This two storey north-facing void allows sun to penetrate deep into the house passively heating thermal mass in the exposed concrete floor and concrete ceiling. Meanwhile this void facilitates natural heat removal in summer through stack effect. More layers of garden are integrated into the building creating a living, breathing space delightful to inhabit. Two courtyards flank the dining room containing garden beds that protrude into the house. A pond reflects light onto the ceiling and planter boxes act as privacy screens. A curtain of tillandsia air plants and deciduous wysteria engulfs the north facing courtyard providing shade in summer. Further shading is provided by eaves and fixed louvers. Windows are oriented to catch breezes over the pond providing natural cooling. Stable internal temperatures are maintained through high performance wall insulation and the roof garden that provides 300-600mm of earth as insulation. Passive solar heating is augmented by a gas-boosted solar-hydronic system that heats the insulated concrete floor. This system is integrated with the solar hot water. Water consumption is minimised through harvesting rainwater for use in the house (laundry and wc’s.) The extensive gardens are watered with grey water from shower and laundry via automated sub-surface irrigation systems minimising evaporation.




Morphogenesis Corporate Office for Apollo Tyres Gurgaon, India

The corporate headquarters of the Apollo Tyres group, addresses issues central to the rapidly evolving Indian workplace. By taking into consideration the global context of the workplace, requirements of flexibility and adaptability and the incorporation of incorporation of passive environmental strategies to provide both occupant comfort and efficient infrastructure, Apollo House has become an exemplar for the corporate workspace in India today. The design’s conceptual strength comes from the spatial and programmatic striation which creates overlaps between the exterior and the interior and between the various programmatic requirements creating a vibrant and creative work environment. The design is a radical departure from the structured differentiated spaces of the traditional office and the monotony of the open plan halls that have dominated office planning. Here the continuous re-articulation of space created by a movement spine traversing the programmatic striations and the rhythmic articulation of the linear courtyards restructures the office space as a microcosm of the democratic city. The Striations are a series of parallel, linear strips running SE-NW and are grafted across the entire site. The major programmatic categories are divided into different programmatic zones, which are then accommodated in the parallel striations. This technique provides maximum interface in between each striation, leading to higher permeability and interface in between the programs. The internal spatial and programmatic decomposition creates a microcosm of the civic environment rich with the potential for social transactions. The morphology blurs the interface between the inside and outside within the site, while resisting the public gaze. The design takes into consideration the importance and relevance of energy conscious design within the modern work culture. The skin of the building comprises of 2 sets of planes – a solid set of planes whose primary purpose is to shade the set of glass planes. This ensures that despite a substantial amount of glass being used, solar ingress is only limited to the winter months when the air-conditioning system is not required. The reliance on artificial Lighting is also substantially reduced as courtyards are used to increase natural light levels on the floor plates. Finally, a series of terrace gardens provide a high level of thermal insulation.



Section 131



First Floor Plan

Second Floor Plan

Ground Floor Plan

Residence in New Delhi India

The house sets about to create its own terrain, a veritable oasis, within its inscribed territory. The forecourt is landscaped with gracious steps and pools. Crisp clear planes are articulated with materials: stone, wood, concrete which are simply striated or set in interlocking patterns. Transparency is achieved not only by glass, but a combination of water, reflection, and modulated lighting. This residence multitasks as a house for three generations of a family and their many visitors. The house can be identified by overlapping spatial categories split into three levels: the private domain of the nuclear family (bedrooms and breakfast room), the shared inter-generational spaces such as the family room, kitchen and dining areas, and the fluid public domain of the lobby and living spaces. The public domain is activated each time the house opens its doors for “Manthan�, a cultural event that promotes an energetic exchange of ideas between various creative disciplines. One navigates the complex program of the house through a series of spatial episodes that are expressed via volumes. These episodes are distributed across the house, revealed at chosen moments: when descending steps cascade to subterranean offices or rooms and furniture framed by large picture windows. Moving through the house, it is immediately clear that the central space is the fulcrum of the project. The ceiling is dotted by circular skylights with an interior garden below, a green sanctuary within the house. A lap pool fed by harvested rain water runs the length of the terrace on the second floor. Environmental design plays an integral role in achieving a network of green and open spaces. The house is imagined as a porous object whereby air movement and visual connectivity permeate into the built form. The planning, orientation, structure and materiality of the house respond to the essential passive energy efficient techniques suitable to the Delhi climate. It incorporates high thermal mass in the west, earth damping for the basement studios, landscape buffers on the south, and high performance surfaces on the east and a large cavity on the barrel roof as well as the lap pool which helps with heat absorption on the top terraces. The courtyard concept has been radically re-interpreted and along with landscape, earth, daylight simulators and carbon-dioxide sensors. There is an entire eco-system living and growing in the heart of the house.






Pearl Academy of Fashion Jaipur, India

The Pearl Academy of Fashion is designed as a low cost, environmentally sensitive campus, first of its kind in India. The design creates a series of multifunctional spaces which blend the indoors with the outdoors seamlessly. Many elements of this thermally adaptive environment borrow from the tradition of passive cooling techniques prevalent in the hot-dry desert climate of Rajasthan. Environmental design is also employed as a strategy to lower energy costs in the long run. Passive climate control methods reduce/eliminate the dependence on expensive mechanical cooling and heating methods in a state with scarce resources. The design takes two almost inviolable Rajasthani architectural motifs and gives them a contemporary twist: the stone screen known as the “jaali” and the open-to-sky courtyard. A double skin based on the “jaali” acts as a thermal buffer between the building and the surroundings. The density of the perforated outer skin has been derived using computational shadow analysis based on orientation of the façades. The screen situated four feet away from the wall reduces the direct heat gain. Drip channels running along the inner face of the screen allow for passive downdraft evaporative cooling, thus reducing the incident wind temperature. The traditional courtyards take on amorphous shapes within the regulated form of the cloister-like periphery. The shaded courtyards help control the temperature of internal spaces and open step-wells, while allowing sufficient day lighting inside studios and classrooms. The entire building is raised above the ground. The resultant scooped-out underbelly forms a natural thermal sink by way of a water body. The water body which is fed by the recycled water from the sewage treatment plant helps in the creation of a microclimate through evaporative cooling. This underbelly, which is thermally banked on all sides, serves as a large recreation and exhibition zone. Passive environmental design helps achieve temperatures of about 27 degree Celsius inside the building even when the outside temperatures are at 47 degree Celsius. During the night, when the desert temperature drops, this floor slowly dissipates the heat to the surroundings, keeping the area thermally comfortable. Materials such as local stone, mosaic flooring with steel, glass and concrete help meet the climatic needs of the region while retaining the progressive design intent, keeping in line with the aims of the institute. It promotes rainwater harvesting and wastewater re-cycling through the use of a sewage treatment plant. While it has become a successful model for cost-effective passive architecture in desert regions, the design and facilities of the campus complement the ideology of the Pearl Academy of Fashion – a cutting edge design institute with a sustainable approach.

Ground Floor Plan 135





Nisha Mathew Ghosh + Soumitro Ghosh



Bangalore, India In the urban disarray – ‘islands of paradise’ or the popularly called gated communities have become coveted places for inhabitation. Indian cities have dispersed edges and dissipating foci / centers – these isolated green spaces are voids the city created, while the rest of the city moved on. The idyllic setting of homes in the suburb creates the feel as if they were on ‘the edge of the city’. Making a home in such a location is an opportunity of making an urbane home that reflects the suave urban lifestyle of the residents and a very strong aspiration to connect to nature, a reminiscence of the lost paradise outside. The RRM 2 house reflects these desires in explicit ways. It connects the world inside – the physical structure of the home and the outdoors as a controlled & deliberate act of negotiation. A setting which works around our primordial need for water, trees, green and a safe shelter of the home, a realization of the balance of life. The two twin sites fragment the landscape on which they stand on stilts into zones of ‘occupation’ and retreat. East-West oriented perforated roof wraps in exposed cast concrete create the ‘solar topee’ effect as they capture the gentle – harsh light of this region. Below the roof wraps – the lower level of activities is distinguished from the green landscape by free standing screen planes which negotiate enclosure and landscape. A continuous water strip makes floating island of the existing coconut trees. The living room pavilion opens up as deck to the water strip. All boundaries disappear as the landscape berms up and down to conceal, reveal and negotiate. Solar pavilion roofs on a columned sub-structure orient East-West to capture light and prevailing breezes – creating the floating umbrella effect (in a climate known for its vacillating gentle – harsh sunlight). The engaging of the landscape at the lower level as in a re-oriented space and erasure of thresholds is mandated by the rapidly depleting green cover in this city once called the ‘Garden City’.




Ground Floor Plan

First Floor Plan


Nisha Mathew Ghosh + Soumitro Ghosh


Section A-A

St. Mark’s Cathedral Resource Centre Bangalore, India

The St. Mark’s Resource Centre at the campus of 200 year old St. Mark’s Church is in the heart of the city. The Church, which completes 200 years, desired to have a resource centre for the campus for miscellaneous activities. The architect proposed developing the resource centre by addition and enveloping about the shell of the old parish hall (about 80 years old) which could have emotional significance for the senior members of the congregation. The most important part of the old parish hall and its oldest fragments are therefore retained and the new structure floats above the old – in a new spatial relationship and experience. As the old parish hall did not bear any specific spatial relationship to the church, in the new scheme the insertion of a literal visual tube of space that skews sufficiently to capture views of the old church was proposed. The orientation of the ‘tube’ makes a direct, yet oblique view of the church through as a constant reminder of the focal relevance of God and his symbolic presence associated with the church building. The new inserts and additions are differentiated in their language and articulation from the old, and the physical separation of the two reinforces this. The existing trees have been retained and a new deck space is created on the roof of the inherited parish hall + resource center at the ground level as well as a point of vantage view from the balcony of the auditorium. These form new congregation spaces mediating the inside and the outside and its view of the central position of the church in the campus. Light slits play an immense role in unfolding the experience of the structure to screen the entrance space to the auditorium and create the separation of the class rooms from the old structure and also between the new additions for the office spaces. Visible from a primary artery of the road network around the site it makes a gesture that clearly defines the new facility – which responds to the programme by its own language of architectural making as well as differentiates itself from the valued past fragments. There is desire to continue the writing of the narrative of historical continuity of the institution from the past to the present as an architectural design position in the context of the church and its ancillary facilities.


Second Floor Plan

First Floor Plan (Old Parish Hall Terrace)

Ground Floor Plan


Shirish Beri & Associates SDM Institute for Management Development Mysore, India

The client’s crux behind starting this particular institute was to create an institute with a difference – that which imparts management education that is rooted in the Indian value system. Thus, the design of this campus too is not derived from the western model of air conditioned glass boxes, but is inspired by some traditional parameters for learning such as – – Learning in close proximity with nature – in a natural environment – thus the location of the campus at the base of Chamundi hills and the many interspersed green spaces. – Learning from each other – thus the many spatial opportunities created for spontaneous as well as planned interactions between students, faculty, and staff. Different types and scales of spaces are created - open, covered, enclosed, small gathering areas in nooks and nodes as well as a large landscaped amphitheatre. – Contemporary interpretations of traditional spatial elements like the arrival courtyard with a tree ‑ “Angan” (the pause), built in seats at widened circulation nodes, stepped sunken discussion courts, creeper covered walk ways, punctuated pauses and transparency in the building catalyse this interactive learning. The architect felt that an apt environment for such learning would be hand crafted from natural materials like stone rubble, granite posts – beams, sira, kotah and kadappa stone flooring, slate shingles etc. All this helps create an environment that has an element of spontaneity, humaneness and warmth. Use of local stone utilizes less embodied energy. Even broken tiles are reused in a pattern. A sewage treatment plant recycles waste water for gardening. The open, well lit and ventilated design reduces the energy consumption. Adequate shading reduces the heat load. Introduction of greenery also helps in cooling the microclimate.

Section AA

Section CC

Section BB



Ground Floor Plan

First Floor Plan





Shirish Beri & Associates Laboratory for the Conversation of Endangered Species Hyderabad, India

The Government of India wanted to set up a unique laboratory for the conservation of endangered species through research on reproductive biology and in-vitro fertilization. This design responds to this attitude of respecting and restoring Nature and its biodiversity. On his very first visit to the site, the architect struck a dialogue with the grand, beautiful cluster of large rocks on the edge of this site. He requested the clients to acquire more land around the rocks to make them an integral part of his design – creating a strong symbolic context. This initiated a design process that rejuvenated the spiritual bond between man and nature and paid its homage to nature – by honoring and preserving (from rampant vandalism and exploitation) this million year old natural heritage. by creating an organic built form with broken stone masonry and an ephemeral glass façade that keeps changing at different times of the day- reflecting the sky, the rocks and the gardens. The rocks, greens, the people and the building fuse into one beautiful inseparable spatial relationship. by creating humane, natural interactive spaces that help in creating a symbiotic brotherhood between man and man, the manmade and the natural. by reducing our footprint on earth – – With a sewage treatment plant to get recycled water for landscaping – With rainwater harvesting tanks to save water. – With good day lighting and natural ventilation, energy needed for lighting and air conditioning is reduced. – With thick masonry and good shading of outer walls, and with a buffer service zone between the glazed passage and the air conditioned laboratories, the A.C. load is reduced. – By not importing any stone for foundations, walls, compound walls, roads, etc. Only stone obtained from this site is hand-dressed by local labour. – By planting a lot of new trees and preserving the old ones.


Section AA’

Section CC’

Section BB’


Second Floor Plan

First Floor Plan

Ground Floor Plan 152


Hiroki Tanabe + Shin Yokoo


Floor Plan

Minami-Nagano Dental Clinic & Residence Nagano, Japan

In a beautiful farm village, there is a concrete plate 300 millimeters thick forming zigzag structure. It makes up three shells and two open courtyards. Each shell has different functions inside, a dental clinic, its waiting lounge and a dentist’s residence. In each courtyard two glass boxes are set and used as pathways and entry halls between two adjacent shells. In this area, in order to keep rural scenes, advertising expression is severely regulated by the city landscape ordinance. It is necessary to grab passer’s attention and remain in their memory without signboards or electric spectaculars. Both the exterior and interior are painted white, matching plaster walls of neighboring traditional houses. They stand out against deep blue sky and bright green rice fields, turning to shining golden color. In daylight the zigzag structure shows up and be vividly retained in the local resident’s memory as well as it blends in with the beautiful landscape. In the evening, indoor light overflows from three glass openings (height 2.6m, width 10m and 3.3m). They become three huge lighting installations. The residence and waiting lounge emit soft light with low color temperature of incandescent lamps. Inserted into by them, the clinic emits gorgeous light with high color temperature of fluorescent lamps. The lighting installations with two kinds of expression are located in a line by turns and contrast with each other. They emerge from darkness, harmonizing with calm night of the beautiful farm village. The three shells include post-tensioned cables in their slab. They have useful life spans of 200 years or more and require no columns and beams. The interior is build with timbers and light-gauge steel. If necessary, it can be remodeled without any structural constraint. Now the interior is designed to be used as the clinic, but in the future, it will be redesigned for other functions. Now a great view of the farm village from the wide opening in the clinic allays patient’s anxieties and comforts their pains of dental care. In the future, the wide openings may be covered with walls in some functions. The two open courtyards can be converted from exterior into interior. The shells are designed for sustainability of structure as well as functions.







Second Floor Plan First Floor Plan



Meguro, Tokyo, Japan The house is built for a movie producer couple. It is consisted by combining L-shaped blocks of reinforced concrete and sequential frames of box-shaped engineer-wood. Bedrooms, film archive and galley are put in solid concrete part for security, and living room in engineer-wood part for openness. As material that consist an open space is 6m in height, 5.5m in width, 14m in depth, thin engineer-wood (38mmx287mm) is chosen. Main theme for this architecture is to bring out a sense of mass and material, which were denied by modern architecture which pursued “white, flat wall” as a style. The architect intentionally left the wood grain of mold on the surface of concrete, and choose textured stones and irons. It goes without saying that a house is a relaxing place. A house like a white-cube, surrounded by flat, white walls everywhere, gives a person very abstract image. But that image could only be sensed when we use intellective part of our brain. The problem is that we’re not all-intellective-creature. For the people like this client, who do enough intellectual labor on a daily basis, white-cube would only bring sense of fatigue. The role of architecture, especially the ones for living, is to soothe the sensory side of people, not to stimulate the intellectual side.





First Floor Plan

Second Floor Plan

Third Floor Plan


Meguro,Tokyo,Japan This building is a home office for a couple planned in a residential neighborhood in Meguro. The site is situated in an area where land costs are among the highest in Tokyo. The area is typically cluttered, like most residential areas in downtown Tokyo. It is hard to say that quality of living environment deserves the price of land. The architect felt that creating a better living environment was a top priority upon squeezing in yet another house into this neighborhood. What came to mind were the two classic ‘Glass Houses’ by Mies and Philip Johnson. The sense of freedom and openness that makes people want to walk naked inside these houses surely owes to the transparency of the glass itself, but it is the fact that the buildings are surrounded by a pleasant environment – the forest – that counts the most. Since ‘the forest’ itself already provides a comfortable living environment, it is left for the architecture to separate internal to external atmospheres with thin, transparent membranes. They clearly demonstrate that as long as there is an environment suitable for living, a ‘house’ is no more necessary. What the architect looked to create here was a presence that would replace this ‘forest’. More precisely, the architect attempted to generate a quality living environment by placing two large, swirled belt-shaped surfaces on the premises. The pair consists of self-standing walls measuring 7.5m and 5m high respectively, made of lace-like steel 3mm thick that filters light like sunshine through foliage, with holes punched out in a floral pattern depicting cherry blossoms, a traditional Ise paper stencil pattern. As we make our way into the abstracted forest of cherry blossoms, we are greeted by an ‘environment filled with “anticipation” for a living comfort.’ There, nothing can be found that suggests a ‘setup’ of a ‘house’. The place is a pure ‘living environment’ and is neither a symbol called ‘house’ nor a ‘residential area’.



Sou Fujimoto Architects Children’s Center for Psychiatric Rehabilitation Hokkaido, Japan

This is the treatment center for mentally disturbed children where they live together to get regaining their mental health. It may be thought that it is a very special building, but it is truly rich life space that requested in origin like a large house and also like a small city, the intimacy of a house and also the variety of the city. This is a proposal of a loose method. The method of being random A precise planning / Accidental landscape If it was possible to make a building with such a method how something was merely scattered, it was a dreamlike building. And, as for this method, surprisingly precision planning is possible. As opposed to the complicated program called for, moving a box delicately, the plan can be flexibly packed just because it is random. Although this space is created as a result of an infinite, strict and artificial design process, it stands as a place which is not planned at all or which has been made automatically with no intention. The place which is vague, unpredictable, filled with unlikelihood. Something that is not meant is produced as a result of an intentional and strict design act. And plenty of a place is achieved because of ambiguity for not being intentional. Selectivity and contingency / freedom and inconvenient A surely irregular alcove-place is produced between the boxes placed at random. It is the place of a small scale where children can hide in while they are connected to the living area. Although it is the space with no function in which it can make it avoidable in a simple form strangely, children play with the place like the primitive man who interprets landscape freely and lives very well in it. They hide in a place behind something, show up, relax at back, and run about here and there. By being separated and being connected are compatible, freedom and inconvenient live together in the meantime. Plenty of the places for living is achieved. It can be said that there is nothing center here and conversely, it can be said that there is a countless center. They are “relative centers� which always interchanges and changes with the consciousness of those who are there or the condition of light. For the staff, a staff room is a functional center. For children, living room, a single room, or an alcove is a center. The occasional center is found out in fluctuation of space.




Sou Fujimoto Architects


House N

Oita, Japan The house itself is comprised of three shells of progressive size nested inside one another. The outermost shell covers the entire premises, creating a covered, semi-indoor garden. Second shell encloses a limited space inside the covered outdoor space. Third shell creates a smaller interior space. Residents build their life inside this gradation of domain. Sou Fujimoto has always had doubts about streets and houses being separated by a single wall, and wondered that a gradation of rich domain accompanied by various senses of distance between streets and houses might be a possibility, such as: a place inside the house that is fairly near the street; a place that is a bit far from the street, and a place far off the street, in secure privacy. That is why life in this house resembles to living among the clouds. A distinct boundary is nowhere to be found, except for a gradual change in the domain. One might say that an ideal architecture is an outdoor space that feels like the indoors and an indoor space that feels like the outdoors. In a nested structure, the inside is invariably the outside, and vice versa. The intention was to make an architecture that is not about space nor about form, but simply about expressing the riches of what are ‘between’ houses and streets. Three nested shells eventually mean infinite nesting because the whole world is made up of infinite nesting. And here are only three of them that are given barely visible shape. The city and the house are no different from one another in the essence, but are just different approaches to a continuum of a single subject, or different expressions of the same thing – an undulation of a primordial space where humans dwell. This is a presentation of an ultimate house in which everything from the origins of the world to a specific house is conceived together under a single method.



Takao Shiotsuka Atelier

Ceremony Hall

Oita-city, Oita, Japan The project is a banquet hall and one set of marriage ceremony hall. The ceremony room is required to have a capacity of 40, Space like a cave, which descends to the deep place toward the center. In contrast with it, it is bright and a lounge is open. While making a matter for this direction concrete form, it was necessary to plan existing banquet hall and gardens relations with the environment of the circumference adjacent at the same time. A line of flow turns toward the center. The shape rolls up a garden and an existing banquet hall. As a result of having investigated them, shape to surround the garden by the wall of the curved surface was born. The outer wall sprayed the water-repellent agent coating white paints, and adjusted the color tone with the surroundings. It is contrastive with the brightness of a wedding ceremony daringly, like earthwork which formed a lump and the courtyard of the rock with the cave.




Takao Shiotsuka Atelier

Silent House

Saiki-city, Oita, Japan This cottage is in a silent village between mountains. The grave of the family is adjacent to the site. In August, the religious service event of the ancestral soul will occur in Japan. The family planned to have a cottage for staying here to serve. This community has the hamlet scenery of typical Japan. The grandfather of the client who kept the wooden house in this site was once the village mayor here. The big zelkova of the symbol of this hamlet is planted in the site. With stone wall surrounding the site, it is building the atmosphere of the central place of hamlet. The very small cottage is built alone approximately centrally. The space used as the interior room like bathroom, lounge and bedroom is surrounded by the corridor of the half-outdoors. This corridor is buffer space to resist severe mountain climate. Moreover, glass is not used in the outer wall, and the practical role of interior is not put outside directly. Usually, there is always a window in an outer wall directly and it is only glass between the interior and the outdoor. That was not right when it was more suitable in this place for there to be slight depth. Moreover, when a window is in an outer wall, this building is understood from appearance in an instant. It also has the meaning which avoids it. The house’s primitiveness is like ruins, and its appearance make everyone doubt when it is there. The concrete block was chosen in order to realize this. Brock was just merely stacked. Be there as a primitive structure, it would be connected with the atmosphere of surrounding environment.




Section 1 170

Section 2


Takao Shiotsuka Atelier

Plan 1

Plan 2

White Cave Oita, Japan

The house is built on a hill looking down at town area. The site’s shape is irregular and there is a pitch difference of 2m. The north side contacts plural neighboring land with a pitch difference. In the west and the south, trees grow thick to neighborhood. In the east, a view to town area is held. The scenery around the site change when one travels side by side. The building is arranged in parallel with a path and the pitch difference is assumed. This creates attracting charm to the site and is brought into the interior. The complex context and the irregular form of the site give the building much variety. When one moves through the building, the impression of the space changes alone with the changes of the wall’s angle. The relationship to the environment, the scenery, the distance and light became complex at a dash. The outside wall and the roof are finished like a rough concrete, and the opening is expressed to show thickness of concrete like scoop out volume. The characteristic of this place is continued, such as silences of a surrounding concrete retaining wall, the ancient burial mounds park and dense trees in the building. The appearance of a hard, static concrete responded to the environment as a life scene according to a little amplitude of the volume.




Forum Architects AL Mukminin Mosque Addition of Madrasah to Al Mukminin Mosque Singapore

A mosque in Singapore is a sort of community centre, housing a madrasah, conference halls, social spaces and offices plus the main prayer hall, used day and night. The madrasah extension maximizes to the limit what the planning authorities can allow – 4 storeys and a basement. Beyond space provision, it seeks to explore the universality of Islamic principles in creating buildings that transcends artificial cultural barriers. The use of arabesque patterns and dematerialization techniques are highly evident in this project. The most important is the existing prayer hall with its prominent fan-shaped roof. The architects’ choice is to engulf it reverentially, flaring open the ends of the corridors of the new block and stretching its new staircases to enwrap the old hall. The staircases flanking the opposite ends of the new block are expressed as sturdy towers, and portals of the new wing. The widened ends of the corridors are also used as external spaces of the classrooms. Between the 2 staircases, the curving corridors are mounted with a sweeping screen of colourful aluminium louvres – screening off the afternoon sun, modulating the play of light and providing ventilation. Seen from the other sides, it becomes a monumental backdrop evoking traditional Islamic art. The intricate composition of turquoise, yellow and blue – dominant colours in Islamic buildings – convey a sense of depth and animation to a flat surface, also visible through the skylight gap between the old and new block. The interface between the existing prayer hall and the new madrasah is through a glass skylight; the precise and complex meeting point between new and old – the geometries of a jagged roof delicately reconciling with the arc of a curving plane. The new block, a taller entity is also situated at the defining junction of the site, where for all, the first acquaintance is its new face: a “head” to the block, (the minaret and the offices) and a “rear” at the other end (the toilets) where the dominant lines are the verticals, with a playful staggering of fixed windows to weave it back to the expression on the other facades. A concern for overall massing can also be seen in how the heights of the new minaret, new block and old hall are successively lower the further they are from the road junction. Each of its façade is treated in a different manner from the other, responding to different parameters. The “head” section, a semi-cylindrical form; the long façade fronting the MRT line, blank except for 5% of windows (a fire requirement) which became an opportunity for pattern making – a monochromatic palette setting off against its colourful counterpart. The dominant motif – a diagonal splay playing upon the dynamism of the passing trains, its shiny stainless steel reminiscent of the ‘songket’ fabric, a traditional Malay deep coloured fabric with gold or silver treads.

Section A-A



First Floor Plan

Second Floor Plan

Third Floor Plan

Fourth Floor Plan 175


Elevation 1

Elevation 2

Elevation 3

Elevation 4




Forum Architects The Assyafaah Mosque Singapore

The Assyafaah Mosque was recently completed in Singapore early this year. Singapore is a multi-racial island state with a population of three million in South East Asia. Located in the north, the mosque comprises a prayer hall, ablution areas, classrooms, administration areas, a multi-purpose hall, prayer galleries and extended prayer spaces and a basement car park. At full capacity, the 3350 m2 mosque can host up to 4000 people for major prayer events. Forum Architects won the project through a four-way competition organized by the MUIS (Islamic Religious Council of Singapore). Up till then, almost all the past competition winners paid homage to the dome or a version of the dome and adorned their designs with traditional Middle-Eastern motifs. One exception was the Darul Alam Mosque, designed by the Housing Board, which is the Singapore government agency for public housing. It was an enlightened example of a locally-inspired mosque design. It alluded to traditional Malay architecture. (Most Muslims in Singapore are of Malay origins). The Assyafaah Mosque went beyond the racial reference, broadening its appeal to non-Malay Muslims as well as trying to establish a contemporary, forward-looking community oriented place of worship.

Second Floor Plan

Third Floor Plan

First Floor Plan

Fourth Floor Plan


Section A-A


Section D-D

Elevation 1

Elevation 3



Forum Architects

First Floor Plan

Second Floor Plan

The Singapore Chancery in Manila Philippines

Showing that Singapore architecture need not be defined by timbers screens and pitched roof, the Chancery explores a relationship created by the site, a need for security and projecting qualities synonymous with Singapore. The Chancery sits on an undulating site that rises six metres from the northeast entrance to the southwest rear. The main Chancery is made up into three distinct components; a Portal that fronts the main building, a civic centre where the function hall’s activities can spill over to the adjacent terraces and the attached three units of staff residence located at a private rear corner. The connection between internal and external spaces is achieved by layering spatial requirements with rectilinear forms that help to define edges – allowing the distribution of more public activities on the perimeter and the secured offices internally. This separation of spaces also produces intimate internal courtyards filled with luxuriant greenery. Floating elements impart lightness to the fortified building. This is expressed in the Portal and the wide entrance roof. The elevated Chancery is framed with a distinct Portal form where its outline is strongly defined in black granite material. This form is lifted off the ground and cantilevered at one end. An open riser staircase and a handicapped ramp are gently attached to it. This open end of the Portal invites one to view beyond the frame to the rear garden. The generous and welcoming entrance roof is detailed as a thin rectangular sheet with a clean bull-nose edge, precisely supported by eleven slender steel columns rising from a sheet of water body. The rectilinear language is echoed in the layout of the water bodies. The two reflective pools lend a calming and soothing sensory experience to the Chancery. As the visitor approaches the main drop-off by car, the arrival experience is complemented by the delight of sound and movement of water. At night, the water lends a mirroring surface to reflect light and emphasize the quiet confidence of the Chancery. The experiences are varied and delightful as one move through the Chancery. The spatial changes can be felt through level and volumes, obscured and framed views and use of materials to generate light and shadows. The stone cladded wall fins along the Portal filters views in and out. The host country’s influence was also infused onto the design – the Pina fabric’s weave-pattern was translated into the skylight’s frit pattern. At different times of the day, the ephemeral shadows cast by the patterns fall onto the surfaces. Singapore’s garden city image is conveyed by the optimal use of the security buffer areas with landscape. Formal landscape is made along the main driveway, welcoming and lush landscape is found alongside main pathways, terraces and courtyards are given sculptural trees and flowering shrubs. The Manila Chancery reflects the ingenuity of the Singapore creativity and highlighting the open-ness we all seek to embrace. 182



Front Elevation

Rear Elevation


Boran Ekinci Architects


Metu Prep School Annexes Ankara, Turkey

The project is considered as “wall architecture”. This wall is considered as a facing and the feature of bearing is supplemented to the wall. According to this system a steelwork is placed between two concrete walls. Both steel and concrete supports each other structurally and in the absence of either one the other can not perform the building static function. The building’s steel carcase floors end before reaching 15cm from the external wall. Thus a gap is constituted from end to end of the building between floor and external wall. Consequently, heat insulation is made without cold bridge on the wall surface. And also it’s possible to use this gap for the electrical and mechanical shafts. This system ends with a light covering from the inside. Due to the plasticity of concrete, the finishing of the roof and the windows are formed as a practical solution for waterproofing systems.








project A01 architects Private Residence Klosterneuburg Vienna, Austria

The site is situated on a slope overlooking the whole valley. The base of the building roughly follows the incline of the slope and is slightly terraced. In keeping with this concept, the ground floor consists of several levels also following the downward slope. These levels divide the lavish loft-like living space into various functional areas, such as the fireplace and the lounge area. Kitchen, the dining area and breakfast terrace are likewise connected to the main living space. Various patios and terraces, as well as a swimming pool, are located around the building and create a seamless connection between the living space indoors and the landscape outdoors. A cantilevered structure is located above the ground floor and houses the private rooms. The steel columns are reduced to a minimum and follow the structural system. A gallery provides access to the library, the guest quarters and the children’s rooms. The master bedroom is located on a further level, half a floor above. There is also a separate bathroom and a walk-in wardrobe. The rooftop terrace offers a grand scenery of the green valley. The surfaces on the ground floor are made of stone and wood, whereas the upper level has been given a special coating, creating a smooth white box. The garage and the technical rooms, as well as the fitness room, are located in the basement. An underwater window in the fitness room creates interesting insights and lighting situations in the basement. In the exterior of the building integrated terrace levels are meeting the character of the slope and the surrounding landscape. Some of the main surfaces of the building can be opened in various ways. A large glass roof, spanning almost 10 m² can be opened above the gallery and the living room, thereby creating a kind of interior patio. Terraces and balconies around the building offer direct access to the garden from different vantage points. Ground Flood Plan



First Floor Plan


Second Floor Plan




project A01 architects Production Facility and Office building for Schiebel Elektronische Geräte GmbH Wiener Neustadt, Austria

“Schiebel Elektronische Geräte GmbH” arranged a strategy competition in summer 2005 for a production hall with an integrated office building, which should represent the identity of the international aviation company. Because of a nearby testing area in close proximity of an airfield, the site in Wiener Neustadt was chosen as a ideal location. The design of project A01 architects ZT GmbH won the competition and the architects were commissioned to the design the building, the interior and to conduct the construction process. The work started in fall 2005 and lasted until summer 2006. The completion of the interior was finished in 2007. The building is composed of two parts: The office unit is arranged lengthwise facing the street and the production hall is located next to the airfield. The office area holds the major administrative functions of production, marketing, research and education. The meeting room is attached to a generous deck for visitors, which is used for airshows. The function of the employee’s area was considered to be important and accordingly arranged with an own terrace accessible from the lunchroom. The production area contains two thousand square meters. The hall holds not only an area for assembly and fabrication work, but also an area for design, development and attendance. The autonomous helicopters are developed and manufactured with the latest production processes. The innovative concept and design of the camcopter was awarded with the “Staatspreis für Design 2005”, the highest Austrian design award, and is distributed all around the world.

Ground Floor Plan




HOLODECK architects


22 tops

Wolfsberg, Austria This housing complex design considers the existing large building and the surrounding single family housing structure by preserving the scale and the views of the landscape. The buildings are oriented east-west and each apartment is designed with terraces or loggias. The concept follows the idea of landscape-folding. The architect’s task is to design apartments for different user necessities encompassing the constraints of the given site, located between a “single family housing structure” and a “green belt”. The main design concern is to avoid traffic noise pollution from the nearby highway and the east-west orientation of the building. Conceptually, the landscape was fold as a plane around the user defined volumes creating the main structures. Above the parking garage the new ground level is turned into public green with a children’s playground.





eer architectural design House b.v.

Overijse, Belgium Housing construction is generally based on traditional ideas. The construction of their own house has stimulated the architects to question these basic principles and to think about housing and living in relation to family life. the owner allows a certain level of experimentation. the result is a construction wherein form and function, technique and art are complementary in a way that one would loose reason of existence without the presence of the other.

Second Floor Plan

The fundamental idea is to give each inhabitant freedom in how to use the house. The functioning of the “plan libre” is parallel with a philosophy of life based on flexibility and respect for the other. Each individual has the possibility to retreat to his own private cell. But the plan provides mainly large common spaces to live, work, and play. There are no materialized separations between the functions, space is acquired according to the needs of the moment. A technical room and three movable bedrooms act as separation within the “plan libre”. The architects conceived a steel structure that has been assembled on site with bolts only. All structural elements have been cut by “oxycoupage” from two plates of untreated steel, dimensioned 10m x 5m x 2cm and 10m x 5m x 3cm. Construction, techniques and finishing materials are shown in their rough state. The house floats over the natural curves of the site through its construction on “pilotis”. The greenery takes integral part in the concept: large bay windows and industrial folding doors ensure optimal contact with nature.

Ground Floor Plan

The façade consists of 50% fixed bay windows and 50% opening timber panels. On top of providing sufficient natural ventilation, this system ads a dimension to the façade: a traditional window, open or closed, unveils the same view on the exterior, it is transparent in either way and thus the surface creating contact with nature, remains unchanged. On the other hand, if a closed panel opens, an additional surface creates new perspectives.




Allford Hall Monaghan Morris Adelaide Wharf Hackney, London, Britian Adelaide Wharf is a pioneering mixed tenure housing scheme comprising 147 new homes and 650 sqm of workspace. Located on the Regent’s Canal in Hackney, a key regeneration area of London, First Base has created sustainable, adaptable and well designed homes set within a safe environment with communal facilities for all residents. 147 apartments and some offices extruded into a prototype block that is then folded to create a U-shaped court fronting onto canal, an axial route and a park. The extrusion is cut away at ground to allow glimpses into a leafy communal courtyard. Each apartment has an outdoor room part hung part cantilevered out over the streets. The building’s facade is composed of layers of roughly sawn larch that makes reference to the warehouses of packing crates that once occupied this site. The scheme is the first to be delivered as part of English Partnerships’ London-Wide Initiative (LWI) with a mix of privately sold, Key Worker and socially rented apartments. There is no visible differentiation between tenures and all of the homes are built and managed to the same high specification. Adelaide Wharf combines sophisticated urban intervention, emerging efficient construction technologies and the latest thinking in residential development.


Ground Floor Plan


Allford Hall Monaghan Morris Kentish Town Health Centre Camden, London, Britain

Kentish Town Health Centre (KTHC) is a new health building in central London, housing a large GP practice and a wide range of health facilities. KTHC sets a new standard for the NHS. The partnership of a local design champion, architects, and Camden & Islington Community Solutions have delivered a building where design integrates services as never before. Ideas of transparency, innovation and connectivity were embraced by the whole team who worked collaboratively to create a building that expresses the new, holistic approach to healthcare.



First Floor Plan

Second Floor Plan



Allford Hall Monaghan Morris


The Yellow Building

Notting Hill, London, Britain This landmark headquarters for fashion company, Monsoon Accessorize, is a 15,000sqm seven-level, atrium building which can accommodate, in addition to offices and design studios, several full size mock-ups of Monsoon shops. Intended to read as a creative powerhouse, the building has a dramatic top-lit atrium down the middle open floors either side, bridge links and a great open staircase running from bottom to top.





Allford Hall Monaghan Morris Westminster Academy at the Naim Dangoor Centre London, Britain

Westminster Academy is a new secondary school in West London, housing 1,175 pupils and128 staff members. The principal, Alison Banks, had a powerful vision of learning for her school embracing new thinking in education and the ideals of the RSA Curriculum of the 21st century. The building is a creative, engaging environment that uses connectivity and flexibility to provide pupils with a place where they take individual responsibility for their education and encourages team working by both staff and pupils.

Section CC

Section AA


Ground Floor Plan

First Floor Plan

Second Floor Plan

Third Floor Plan


KHR arkitekter


Copenhagen, Denmark The Biocenter has inspired dynamic collaborations and has created the best setting for a research community across interdisciplinary borders. Campus on Nørrebro KHR won 1st prize in an international architectural competition for the proposal for Biocenter. The proposal has been converted into reality in the Nørrebro neighbourhood in Copenhagen where the Biocenter is located in a campus area between the scientific buildings of the University of Copenhagen and the University Hospital of Denmark. The competition included a proposal for a master plan for a total of 60,000 m2 of laboratory building. First stage involves 20,000 m2 with a DKK 500 million total capital sum. The social axis The first phase of the Biocenter includes proposals for the design and layout of laboratories of varying complexity and size, administration and joint facilities. The laboratory areas open towards the park with a northern glass facade, which provides light and view at full storey height, whereas the office area’s facade facing south appears light and is clad in natural stone. The laboratory wings are connected by a central north-southbound wing, which constitutes the social axis in the centre. The horizontal and vertical movement of the building meets in this light, central interior space. The canteen and auditorium are located in the park. Both the architecture and the laboratory concept aim at creating the best possible surroundings for an interdisciplinary research environment – surroundings which demonstrate both user-functionality and inspire users to engage in dynamic teamwork. 212




KHR arkitekter The Church of Holy Cross Jyllinge, Denmark

The Church of Holy Cross is conceived and designed as an abstraction over the open horizontal landscape around Jyllinge. The building is built in glassfibre composites and appears translucent. Homogenous surfaces with changing angles The rooms in the building are designed with regard to the church’s functions and the changing character of the skylight. The idea was to let homogenous surfaces change in angles and planes and thereby create light, shadow, heaviness, lightness and transparency inside and outside. Intimacy and flexibility The room narrows in towards the choir and has several different entry points to ensure intimacy and flexibility during different arrangements. The light flow into the church defines the room’s function; the arms of the cross are part of the movement into the church room. The procession aisle through the church is prolonged outside into a defined space with contact to the fjord and the sky above the church.

Ground Floor Plan


East Elevation

South Elevation


KHR arkitekter




Fiberline Factory

Middelfart, Denmark The combined production and administration building for fibreglass manufacturer Fiberline, stands as a piece of identity-generating ‘countryside-art’ by the motorway close to Middelfart. Like a hill the building grows out of the landscape and arches its back against the sky. The building is designed to optimize the production flow in the factory. The building’s height is defined by a high bay warehouse for various uses. The stock room is integrated into the building’s architecture as a dynamic and central installation. All functions are located in one room with production on the ground floor and administrative, research and marketing functions in a gallery, which constitutes the building’s east façade. Three large cuts in the building let in the light and create a varied working light that illuminates the white glass threads, which constitute most of the production.




Heikkinen–Komonen Architects


Emergency Services College, phase IV Kuopio, Finland

The Emergency Services College is a national institution of vocational education and training centre for rescue services. The existing buildings on the site include a school and dormitory building implemented in 1992 on the basis of an architectural competition (ark 1/1993), an education facility completed three years later (ark 3/1998), and a wash hall, dating from 1998, designed by architect Riitta Korhonen. The fourth phase included a new teaching facility and a student hotel. The concrete-built student hotel fronting the street forms an enclosure in place of the previously open street space. It also forms a pair to the existing hose tower forming a termination point for Pyörönkaari Boulevard. The basement contains parking spaces for cars and emergency vehicles. In the interior the red lounge areas cutting into the cellular dormitory structure subdivide the hundred-metre central corridor into a modern village high street. The new teaching facility is located as a satellite in the parkland section of the site. Its spatial organisation is simple: four light wells in the building’s central zone pierce through the floors. The architecture of the Emergency Services College is intended to follow its function. The college trains the students to cope with chaotic situations. A clear, compact floor plan and a logical exterior design form a backdrop for education that is intended to develop self-assurance, diligence, and endurance – the basis of professional expertise. 219



Heikkinen–Komonen Architects Lappeenranta University of Technology, phase VII Lappeenranta, Finland

The campus of Lappeenranta University of Technology is located six kilometres outside the town centre. In 1974, when the University’s first phase was completed, the site was just woodland, and Finland was going through a phase of university decentralisation. With all other modern Finnish universities there have been architectural competitions, but this was not the case in Lappeenranta. This point of departure may have had something to do with the situation that the designer of the seventh phase is the fifth architect of the campus. The initial idea was that the area would expand according to a herringbone plan, along a dominant central path. The guiding principle has gradually weakened and the latest phase departs from it altogether, being located in conjunction with the southern “ribs”. It contains the library extension, which was implemented in line with the original construction method and architecture, the health centre, researcher rooms of several departments as well as conference and teaching facilities. The majority of the building consists of small researcher rooms, and it was implemented as a narrow-plan solution with a central corridor where the elongated body is interrupted by a tall entrance hall. The outer walls are loadbearing, so that no intermediate columns are needed. The new building is anchored to the old library by a glass corridor running along the side of the existing part. Between the old and new, landscape architect Jyrki Sinkkilä designed a KarelianJapanese garden. The palette of building materials is very limited. The red brick cladding was laid in-situ. The interior concrete surfaces were left rough-hewn. To counterbalance the roughness, thermowood and opaque glass have been used in the interior as well. The concrete surfaces of the facade have been dyed by a method of applying iron oxide developed by artist Pertti Kukkonen.





Rolinet & associés The Chapel of the Deaconesses of Reuilly Versailles, France

On an area of private parkland in the historic town of Versailles, The Deaconesses religious community of Versailles asked Marc Rolinet to design their new chapel. Their wish was that this would be, in a symbolic echo of the tent, which was destroyed by a gale in 1999. The challenge was to create a structure in harmony with its natural surroundings, yet with lasting character and strength. An architecture of contrasts While creating a structural transition, the space between the two superimposed ‘layers’ opens up a natural corridor area for meditative strolling. The use of natural materials reinforces the chapel’s integration into its woodland environment, but also gives it durability in time, establishing it as both contemporary and lasting. Conceived for minimal use of tri-dimensional steel supports, the clear glass ‘skin’ creates a volume substantial enough to balance with the solidity of the interior wooden core, while retaining the essential lightness and transparency with which this whole project is infused. An architecture of light The chapel benefits from almost 360° exposure to daylight, filtered only here and there through tall trees. ‘One of the times that interests me most is the mornings, between 10 am and midday, because the sun appears… and in its movement it highlights what are not simply windows looking onto the outside, but an active relationship between interior and exterior. It’s a constant allusion to movement for a place that needs to be serene and anchored in the ground, but also a dynamic, creative space’. Marc Rolinet The aperture-like entrance to the chapel invites discovery of a unique interior, with more filtered light, yet still richly illuminated by the sun’s rays that seep through the latticed shell. While the outer glass screen catches and reflects light, the second, inner ‘screen’ of trellised wood refracts and diffuses it. New technologies and timeless art ‘The building is designed for passive energy efficiency which adapts to the local climate. Heat passes through the wood skin, to the benefit of the intermediary spaces when the central heating is in use. There are then periods when the sunlight, shining through the glass panels, produces significant heat, and the porous system works in reverse.’ Marc Rolinet The use of DuPont Sentry Glas Plus TM laminated glass allows a lightness of structure despite the expansive façades with panels reaching from floor to ceiling. The panels’ reduced thickness and weight limits the number of supports needed for the metal frame. New technologies permit optimal transparency and exploitation of natural light, without compromising the energy efficiency or safety of the building.

Level 1 Plan


Level 2 Plan





Rolinet & associés


The Church of Ermont Taverny Ermont, France

The site of the existent presbytery dating from the years 1940 becomes decayed and under dimensioned. The association of Protestant worship of Ermont Taverny wished to raise a new building which fulfils the pertaining to worship and cultural functions of the parish and shelters the housing of Pasteur and his family. The relation between tradition and contemporaneity For twenty-six years, Marc Rolinet has acquired notoriety as a town planning architecture which is confirmed by its ability and its capacity to design very modern buildings with pure forms and to combine the sober and natural material performances as wood, and more shining like glass. Here he attempted to create a resolutely contemporary identity which marks a pause in the agitation of the street with a huge circulation. Two functions, two spaces, and a homogeneous architectural unit The project is composed of two modules but in one volume which makes it possible to isolate the Community activities from the habitat and taking advantage of the natural inclination of the site. The roof of the temple becomes deformed in a corner by drawing a curve which is turned over to form a square in front of the principal elevation. The wood plates equipping the roof follow the architectural event. The materials used for the elevations are mainly wood and glass. • The concrete is used at certain places of the base and polycarbonate made iridescent on the northern elevation of the temple letting filter a soft light. • Glass and wood meet symbolically and testify the exchange carried out between the reformed church and outside. • Glass is used in the wall of the place of worship, as in the walls of meeting area, by underlining the opening of the centre towards outside. The temple takes the shape and the characteristics of a discrete and cordial shelter, easily identifiable by its mast made up of tree metal beams, composing a cross.


Anamorphosis Architects

Theatre’s Entrance Level


Ammoudara, Crete, Greece ‘Technopolis’ is the largest complex of its kind to ever be built in Crete. It is located in Ammoudara, a coastal suburb of Heraklion, the island’s largest city. The 7000m sq complex comprises of five cinemas, an outdoor theatre, the ‘Piazza’ bar/cafeteria, the ‘Food & Grill’ restaurant, two bars, an internet café, shops and a kiosk. The design development was guided by the fact that the existing structure was a group of separate buildings, and it was felt that these needed to be unified. The key design concept was therefore to create a characteristic outdoor element linking the various spaces, guiding visitors through the complex, from the entrance, to the courtyards, to the outdoor theatre overlooking the sea. A series of green, metallic triangular structures were designed, that formed arcades and ramps, framing outdoor routes for visitors whilst creating an artificial landscape on the site. The combination of wood and metal construction of the ramps is remnant of the deck of a ship. The concept of the exterior walls in elevation was so that at the points where there were no openings in the walls, there were three horizontal zones of varying materials. These consisted of an upper area of solid zinc, a central area of perforated zinc and a lower area being that of the inner plaster covered concrete wall. At the points where there were openings in the walls panels of opaque glass were used instead. Outer, low walls made of stone were designed to create a visual base for the metal arcade when viewing the building in elevation. In the interiors materials were used to continue directed movement, guiding the visitor through space and connecting spaces. In the main lobby RGB lighting was used, changing color over time based regular intervals, hence transforming space in relation to the movement of time, reminiscent of the moving image of cinema.

Longitudinal Section




Anamorphosis Architects


The Cultural Park of the Hellenic Cosmos (CPHC) Athens, Greece

The project involves the re-utilization and metamorphosis of a large dilapidated industrial site of 60,000m 2 in the heart of Athens on Piraeus Avenue, through its conversion into a cultural park centered around Greek history, mythology, and landscape. The design of Anamorphosis-Architects comprises the general concept, the master plan, the landscape and three major built-complexes of educational, cultural and recreational use, in one integrated whole. The park is also integrating the adjacent existing buildings of the Hellenic Cosmos including the Old Reception, the Virtual Reality Theatre and the Conference Centre. The CPHC is planned to become a new cultural centre of national and international appeal, a new agglomeration-pole, as a result of its programme and architectural design. The three major complexes of the CPHC are: A) the Exhibition and Research Centre, B) the Art and Education Centre for Children, C) the Museum of the Hellenic World. The principal intention of the FHW is to create a complex of cultural and educational orientation. That is a complex which would not simply accommodate some standard cultural activities, but also invent new kinds of programmes through spatial means that could also have a direct urban impact. In that context Anamorphosis-Architects introduces design more as a medium for educational and communicational purposes and less as a simple sheltering of a given functional programme. Furthermore the design proposal is very much based on the obliteration of the boundaries between landscape and buildings and also between architectural and urban scales. The general design concept is based on an instrumental and contemporary understanding of history and myth as a recurring morphic logic, active and inspirational, in everyday life, and so, capable of generating new spatial and urban contextualization – a concept opposed to any sterile idealizations and symbolic commemorations. Furthermore, the way in which Greek history and mythology relate organically with certain landscape features and gestures has become the major principle of our design, from master plan to detail, and then elaborated into a general morphic paradigm of instrumental and educational character. 232


The Exhibition and Research Centre (complex A) in the Cultural Park of the Hellenic Cosmos (CPHC)

The Exhibition and Research Centre of the CPHC (complex A) includes two subcomplexes: 1. The Research Centre, the Open-air Theatre and the Small Village This complex elaborates on the hybridic spatial structure of the Greek ancient theatre which arises as a natural growth and evolution of the inclined landscape of the hill, in contradistinction to the finite form of a freestanding building. It is a composition of an open-air theatre with a building block whose volume alludes to the inclined but also steep form of Greek hills, while its structure alludes to the metallic frame of a ship prow. At its top, the complex is completed with a small village accommodating workshops and exhibitions, whose form alludes to the shape of proto-urban Greek settlements. The complex includes offices, virtualreality laboratories, library, shops, restaurant and café. Its inclined top is landscaped and planted and includes a number of earth and water installations of variable character. It includes the main entrance to the park as well as the start and end of the Route of Mythology, a journey via land and water, and so becomes a nodal point for the circulation inside the CPHC and a natural threshold towards the outside urban fabric. 2. The Exhibition & Media Centre, the Route of Mythology and the Cave of Mythology This complex is the natural continuation of complex “1”, and of the concave shape of the open-air theatre. It is entirely covered with earth, and its external form appears as a smooth, landscaped and planted hill which becomes the major green area of the CPHC. It includes the large Cave of Mythology and the main part of the Route of Mythology, two major landscape/waterscape schemes which include a number of installations and host events based on ancient Greek myths. It also includes a gorge, small caves, and oval shape passages alluding to the Greek beach-line and rocky coast, various open-air features like exhibition, play and sitting areas, as well as an open-air cinema at the top. Its interior contains large exhibition galleries for temporary exhibitions of artistic and commercial character, auditorium, a media-school with lecture rooms, bookshop, self-service restaurant and café. The galleries of complex “2” form one expanded double leveled wing which penetrates into the body of complex “1”. They can operate as a whole or in subdivisions, depending on the exhibitions’ requirements.

Section A


The Research Centre



The Exhibition & Media Centre



Section B

Section C


The Art and Education Centre for Children (complex B) in the Cultural Park of the Hellenic Cosmos (CPHC) Keeping with the general morphic, historic and mythic, paradigm, the design of this complex focuses specifically on the morphic parameter of creativity and play. Design here aims to play an explicit educational role, highlight and transmit the dialectic of forms and creative imagination over content and meaning. This complex consists of three major homeomorphic spaces in a synthesis which is based on their common morphic features. These are the “hut”, the “ship”, and the “flying paper-airplane” (alluding to three simple, paper-folding, constructivist gestures) which in turn elaborate the relationship between “inside” and “outside” in three characteristic ways referring respectively to the earth, the water, and the air, and their concomitant structures. These spaces are designed to host educational and artistic activities for kids, involving workshops, exhibitions, play and so on. The complex also includes library, eating and resting areas, small aquarium, and storage, while its roof is multiply accessible and used for play and educational programmes. It also includes an archaeological finding from the Byzantine period, which was discovered in the area during construction, and eventually preserved on site. The connection of the complex with its adjacent ones occurs through designed journeys (long walks and water-journeys by boat) which are meant to emphasize the process of expedition and exploration.


Section D

Section E


The Museum of the Hellenic World (complex C) in the Cultural Park of the Hellenic Cosmos (CPHC) The building concept concerns a museum of history, not of original historical exhibits. The design principle is based on the spatio-psychoanalytic concept of lack, deeply routed in Greek culture, as critique against the notions of “collection” and “acquisition”. Both as sense of loss of original pieces as well as creative spatial process, lack, led to the formulation of a new museological approach integrating exhibition and builiding into one. Spatiality is conceived, as the mode of history, and highlighted both as the major diachronic documentation of Greek civilisation and the main concept of the building: a spatial monument as opposed to a symbolic memorial. The building consists of a continuous strip which evolves across the building and produces homeomorphic curved schemes in three distinct, spatial gestures/installations: a) the amphitheatre presenting Classical Antiquity, b) the dome presenting Byzantium, c) the sheltering cell presenting Modern times (17th – early 20th century), covering the overall museum space. Accordingly, three distinct lighting treatments are proposed: a) bright daylight, small sharp shadows, b) indirect, ambient, no shadows, c) cinematic side-lighting, long shadows. Yet, the strip surface employs a gradient synthesis of materials and construction techniques – varying from: a) tectonic, marble, stone, b) cast material, c) timber, glass and metal structures. The Museum of the Hellenic World has already received wide international publicity and appreciation. It was presented in the 8th ‘Next’ Venice Biennale 2002, and in numerous publications exhibitions and conferences all around the world. It currently appears in the international traveling exhibition “Museums of the 21st Century” organized by the Art-Centre Basel (2006-2011).




Studio Nicoletti Associati Arezzo Law Court Italy

Near the Medici’s Fortress, inside an historical park, the new building houses the main courtrooms and the Hall of Justice President headquarter and is linked to a neoclassical building, once a large hospital, to be restored and used for offices and archives. The design of the New Wing, symbolises its environment: the rich vegetation of the park and the city’s medieval structure, which was protected by a belt of conch walls on one side and, on the other, open to the squares, gardens and the territory. Also the New Wing is enclosed on the North side by a coved wall of flamed black granite slabs dark-grey tone. To the South, an undulating transparent sunscreen façade of stainless steel is shaped according to a geometrically warped geometry which is characteristics of the skin of many living creatures, including leaves. Those complex curvilinear forms can be built using only rectilinear elements. Thus, a silver bioclimatic foliage protects the interior spaces by a luminous shadow and blends with the park without clashing with the neoclassical nearby architectural elements. In the interior spaces, the astonishing reflection of the mirror-like polished black granite floor is contrasting with the greenish glazed envelop and the horizontal acoustic grey panel separated by narrow maple fascias. Section





Pietro Carlo Pellegrini Architetto The Guest house for the pilgrims Lucca, Italy

The house was conceived in substitution of old buildings that were spontaneously born in the 50’s, without a total plan and placed inside the property of the S.Gemma Monastery in Lucca. The building for the cult of the spiritual life is planned to offer a place to stay and pray to the faiths, before the approach to the Sanctuary. The shape of the building suggests the idea of the purification path, the way towards a sacred goal. The cloister encircles an inner garden and culminates in the central volume where is located the chapel. The imaginary and physical path of the porch guides the pilgrims from the rest rooms to the chapel, central and higher, dominating the entire complex. The chapel, inserted in the locked game of the volumetric relationships between empty and full, catches up its fulfilment in top, where the written “Who truly loves gladly suffers – S.Gemma 20 July 1900” completes the expressive and functional value of the project. The openings are intentionally small, studied each one in order to allow spots of exteriors and to hide the inside of the monastery and the privacy of the enclosed nuns to the pilgrims. Although the chosen materials establish a chromatic dialogue with those of the Sanctuary, a different treatment gives them an own distinctiveness. The natural copper of the cover recalls the oxidized copper of the cupola, plaster in large grain recalls the smoother plaster of the sanctuary’s walls, the colour tobacco detaches from the great cream volume of the sanctuary.

Ground Floor Plan

The building, a border between the public and the private, has two incomes, one for the pilgrims that approach directly from Tiglio Street, and the other, on the back, that connects directly the new building with the personal garden of the enclosed nuns. A continuous plaster wall that finishes up folding itself into the copper roof protects the inner space from the outside through.


Section B-B



Pietro Carlo Pellegrini Architetto

Section DD

Section EE

Section AA

Historical Museum of Resistance S. Anna di Stazzema, Italy

The Museum is immersed in the mountainous green countryside, yet with a view over the sites of the massacre that it commemorates. The original museum, inaugurated in the fall of 1982, was in the same building, the former village schoolhouse. Our restoration project set out to renew the building both inside and out, and also included a new exhibit design. The existing building was left structurally unchanged wherever possible and given a simple inner shell that lends a new spatial character to its interiors. The exhibition spaces are defined by white gypsum-board walls placed at different angles, to which the display are affixed. These white walls are contrasted by dark grey floors and ceilings. The expressive force of the design lies in its colour contrasts and the emotional charge conveyed by the jagged, broken lines of the panels, a metaphor for a continuous road of suffering that never seems to end, just like the pain of which it tells. Pathos reaches its climax in the room portraying the carnage that took place in the village. It is entirely covered with red-painted panels. At the bottom of the panels, the thin red line of an electrocardiogram accompanies and subdivides the exhibition, which unfolds under the continuous, repetitive gaze of the children who were killed. Slight chromatic variations differentiate the sections of the exhibit. Objects, personal accounts, wartime newspapers, photographic material and other media are used to offer visitors a comprehensive description of the events that took place between 1943 and 1945. The project also features the construction of a glass shell, with embedded photovoltaic panels, embracing the existing structure, with a striking and touching sign in the form of a large blood-soaked garment placed inside glass panes, to remind of the 560 victims of the massacre and the phrase “blood and hope� in German and Italian. 250






The Nursery School in Covolo Pederobba, Treviso, Italy

Immersed amongst the vineyards and wheat fields, their rows tracing the memories of ancient crops, where space is marked rhythmically by the stakes supporting vine shoots and loses its colourful third dimension at the moment of ploughing time, is the small plot that hosts the nursery school in Covolo. It appears to be the missing piece necessary to complete the small urban centre, whose stable landmarks include the 16th-century church and bell tower, and the Dominican complex of Villa Bellati. A collection of modest structures is linked by a continuous series of stone walls, held intact by a thin layer of rough plaster. These walls, which accompany us for much of the way into the centre of Pederobba defining the boundaries between the network of roads and cultivated fields throughout the region of the Pedemontana, run adjacent to a meandering mass of vegetation which fills the wide gravely bed of the Piave River. The new building forms an enclosure facing south-east, looking over wheat fields and vineyards, embracing and allowing itself to be defined by the features of the landscape. A rough concrete wall is coloured to match the surrounding landscape, treated with split aggregate to reflect light in a variable manner depending on its orientation. The building is its structure: a wall. A wall that opens to the south like the great arches of the barchesse, the huge porti-coed barns typical of the region, revealing, at that point, the massive quality of the structure; a wall that retracts and doubles, colouring itself to emphasize its passages, its thresholds; a wall that forms itself in response to the tensions of what it encloses; a wall that travels through the complex, smoothing out while continuing to guide the unfolding of the spaces. The overhang, the stabilized Sarone gravel paving and the lighting all expand the moment of the threshold, amplifying the classrooms spaces towards the exterior, or bringing the garden, with its sounds and scents, into the school. This operation of extension of the ‘door’, this transformation of the threshold into an actual space become the imagination of a possible world, different and strange, suspended between inside and out. It represents hesitation, desire, potential and wonder.






University Hall of Residence in Novoli Florence, Italy

The students’ university housing in the former Fiat area at Novoli was designed to adapt to the constraints of the brief – the perimeter of the lot, the alignment, the building height – and to use them as a springboard for original compositional and typological solutions that have produced a light-filled interior landscape inside severe walls. Despite the double-courtyard layout the building is far from inward-looking and imposes order on the wider context: the passageway that cuts crosswise through it is seen as a “city gate”, a way through the block and a focus for communal activities, as well as access to the students’ lodgings. The twin themes of “urban silence” and “constructed mass”, borrowed from historical city’s fabric but updated to reflect today’s different formal and plastic awareness, are evident on the solid though not impenetrable exterior facades. The continuous reinforced concrete base, grey wood shingles and glass-brick fascia are – of course – silent, evenly-coloured, unbroken surfaces but they are also loaded with positive vibes and nuancing ready to be transmitted to the interior. It is here that the building reveals the extent to which the elementary mass visible from the street is in fact a complex structure whose layout, planimetric variations and deviations of section generate a lean-looking though atmospheric interior of raw concrete streaked by form work and in some places deeply gouged. Understanding the building’s functional layout – shops, entrance and refectory on the ground floor; study rooms and services on the upper levels facing the principal street and lodgings (for 250 students) in the other three blocks – explains the layout of the external facades, and indicates how the kinds of materials used are related to the amount of light that reaches the interior. The students’ bedrooms (two types) are the outcome of painstaking typological research – the carefully calculated interlocking of reduced surfaces looks like a modern-day shot at existenzminimum – and successfully reconcile external balcony access with dual exposure towards the street, behind the shingle screen, and the internal courtyards with their coloured walls and quiet gardens. The halls of residence are typologically hybrid, with balcony access and dual exposure. The standard lodging comprises an entrance hall with a large window opening onto the access balcony, two bedrooms (18 sqm) and two bathrooms; a third bedroom (12 sqm), also with a bathroom, is situated towards the balcony and 80 cm higher to prevent passers-by from looking in. A second standard lodging has a communal area facing the balcony and at the same height, instead of the third bedroom.





C+S ASSOCIATI Water Filtration Plant

Sant’ Erasmo Island, Venice, Italy Located in the Nortehrn Lagoon Park north of Venice, on the southeastern edge of Sant'Erasmo island, the new water filtration plant is part of the general urban and environmental upgrading of the island that the Magistrato alle Acque di Venezia is implementing through the Consorzio Venezia Nuova, within the context of a programmatic agreement between the Magistrato alle Acque di Venezia, the Veneto Region and the Municipality of Venice. The fragility of the island, its indefinite shores that change contours and thickness with the tide, the beautiful Austrian battery, trace of the more extensive system of fortifications that once existed in the lagoon, whose thick and solid walls leave a mark on the lagoonal landscape, the regular division of the artichoke cultivations and the ghebi or internal canals design the landscape and the building becomes part of its character. Four one meter thick parallel walls, built in reinforced concrete colored red with pigment constructed as rough, untreated surfaces give the space the building form, like the ruins of an old battery, at the same time defining structure and shape. Echoing the ancient military structures that are today part of the park, defense elements the island is rich in, the most important of which is the Tower of Maximilian which was turned into a culture and sports center serving the entire lagoon in 2004. The spaces between the concrete structures are closed by full-height panels in Iroko planks that may be opened at the entrance and in the areas used for unloading of dust. Inaccessible due to regulations, the new water filtration plant was to have occupied a large part of the public land of the island. This has become one of the themes of the project: working on the distribution of the flows used in the depuration, it has been possible to bury a significant part of the construction that only appears like a form in the land, the only surfacing parts being those necessary for maintenance and the final removal of the residual dusts. The building consists of two parts: an underground area that contains the depuration part and the space above ground that hosts the area where the mud is dried, an electric cabin and an area for maintenance. In fact, the underground area with its roof openings contributes to design a new land which becomes a play with paths that intersect one another, forming a pattern with the vegetation. Lavender and phlox, broom, lavender cotton and rosemary follow and reflect the development of the building. They design the accessible part of the park in such a way that the building, which on the contrary is inaccessible, takes on an ampler significance, as an element for ‘land-watching’ that may become an essential part of the system of the Park itself.



Section BB’

Section DD’ 261

Neutelings Riedijk Architecten Netherlands Institute for Sound and Vision Mediapark, Hilversum, The Netherlands

The Netherlands Institute for Sound and Vision houses all the audiovisual material produced in the Netherlands since the early days of Dutch radio and television. The building is divided into five distinct elements: archives/stores, museum, offices, client reception and services. Together these parts bound a central well at the building’s heart. Here is the building’s public portion comprising the main reception hall, restoration facilities and video auditoria. This large central space stitches together all the components of the institute. Considering that something like half of the required programme encompasses storage and archive rooms with rigorously stipulated climatic conditions but no need for daylight, the architect decided on a horizontal division into two. The portion below ground contains the archives vault, that above ground the museum and other use forms requiring natural light. Bridging the gap between these two portions are the public spaces, client reception and services. The central well delivers daylight down to the lowest levels of the vault. In the first instance zenithal light streams in through the skylights; in the second, coloured and tempered light enters through the glazed frontage of the superstructure. The large well in the superstructure opens to the south so that the afternoon sun penetrates to the core of the building and reflected light can skim over the inner facade wall of the offices. At the entrance the void presences as a deep canyon that dramatically brings home to visitors the scale and the sheer size of the archives/storage vault. One of the canyon’s sides is a flush wall, the other rises in a series of inverted terraces. These contain the rooms for receiving clients plus annexes serving the archives and stores; the archives and stores themselves are concealed behind the flush canyon wall. The central well culminates in an enormous void where both museum and offices show their best face. The upside-down cascade of museum levels registers as a wall sculpture that shapes and scales the internal space of the building.


The Netherlands

Section J-J

Section K-K 263

Layer + 4

Layer + 3

Layer + 2

Layer + 1 264




Neutelings Riedijk Architecten

The Netherlands

Walter Bos complex

Waltersingel, Apeldoorn, The Netherlands The Walter Bos complex houses one of the largest branches of the Netherlands Central Tax Office. The original ensemble was built in the 1960s and consisted of four office towers surrounded by parking bays and temporary buildings. By the late 1990s, the complex needed bringing up-to-date and a new masterplan was commissioned. The brief was to extend all non-office areas, establish a clear circulation system between departments, reorganize the logistical and technical infrastructure and create additional collective services for staff and public such as restaurants, conference rooms, a library and parking facilities. About 3500 people are to work in the complex. The masterplan added two new office towers to the four existing ones. To unite the six towers in a single comprehensive ensemble, a long plinth building was proposed stitching the towers together and housing all collective services for the staff. In order to retain the open character of the site, the plinth building was designed as a sunken structure that opens up at two large underground patio gardens. The roof of the sunken building is covered by a reflecting pool. All central facilities are located beneath the pool, around the two large sunken gardens, as is the promenade link between the towers. Since the building is below ground level, the main architectural element to be seen from the street is the large reflecting pool with a clutch of stainless steel-clad cones rising from it. These cones introduce compelling sight lines and diagonals to the complex and bring daylight into the underground areas. Their steel skin has a relief imprint of dragons designed by the Dutch artist Rob Birza. The underground facades facing the garden are of black textured concrete, a strong frame for the green gardens. Inside, floors, ceilings and walls are of fully prefabricated panels with a continuous stone facing. Against this hard stone backdrop, wall furnishings also designed by Rob Birza present a soft colourful finish. The cones are intimate spaces with warm wood panelling and zenithal light. The public entrance to the complex is centrally located at ground level amidst the water landscape. The reflecting pool works as a barrier to protect the high-security grounds from intruders. At the same time, the water is a buffer tank used for cooling the building. Internal routeing for the staff is organized as a promenade along the sunken gardens. In this way, staff can always find their bearings when moving through the vast complex. The elevator bays of the towers are located at points along this route. 268



Level 0

Level -2


Architectenbureau Marlies Rohmer De Matrix: five quadrangles and polyester facade elements Community School, Hardenberg, The Netherlands

A new community school called De Matrix stands at the centre of the new Marslanden housing estate in Hardenberg. It is a striking building which serves as a meeting place for people of all ages. The scheduled functions include two primary schools, a childcare facility, a toddler playgroup, a physiotherapy/speech therapy practice, gyms and conference rooms. The total functional space is divided into central ‘heart’ which is linked to four more intimate clusters. The clusters provide identifiable accommodation for the individual participating users. Their column structure makes it possible to provide an Ă la carte interior layout for each user. The central section of the cluster can, for example, be used as a play hall, a computer room, a library or a waiting area. The central heart of the building consists of an assembly hall which can be merged with its adjacent classrooms to provide a single large meeting hall for conferences, festivities, religious services etc. The gyms are situated above this space, and the central heart is topped by a rooftop sports ground. The building is climbable: the staircases leading to the rooftop sports ground may be used as play apparatus, and pupils can learn through adventure and discovery in the surrounding grounds. The design of the facade cladding, a cassette relief consisting of large fibreglass-reinforced polyester units, was an outcome of our desire to design a contemporary building with a youthful appeal, but also with a robust look and a richly ornamental texture.


The Netherlands





Architectenbureau Marlies Rohmer

The Netherlands

De Zeester: day care centre for mentally handicapped persons Noordwijk, The Netherlands

De Zeester (‘The Starfish’) is an extension to the residential care centre for persons with a mental handicap on the Willem van der Bergh Site in Noordwijk. The building provides a range of daytime activities for the centre’s residents. We designed a compact, directionless, self-contained building with flexible use potential. The flexibility results from the robust column structure with a 7.2 m grid. The generic spaces can be merged and may be configured for use in various ways. The outdoor spaces and facility areas can provide for overflow or for alternate uses (e.g. additional group spaces). The outdoor spaces are contained within the overall envelope, making it unnecessary to fence them or the building in and thus avoiding an all too institutional appearance. At the same time, the building opens up visually to its environment: the surrounding landscape is effectively drawn in under the overhangs. The building’s compactness is intended to enhance the sense of shelter and intimacy of scale. The central circulation space is minimal (in the care sector every square metre counts). A double-height collective space with a skylight forms the striking centre of the building. Long, continuous corridors are avoided. On the first floor, a restaurant links to the central hall with which it shares a panoramic view of the surrounding country. The group spaces on the first floor have adjoining terraces in the form of enclosed patios. These are protected by a tall parapet, for the clients with the greatest disabilities cannot be allowed to leave the building. But there are porthole windows through which the users may enjoy contact with the outside world. There are only two types of window opening in the building; the double doors which open outwards into the outdoor spaces, and the pattern of ceramic porthole windows which are spread uniformly over the whole facade. An interesting detail is that the ceramic ‘rosettes’ that frame the portholes are hand-made by mentally handicapped workers. The 275 rosettes all show slight differences in colour and shape. 277

Architectenbureau Marlies Rohmer Smarties: student accommodation De Uithof, Utrecht, The Netherlands

The building of student dwellings in the complex of buildings belonging to Utrecht University has transformed the Uithof site into a full-fledged campus. It will also help relieve the chronic housing shortage for young people in the city of Utrecht. Within the line of freestanding buildings (‘Objectenstrook’) the master plan designed by OMA, our block of 380 independent and clustered rooms presents itself as a solitary mass with a 20 metre cantilever. The spectacular main concrete supporting structure consists of four slabs that together form a theatrical single table leg. The ‘leg’ and its rocking bench dramatize the main entrance and create an urban rendezvous which distills the encounters and the to-and-fro of all those students. The colossal mass which rests on the main supporting structure consists of upright slabs penetrated by longitudinal tunnels, producing a building with high flexibility which will be a long-lasting addition to the Uithof. The facade is made up of a grid of multicoloured aluminium panels with omissions for the windows. Seen from a distance, the colours coalesce into grey, scaly skin, but on closer viewing they turn into a colourful hive for young eggheads. The lively facade reflects the wide diversity of tenants from all corners of the world. The building provides for encounter and communication at all scales. With its festive rooms, staircases and corridors with alcoves, the building forms a social microcosm in which youthful love may blossom and lasting friendships may develop.


The Netherlands




Maasberg Juvenile Detention Living Overloon, The Netherlands

Unit 5 of “JJI De Hunnerberg, De Maasberg� in Overloon is converted from a prison for adults into an autonomously functioning juvenile detention institution. This is the first juvenile detention in the Netherlands where youngsters are treated in small groups of ten instead of twelve. So each youngster gets more treatment and coaching. The old school is mainly demolished and partly renovated with the sports accommodation and a new building for the living area has been realized. This new building for living is the main part of the master plan. Concept The resoluteness of the world which aims at the interior is partly removed. A new and more intensive interaction with the surrounding nature is aimed at for the youngsters. The open structure stimulates the daily shifts between living, learning and recreation. Site and organization The new building for living is situated parallel to the regional public road and contains 4 sectors with 10 youngsters each. In the longitudinal direction the building is organized linearly with bedrooms on the street side with an open view. The team rooms have been placed in the centre. Facades Some youngsters are staying in this building because they are themselves victim of lover boys or incest. Other youngsters are placed for means of punishment. The building for the living area should provide the youngsters a place for protection. It is a temporary home base for the youngsters. The facade of this home base is constructed with big dark-grey bricks (dimensions 290 x 195 x 90 mm), which express the solid social resistance. The facade towards the street shows an abstract pattern of brickwork with vertical glass openings. Two enormous (maximum glass dimensions) glass openings are contrasting with this mainly closed facade and reveal the communal living rooms. The building opens up to the other side with the enclosed outdoor spaces. Wooden facades and concrete planes reveal the atmosphere of the interior. The circular element on the south works on the urban scale as a turning point and it shows the entrance. 280

The Netherlands


(Im) perfection and texture The vertical pattern of the glass openings are inspired by the rhythm of the surrounding trees. Each sleeping room is unique, just like each youngster is unique. This is emphasized by the different colors in the interior and the different windows. The vertical windows have different bevel edges allowing the youngsters to have different sight lines to the surrounding wood land scenery. We thought that the stones should not be too smooth and shiny. That would not match with the texture of the surroundings and the youngsters. So we selected a brick with a texture that has small vertical cuts and is relatively dark. Prefabrication 4200 stones are sliced and with different angles glued together to prefabricate the corner-stones with different angles. In this way the thickness is not visible from outside, which emphasizes the solid character of the building. There are no vertical masonry joints, which leads to small vertical lines of shadow between the stones. The dilatations are also invisible. Relation youngster – environment The measurement of the bricks is balancing with the subtle way how the spatial context and landscape is expressed in the building. Maybe the youngsters can find a new structure, which they need to proceed their way. The texture and dimensions of the stone perfectly express the social (youngsters) and physical (woodland) context of the building.




The Netherlands

Maasberg Juvenile Detention Pavillion Overloon, The Netherlands

Unit 6 of “JJI De Hunnerberg, De Maasberg” in Overloon is converted from a prison for adults into an autonomously functioning juvenile detention institution. This is the first prison in the Netherlands where youngsters are treated in small groups of ten instead of twelve. So each youngster gets more treatment and coaching. The buildings are renovated and two new living rooms have been added. A new pavilion for education, visitors and offices is the main part of the master plan. Concept The resoluteness of the world which aims at the interior is partly removed. A new and more intensive interaction with the surrounding nature is aimed at for the youngsters. The open structure stimulates the daily shifts between living, learning and recreation. The client asked for a building which should help the youngsters to return to society, because the youngsters only stay for a while. It’s a time-out. The design does not express permanency but the opposite: it is an expression of temporality, like the stay of the youngsters. The concept aims at an open, transparent building between the closed prison and the outside world. Visitors can throw a glance at the prison life and the youngsters can look outside, the society in which they will return later on. Space and material By means of the light appearance and the placement of the steel frame on metal feet in the woodland soil, the volume seems to float in the wood. Because of the facade in steel, aluminium and Bankirai the building will be merged in the surrounding woodland scenery, showing different shades of grey. For the flexibility at future changes in the programme and treatment, the construction is situated in the side facades, the service pipes have been integrated centrally and the side facades are composed of elements which can be changed modularly. The classrooms on the first floor and the visiting room and offices on the ground floor are functioning separately from each other by means of the two outside stairs. At the entrance of the visiting room there is a hall in which both functions are in contact with each other, dramatizing the moment of the meeting between the youngsters and the visitors. Relation youngster – environment The building does not assume a relation of vandalism and destruction between youngsters and environment. It assumes a relation of respect. It is fragile and sensitive and tries to create a new relation between youngster and environment. The appearance and the rhythmics of the carefully detailed elements of the facade assume a respectful dialogue between environment and the youngsters. Maybe the youngsters can find a new structure, which they need to proceed their way.


Ground Floor Plan

First Floor Plan 285



Longitudinal Section


Cross Section


A-lab (Arkitektur Laboratoriet)


Arctic Culture Centre Hammerfest, Norway

At the top of Norway, Hammerfest presents itself as the world’s northernmost town and a natural centre of the region. In addition to the proximity to the North Cape, this establishes it as one of the most important tourist destinations in Northern Norway, with over 250,000 visitors each year. The project is a part of the bigger seafront development and is highly visible from both land and sea. The goal is to provide new program and architectural characteristics to the site, ensuring an attractive and beautiful town centre, contributing to the development and strengthening of the town’s identity. The program is organized in compact units in such a way that in-between spaces with different degrees of public access are created, and the numbers of public areas are maximized. These social “arenas”, both in and outdoors, connects the Culture Centre to the city of Hammerfest. The building is an object with a clear signal effect where accessibility, openness and creative, artistic energy is expressed. The foyer of AKS is formalized as a public acclimatized open-space between built masses, connecting the main coastal road (Strandgata) to the quay along the waterline 3 meters below. The urban gesture is repeated throughout the plan, but it has its last (or first) expression in another open-space, the Arctic Arena – an outdoor auditorium. Conceptually Arctic Arena, like the other open spaces in the project connects the street level with the Northern Sea, but it also provides exceptional and unique public space for the city. The AKS will act as a central venue for art, cultural activities, and conferences. It will also be the first building on the Findus site, and will thus influence further development and redevelopment of the relationship between Hammerfest town centre and the sea.


Plan 01

Plan 02

Plan 03





Rintala Eggertsson Architects Element House

Anyang Park, Seoul, Korea In the Seoul metropolitan area there is a satellite city called Anyang, a small, in Korean context, suburban town with 700,000 inhabitants. The city had decided to invite several international architects and artists to participate the design of a new park. The project, called Anyang Public Art Park, relates to the concept of art and architecture parks in Japan, the largest of which is Echigo Tsumari Art Triennial area in Niigata.

Garden Section

Attic Section

The park is situated in a river valley. The element house is standing on top of a small forest hill, along an outdoor route leading to the mountains in the far end of the park. Main space is a larger steel cube. Four smaller wooden rooms are connected to this space in different floors. In each of these small rooms there is the presence of one nature element; in cellar water, on courtyard soil, in first floor fire and in the attic air. On practical level, the idea of the work is to offer a simple shelter where the hikers may rest, enjoy their lunch, have a view over the mountains or light a stick of incense. For this purpose Norwegian artist John Roger Holte has crafted a platform and storage for the incenses out of coloured concrete. This habit relates to the history of the valley as an important Buddhist retreat. There used to be many temples situated on the mountain area, only few of which are left today.

Ground Floor Plan

Attic Plan

Main building materials are steel and wood. Concrete has been used to cellar and foundation. Openings are covered with safety glass, floors with jade and marble gravel, different stone type and colour in each space. Seoul is an immense urban area the fast growing of which is visible in the condition of the surroundings. Constant noise, packed motorways, endless rows of cloned blocks of flats and ever prevailing grey smog create a tough place for living things. This small building in the edge of the city and the forest would offer some contrasting atmosphere. If someone ever, walking by in an everyday hurry, decides to stop and sit down and allows silence to take over, lets thoughts wander, this work has reached its goal. Cellar Plan


First Floor Plan

Ground Floor Plan

First Floor Plan



Section 1:

Attic Section 3:



Jarmund / Vigsnæs AS Architects

Plan + Site

Edge House

Kolbotn, Norway The Edge House is located at Kolbotn, a suburb south of Oslo. The client, a young couple, asked for a spectacular house on a limited budget. They had purchased a challenging site with 8 meters height difference from the access road to a plateau, and they wanted a house that “looked like you could shoot a James Bond movie in it”. To save the plateau, the building was pushed towards the eastern perimeter of the site, suspended above the slope on slender steel columns. The entrance stair rises along the slope through the house up to the plateau. This strategy avoids costly blasting, hiding the technical connections in the stair. It saves at the same time the existing characteristics of the site, creating a dramatic interplay between volume and site. The entrance condition and the experience from the inside attempts to underline this interplay. The compact interior is horizontally organized around the cut for the entrance stair. Bedrooms and bathrooms are effectively organized along a corridor. The main structure is steel, with a polished concrete floor slab. The interior is clad in Birch plywood, the exterior in naturally colored fiber cement boards.

Section B 298





Jarmund / Vigsnæs AS Architects

Oslo International School Oslo, Norway

Oslo International School is a private school with about 500 children from more than 50 different nations, divided into kindergarten, reception, primary and secondary school. The school is based on a traditional use of classrooms combined with special facilities for advanced studies. The primary goal of the project is to upgrade existing areas, replace temporary structures and establish new educational areas for specific needs. The project is divided into 3 phases to make possible continuous use of the school during the construction period. The existing structure from the 1960-ies was worn down, but had obvious architectonic qualities. The organization on one level gives easy orientation, good natural lighting and a close contact to the outdoors. The modular structure is flexible to programmatic changes. The new structure gently transforms the easy organization within a limited budget, and tries to keep the inherent qualities. The new mechanical systems are placed on the roof. Phase 1 is established as pavilions within existing atrium. They include science laboratories, library and a main “square”. The main entrance, as a result of the addition, is moved to the west side of the building. The architecture is developed as a new vocabulary of soft and organic forms, softening dense spatial relationships between new and old areas. At the same time these new areas contain special programs framed by the rectilinear structure of the old. Daylight fills the rooms from narrow slits from floor to ceiling combined with circular roof lights. Phase 2 is a separate pavilion for the smallest children. It houses 10 classrooms in addition to offices. The common areas get daylight fro the atrium. Sizes of rooms are flexible, and can be changed according to number of children on each level. Phase 3, under planning, will house new areas for drama, music and physical education. Parts of the areas will be open at night.







Jarmund / Vigsnæs AS Architects

Ground Floor Plan


First Floor Plan

Svalbard Science Centre 78°north Longyearbyen, Norway

The project was commissioned through an invited competition. The new structure is an addition to an existing university and research building, which is extended to about 4 times its original size. The project also provides new facilities for the Svalbard Museum. It is the very largest building in Longyearbyen and Spitzbergen. The insulated copper-clad skin is wrapped around the program demanded, creating an outer shell adjusted to the flows of wind and snow passing through the site. Climatic 3D simulations has been undertaken to assure that the accumulation of snow would not create undesired conditions in front of doors and windows. In the process, the skin has been flexible to adjustments, both geometrical changes answering to the climatic studies and alterations of program. The building is elevated on poles to prevent the melting of the permanent frost – the only thing fixating the construction. The main structure is in timber, to facilitate on-site adjustments and avoid cold bridges. The outer copper cladding retains its workability even at low temperatures, thereby extending the construction period further into the cold season. An important consideration has been to create vital public spaces and passages in the building, an “interior campus” area providing warm and lighted meeting places during the dark and cold winter. The pine-clad spaces have complex geometry relating to the outer skin of the building – the effectiveness of the circulation is maximized but at the same time it offers varied vistas and experiences. The technical infrastructure is hidden in the tilted walls of the interior. The use of color has been a necessity in a natural condition where colors are scarce.

Second Floor Plan Roof Plan



Section B-B

Section F-F

Section D1-D1 Section D2-D2 309


Section H-H

Section I-I 311



Olafur Eliasson + Kjetil Thorsen

Vertical Section BB

Horizontal Section_Entrance

Horizontal Section_entrance

Serpentine Gallery Pavilion 2007 London, Britain

Serpentine Gallery Pavilion 2007 was co-designed by Olafur Eliasson and Kjetil Thorsen of the Norwegian architectural practice Snøhetta. A commission by the Serpentine Gallery, the temporary pavilion was situated in Kensington Gardens in London, adjacent to the Gallery. It was based on the principle of a winding ramp that linked the interior of the Pavilion with the park. By focusing on the movement of the visitors, Eliasson, Thorsen, and their respective teams conceived a complex geometric structure that changed in appearance with each step. The spiraling ramp, 140 m in length and screened in part by twisted cord louvers, generated the form of the enclosed space. The first part of the ramp opened onto the interior; the second was enclosed but for the louvers; and the final part became an extension of the roof of the Pavilion. Daylight entered the internal space from above via an ellipsoidal oculus. Eliasson co-curated a number of public events inside the Pavilion with Hans Ulrich Obrist, Co-Director of Exhibitions and Programmes and Director of International Projects at the Serpentine Gallery, that culminated in The Serpentine Gallery Experiment Marathon: Part 1, held in October 2007.


Berlin / Norway

West Elevation

South Elevation



KWK PROMES architect Robert Konieczny Aatrial House Poland


The house is situated in Poland, close to Opole. Majority of low density settlement in the surroundings is formed of “cube – houses”, buildings typical for the 1970’s. One hectare site near the forest, where the building is designed has only one weak point: south-western access. An obvious conflict develops between the driveway and the garden. The idea arose to lower the driveway in order to separate it from the garden. This prompted another idea – of a driveway leading inside to the ground floor level, from underneath the building, which became possible thanks to the creation of an inner atrium with the driveway in it. As a result, the building opens up onto all sides with its terraces in an unrestricted manner, and the only way to get into the garden is through the atrium and the house. This in turn has made it possible to obtain a new spatial model of the house, which is the reverse of an atrial building. The aatrial house is closed to the inside and opened to the surroundings. The gateway is situated in the highest point of the site sloping to the east side. The 10 metres wide driveway following slope’s declivity, was additionally lowered underneath the ground level, while the garden was partly raised above this level. As a result, the garden is separated from the driveway and the surroundings with a 2.5m high retaining wall. The building was situated on the garden level. For the sake of neighboring buildings, typical polish “cube – houses” arisen it 1970’s, the structure of the house results from various transformations of a cube. As a result of stretching and bending particular surfaces of the cube, all the walls, floors and ceilings were defined, together with inner atrium and terraces. This principle of formation has not only created the structure of the house, but also defined interior and exterior architecture, including use of materials. The building is a reinforced concrete monolith, and concrete is at the same time the finishing material of the transformed cube, while all additional elements are finished with dark ebony. The driveway and retaining walls were made out of quarried granite blocks, the material characteristic for the surroundings.

Ground Floor Plan

First Floor Plan





Section 1 320

Section 2


KWK PROMES architect Robert Konieczny Broken House

Katowice, Poland The building is located on the outskirts of Katowice, near a forest, on land deteriorated by 4th category mining damage, where tectonic faults are a possibility. Hence the connotation of uplifted layers of soil, interwoven with one another, which was the inspiration for the form of the house. Its structural design comprises rectangular solids contrasting with the ribbon – like structure which winds around them after it emerges from the ground. It is the leitmotif of the building, combining a variety of functions: starting with the swimming pool to the living room with a fireplace and then to the bedroom upstairs. A noteworthy feature of the ramp is elemination of stoops. Such a solution was achieved by bending the surface of the course, which made it possible to keep its outer edges straight, without bends typical for such structures.

Ground Floor Plan

First Floor Plan




KWK PROMES architect Robert Konieczny OUTrial House

Ksiazenice, Poland A green clearing surrounded by forest was the only context for the proposed small house. Hence the idea to “carve out” a piece of the grass-covered site, move it up and treat it as the roofing to arrange all the required functions underneath. When the whole was ready, the client came up with another request, to create some space for a small recording studio and a conservatory. The latter was obtained by linking the ground floor with the grassy roof through an “incision” in the green plane and “bending” the incised fragment down, inside the building. This procedure turned the roof into an atrium, as the only way to reach it was through the interior of the house. As opposed, however, to a typical atrium, the newly-created space has all the advantages of an outer garden while remaining a safe, internal zone within the building. This way, a new type of house was created, and its designation – outrial – is to convey the idea of an atypical atrium which is part of both the interior and the exterior of the building. The studio was created in a similar way as the conservatory, but in order to ensure work comfort for a rock musician, it was isolated from the rest of the house by shifting it upwards.


Ground Floor Plan



Correia / Ragazzi Arquitectos

First Floor Plan

Ground Floor Plan

Casa em Lousado

Lousado, Vila Nova de Famalicão, Portugal The house is situated on a 3000m2 family farm where everyone relates but requests privacy. The farm features long platforms towards the river with rich walls in texture that create different areas with fruit trees. At the upper level one founds the access to the farm and most of the proximity relations with the existent construction on the north surroundings, extremely uncharacterized. For this reason, the house faces south and the river, the less built areas with the most trees. The maintenance of most of all beautiful and locally traditional walls was very important, in such a way that these participate on the spatial organization of the house, establishing a particular connection with both the glass panels and the painted concrete. Hence the house sits on one of the walls that separate two platforms resulting on a two storey house, each with a direct relation with the outside and where the wall bursts through the windows contributing to an interesting inside spatial definition given its particular texture, now on the living area and kitchen, situated on the ground floor. As the south view seen from the upper level is not that interesting given its industrial character, one chose to place the bedrooms on this level framed by patios that function as their extension to the outside. This solution allows an increase of outside area for diverse uses of leisure as also provides great privacy. It’s clear the harmonious relation between the volume and the surroundings at the lower level with large windows framing the better view to south, containing the north view behind the volume that correspond to the bedroom patios on the upper floor. These patios guarantee the autonomy desired between the house and the platform where it “lays” assuring excellent leisure areas to south, east and west. At the upper level one finds the entrance where the relation with the south landscape is immediate and with the lower platform through the distribution hall with two storeys. The elevation at the main entrance is drawn by a white volume with small pieces of coloured glass and on the inside a big wardrobe on the bedroom hall. On this floor is clear the separation between the family area of three bedrooms, wardrobes and bathrooms, with the less private area of an office and guest suit. Exactly on this side one finds the lobby and stairs connecting to the lower floor where again the different areas are clearly distinguished, the most public area with living and eating area, then the kitchen, laundry, pantry and service bathroom for the floor and the garage. The entrances for the less noble areas are dissimulated by wood panels. The weightless of the volume is defined by the fragmentation and the decision to separate horizontally both levels as well as due to the hanging of the projection of the patios over the inferior level and platform, which helps accentuate the transparency of the lower level. The plastic possibilities of the materials chosen are determinant and were consciously introduced as aesthetic means without questioning the programmatic issues of the constructive logic. The distinctive shape of this house is no answer to constructive questions but also to aesthetic considerations associated to them. We believe that appearance and vision are determinant for the outcome silhouette. 324





Section D

Section C


Correia / Ragazzi Arquitectos Casa no Gerês

Caniçada, Vieira do Minho, Portugal The project of this house foresees both to reconstruct and augment a ruin into a weekend retreat at a plot with extraordinary morphological characteristics, within Cavado River and its tributary. The plot, of 4,060m2, is located in a protected natural area and has for conditions, from the clients, a concrete construction and the preservation of all trees. The constructive capacity was given by the existing ruin. Having practiced water-ski for 20 years, the river grounds the weekend house for the clients. For them, the exceptional outlook one enjoys should be an element of the house; for architects, should be an evident inside space value, but also, the opposite concern was relevant – the house could only act as a significant element on the landscape. Having identified the site, a pragmatic analyse of the circumstances was in order: the demands of the program were a house for a couple and child, a visitor’s suit preferably dislocated from the house as also should be the storehouse for the water-ski activities holding a shower, bathroom and storage area. The area of the house, inevitably small, was specified by the reduced dimension of the preexistent ruin. Thus, the first sketches of the solution appear in its dependence, a delicate wood construction, and a new client constraint – the house had to be in concrete: “due to wetlands, with winter rain land collapses, the house has to be very resistant.” Meanwhile, the fundamental decision revealed itself through the house orientation. Its final location on site, at right angles to the slop, seeks for a better relation with the plot and the platform where it “lays”, avoiding all trees and damage to the outside area. The weightless intervention enhanced by the overhanging part that shoots off the riverbank cliff maximizes the transparent appearance from the river, reducing land occupancy. As a half-buried house in its relation to the main access it appears diminished; on the other hand, from the river it appears as a glass frame dissimulated on the vegetation. The relation established by the house and ruin defines both the access and scale of the intervention, transforming the ruin into a constant presence on the inside of the house such as any other landscape element.







EZZO Paco de Pombeiro / Rural Hotel Felgueiras, Portugal

It’s a project for a rural hotel located in a farm with 10 hectares of land, 90% of which are used as vineyards. The site contains various previously existent elements. The main building from the XVI century stands out and several little constructions which are very damaged and/or ruins. The program was to recover the main house and build a new hotel to altogether house a maximum of 22 people, plus rooms that would support the hotel and an outdoor swimming pool. In the main building, which is a construction with almost 500 years, there was a pursue to step in the least possible in order to keep its identity and the character of the existent architecture. Infrastructures and bathrooms were made and some of the interior spaces were adapted to new uses.

Third Floor Plan

In a landscape with strong rural features, the hotel is conceived from the existent, all spaces are spread from the main house, which is also the owner’s permanent house, and from the reminiscent ruins where new spaces fill some of its interiors. The new rooms are comfortable and protected in the interior by a unitary volume located in a lower elevation and perpendicular to the main building in order to assure quests’ privacy. From the outside the new building isn’t highlighted in the landscape and its form and texture come from the idea of not adding anything to the land, and its volume has a strong attachment to what already exists and to the idea of subtraction. Fully made in concrete, its exterior walls were worked to approach the texture and tone of the land after doing sections during excavations. The individual and exterior access through paths of grit, identical to the surrounding fields, pursues to approach the visitors to the rural character of the landscape.

Second Floor Plan

First Floor Plan

Ground Floor Plan 334





Souto Moura Arquitectos S.A. Braga Municipal Stadium Braga, Portugal

The Braga Municipal Stadium is situated within the Dume Sports Park on the northern slope of Monte Castro. The location was chosen in order to avoid making a dam along the water’s edge in the valley. The alternative would have been to move it further to the west up against the hill, like a Roman amphitheatre. Nowadays football is big entertainment, hence the decision to have only two rows of seats. Initially the roof was to look like a long continuous visor (ref. Siza / Expo), but it was eventually modelled on the Peruvian Inca bridges. With a height of 40 meters, the stadium will be up against two squares with the same sloping. This will enable the stadium building to serve as an anchor point for any future development in the area as the city expands northwards. To the south, the same applied 20 years ago to the Carandå market. Today, it is being amputated to save it from succombing to gangrene.


Ground Floor Plan (Field Entrances) 338

Level 1 Plan





Souto Moura Arquitectos S.A. Burgo Tower

Porto, Portugal The site is located where Boavista avenue breaks into discontinuous sections. The solution consists in a level platform which incorporates two nearby volumes which recast in different scales. A low ribbon-like building allows for the enclosure more closely to approximate the sought-after anonymity. The tower, set back from the avenue, rises up from the platform, waiting for further and future works of architectures still to come.

Section A


Section B




AK2 architectural studio


RELAXX Sport and Leasure Centre Bratislava , Slovakia

The new building of sport and leasure centre RELAXX is situated on a long and narrow site in Einstein street in Bratislava. It fits into a row of new mixed-use buidings between the Old and the New Bridge. The site is surrounded by a busy traffic corridor of Highway ring from north and by an international railway track from south. The basic shape of the building was determined by the long and narow conditions of the site. Compact form is elevated on one side by two floors and sits on four up-side down U-shaped concrete pillars. The other side of the building is set on a 2 storey cuboid mass. Characteristic feature of this building is its play with transparency and opacity. Solid part of outer skin is covered by silvergrey titan-zinc cladding and wraps-up the inner volume from top, back and bottom sides, creating a strong C-shaped profile figure visible from short elevations. North facade and two short side facades are transparent and fully glazed. The RELAXX Sport and Leasure Centre enters the hectic locality, harmonizes the noise and chaos. This sculptural architecture symbolizing the beauty of restlessness and the poetic of velocity. Authors: Andrea KlimkovĂĄ, Peter KruÄ?ay




Corona & P. Amaral Architects, S.L.

Plan 0


Plan 1

Vivienda en JardĂ­n del Sol, Tacoronte Tenerife, Canary Islands, Spain

The idea of this house is to place a piece of concrete and glass on a wooden platform on the edge of a 300m cliff above a black sandy beach, with spectacular views of the Teide and the whole north coast of the island of Tenerife. The proposal is based on the concept of incorporating the landscape into the interior of the house, using a selection of carefully chosen materials to make the house blend with its environment. A parallelepiped module on one level houses the bedrooms and service areas, and a raised level is introduced for the kitchen-living area both in an L-shaped room around the black pool, which is situated on the edge of the platform so that the water appears to merge into the sea. In this way, the view can be enjoyed from the whole house, enhanced by the terrace and the pool. In the basement, which has independent access from the terrace, there is a gym which looks onto the pool through a glass wall. The whole building has been dressed on the interior and exterior with concrete. The facades which face the views are made of glass, with wooden blinds in the bedroom and exterior canvas blinds in the living-room area. A pergola made of wood and steel provides a shaded area for part of the terrace. The garden, which contains indigenous plants suited to the area, is located exclusively on the slope between the street and the building so that the house seems to emerge from the mountainside.


Section L2

Section T1




Rafael de La-Hoz Arquitectos


The High Council of the Chambers of Commerce Madrid, Spain

The word chamber refers to an enclosed space or cavity as in a gun and it can also be used to denote a closed hall or room. Chamber is also synonymous of a private assembly or the body of people who meet in the hall or room. The project was limited to designing a construction employing these two meanings. On a rectangular site close to the Madrid ringroad and on a rock base the architect deposited a hermetic concrete box as though it were an object. A large opening was provided to look over the adjoining garden. A box and its window: the gun’s cavity and bore. The design interest then turned to chamber is as a meeting place. In the gun cavity three volumes were introduced as suspended rooms. Meeting Room and Assembly Room at the two ends, one closed and metallic, another translucent and rock-like, they are attended from the third room which acts as the administrative server of both meeting rooms. The vacuum houses the volumes of the functional chambers, a spatially recurring theme, and a space within a space.


Longitudinal Section




Rafael de La-Hoz Arquitectos


Urban Planing

Telefonica’s District C in Las Tablas Madrid, Spain

To the north of Madrid, at the end of a new urban development, “Las Tablas”, the new Telefónica Headquarters, known as Distrito C, will house all the employees of the company – 14,000 people – in one single corporate campus. The administrative buildings are distributed around a canonical patio – the Lawn of the campus – according to a system of additions for two different hierarchies, the hierarchy for the strict corporate programme – surfaces and utilities – and the hierarchy that sets out to favour and organise the employees’ social and cooperative activities. In order to create this atmosphere of cooperation and engagement, four open areas that are set out in the corners of the premises serve as extensions to the Central Atrium. Three buildings are distributed around each of these squares, as a new addition: two small buildings and one cube-shaped building, which delimit the squares and the total limits of the Campus at the same time. Conceptually, an environmental canopy or roof is laid out between these cubes, to unite, cover and delimit the perimeter of the Campus. Covered with photovoltaic panels, this canopy of 3.8Ha captures energy – approximately 18% of the total consumed on the premises – and, more importantly, provides shadow for the façades and squares. The space of the four squares appears then as the geometric installation of a precise distribution of planes of vertical façades and a horizontal roof, which, at the same time, protects the reduced social universe into which the Company’s scale is fragmented, acting as a pedestrian access of its own and independent in each square. As a consequence, each of these four smaller ranges are connected to each other through the Main Atrium, which entrusts its vibration and environmental quality to this convergence, to the circulatory crossings between squares and to the activities in the public underground station, which, as it is set out in this space, not only guarantees the functionality of Distrito C, but symbolises its public and open calling. This private and public central atrium establishes a spatial dialogue with the smaller squares and with the exterior public space as well, so as to connect, and not only conceptually, Las Tablas with Alcobendas. In order to achieve this, the two main buildings of the Campus are moved away, One being suspended from the roof and the other using the topographic profile of the land as a support, in such a way that the interior space of the atrium is in contact with and absorbs the exterior public space. The social connections of the atrium are therefore guaranteed as the Northern and Southern sides of the new district are freely connected. All of the buildings on the Campus are situated delicately over this framework of patios, squares and Atrium, surrounded by a dynamic double façade system that is common to the whole Campus.








Abalos + Sentkiewicz Arquitectos Porte de La Chapelle Paris, France

To construct in height in Porte La Chapelle will allow transforming a territory of great complexity, a cross between historical drawing up and modern infrastructures of great scale, to a contemporary, attractive urban landscape, that gives account of the dual beauty of Paris – of its memory and its modernity – and allows essaying new forms of life. In order to obtain this change it is necessary to count on the space complexity of the denominated mix-uses, authentic vertical cities that condense in emblematic points of the city all the density and activities of the traditional urban conglomerate, transforming radically the nature of areas as Porte La Chapelle as well as the way as they are used and perceived. Living in height is then, to fulfil the fantasy of live another life, plenty of light and memorable landscapes, surrounded by beauty, with the best accessibility, the best equipments in the better environmental conditions, contributing to a more equal distribution of the centrality in the map of the great Paris. The mix-use typology that we are proposing for Porte de La Chapelle, of public-private nature, will include cultural layouts – a University Campus – commercial layouts, offices, apart hotel and housing, generating different public spaces, with pavement and gardens all around that spreads forward to a pre existent sports area, completing and improving it. The uses, as a recurrent solution on this typology, are arranged as a vertical gradient of privacy, so that the housing is located at the top while the cultural and commercial activities are located just at the street level, duplicated and tripled because the expansive and terraced form in which the building is touching the ground. So, in this way, we are achieving a better efficiency for the whole building and bring the better life conditions to the residents who will enjoy the views, the privacy and the environmental quality. Architects want to provide this construction with an ambiguous character between architectonic monumental structure and natural geographic feature, like a cliff eroded by the wind, a natural element composed indeed by the action of the air, the water, the earth and the solar energy, understood now as construction materials of a new way of life.


Planta Baja. Centro Internacional Para Jovenes

Planta Tipo. Hotel Industriel

Planta Tipo. Lofts

Planta Tipo. Hotel Industriel

Planta Tipo. Residence Estudiante

Planta Tipo. viviendas





Abalos + Sentkiewicz Arquitectos Taipei Performing Art Center Taipei, Taiwan

From human being origins, people doing circles around someone who is speaking, singing, dancing or arguing – under a tree shadow if possible – has been the main characteristic of performing. Our music halls maintain this original condition and extend their geometry to the whole complex, which turns into a group of big trees with a stratified structure, as the local tropical forest, working at the same time as a functional scheme and an environmental strategy: - Over the trees a roof tour that conform a new landscape is proposed, giving identity to the complex. - Music Halls are in the trees, organized around a principal lobby and two secondary ones. Each hall adopts a particular configuration reinforced by its different coloration (gold silver, bronze). - Under the trees, topography splits in two: Upwards, composing a park protected from the sun and the rain; Downwards composing a complex of commercial galleries that extend the activity from Shilin Night Market and goes through the building. Against the typical configuration of a principal and a back façade this project achieves a total urban isotropy, not only with four but with five facades in relation with the context.


Section 1

Section 2


Lobby and Arts Shops Arcade Level + 2.50m

Musical Lanterns Park Level + 7.00m 367


Back Stage Spaces Level +19.80m

Theaters Level +23.30m



Wingårdh Arkitektkontor AB


K:fem department store

Vällingby City, Stockholm, Sweden Fifty years after the opening of Vällingby, Sweden’s world famous New Town from 1954, works began with its resurrection. After the glorious days when children and their mothers filled the community in the outskirts of Stockholm with life, other developments gradually drained the neighbourhood unit. Less people made life difficult for the little cinema, as well as for the shops. Vällingby was in need of new blood, and the pièce de résistance of the renewal would be a new department store. Red as a lacquer box, the construction stands as a precious object by the new entrance of the centre. With layers on layers, a sense of depth is transmitted in the facade. The milky glass gets increasingly see-through as the white dots vanish towards top and exposes the red skin behind. The building is an image of the content. A home for the fashionistas, who shall be catched like flies by light. No random additions were to disturb the tailored design. Shiny white letters in the red sky is the only exposure of the companies inside. The house is dedicated to branded fashion and just as all these brands are brought together under the huge canopy, they are brought together in one common space inside. The only detached department is the black box in the east end. As the complex continues the urban pattern from the 1950’s, a pedestrian street cuts through the site and divides one solo retailer from the large department store. The little black box act as a contrast to the grand evening dress. The interior continue semitransparent theme. A pendant ceiling transmits a diffuse light, and the white pattern on the balustrades evaporates like mist in the morning. The large opening in the core of the building opens up toward the light. To ascend the space shall be a travel to the light – as an aeroplane rising through the clouds.





Wingårdh Arkitektkontor AB


Müritzeum – science and visitors centre Waren, Mecklenburg, Germany

Visitor centre for the region “Mecklenburgische Seenplatte”, a unique central point in Waren in between Müritz, the older town centre and the surrounding countryside, Müritzeum includes a freshwater aquarium, multimedia exhibits, restaurant and a shop. The building extends out like a peninsular in Herrensee and personifies elements essentially different from one another as solid ground and water. The round design means the building has no problems blending in among the less conspicuous surroundings despite its large scale. The walls seem to keep a low profile and the building is perceived as being smaller than it actually is. The sense of undefined direction is articulated through a series of straight sections that reduce the area of the circle. One section runs parallel with Kietzstraße and offers a large, distinct entrance facade – which is not too imposing, but rather adapted to suit Waren’s scale. Another section breaks the midpoint of the circle, focuses light on certain working spaces, provides a direct park connection to the centre of the building and perhaps most importantly of all, a flat staircase to the roof of the building. A corresponding external staircase on the west side of the building gives the circle a direction and shows where the front of the building is. The exterior, highly visible staircases clearly demonstrate how the structure is accessible and that it represents a part of the walk around the Herrensee lake. From the north, the building is seen in a remote perspective, where the circle with its inclined sides, a little like a ship’s hull, rides on Herrensee’s reflection in the water. The building is designed as two coned segments at two different heights and with two different radii. The cone segments together create a circle. The circle is broken, as mentioned, by a pair of sharp sections. The building consists primarily of two floors and a semi-basement. The cone segments and floor structure that are not in contact with the ground are made of wood. The supporting walls are 120 mm Leno walls. The external surfaces are of 30 mm carbonized timber with a blackish brown finish that hardly needs any maintenance. This surface treatment gives the building an aura of being an historic landmark while at the same time being environmentally friendly. In contrast, the wood on the inside of the foyer and pent-roof is a glazed honey colour. These two different expressions in the same material are joined together by a clear glass facade. 374





ssm architekten ag


Erweiterung Kunsthaus Grenchen, switzerland

The project proposal aims at a holistic view of the Kunsthaus entity, but equally taking its near as well as its extended urban architectural surrounding into consideration. A gently enclosed body in the east of the plot, on the location of the former bathhouse, defines the given structure at the Bahnhofstrasse and forms with the existing Kunsthaus in the northwest a clearly demarcated external space and sculpture park respectively, towards the city. The new entry at the southern train station clarifies and strengthens the significance of public space of the new Kunsthaus. The extension with its glassed-in entrance lobby and the working space at the “frontâ€? gives art the necessary presence and opening and thus stimulates curiosity and encourages an art visit. The new column-free exhibition space on the entrance level intended for temporary exhibitions, allows for highest possible flexibility with mobile exhibit walls. Garden doors open the view towards the sculpture courtyard and are at the same time well placed exits for exhibitions that are combined with the external space. An enclosed massive structure is the core construction of the actual art space. The static is visible through the changing width and with the increasing height of the bearer. The ceiling-high glass finishing towards the train station symbolises the entrance lobby. The façade, braided with raw 5/100 mm steal stripes, evokes different associations. The braided stripes cover the building just like a screen from three sides and emphasize its utilisation towards the outside. The oxidation process, which is slowly setting in, colours the building with a velvet-orange glimmer thus likening it to the train station area. The solid gravel square houses the Kunsthaus entity, but also sculptures that are arranged freely and allow visitors to view them from every angle. Gravel beds with geometrical lawn arrangements and fruit trees characterize the square that is freely visible from the road. Various entries and throughways encourage walks or brief moments of rest within this oasis of art.





Ground Floor: Restaurant

First Floor: Activity Room

Community Center Aussersihl Zurich, Switzerland

A combination of several difficult circumstances formed the starting point for this project: the dramatic polarisation of the political parties for and against socio-cultural infrastructures, a building site that threatened to slip out of public control due to an open alcohol and drug scene but that was, at the same time, one of the few green spaces in this part of the city and, in addition, is a protected area. As a response a strategic thesis for the competition was formulated: 1. Not the building alone but the entire park forms the district centre. 2. All the trees are to be preserved. 3. Minimal footprint. These considerations led to the stacking of the programme and to the development of a vertical prototype based on a polygonal floor plan. A camouflaging skin of standard glass and reflective glass will envelope the building and mingle with the trees – the paradox of the invisible tower. Due to the halved budget from 5.4 to 3.0 million, the commission then was to discover what and how much could be built with the new budget. While preserving the principles formulated in the competition, thanks to a forward-looking strategy the economic cutbacks could be transformed into a starting point for a new project. The transformation of the form and the architectural expression ultimately struck a successful, psychologically liberating blow for both friends and foes of the first project. A basic structure, enhanced at specific points, now offers space for diverse activities. The building still blends in the park by both its form and colour. Lime sand brick is the cheapest material to build curved walls. With the radical use of colour the somewhat out-of-date material was “killed” so that only colour and form remains. The outer skin appears conservative with a “british racing green” whereas the interiors shine in bright colours. The grass-green of the ground floor connects the outside with the inside and contrasts the orange staircase. Yellow and light green in the first and second floor vary the theme of botanical colours and correlate with the park depending on the seasons. Starting from the image of tree bark the façade is perforated and tattooed. A skin is generated which exceeds the image of a “Lochfassade”, creates depths and relates to the environment.


Second Floor: Group Rooms

Roof: Terrace





Ground Floor Plan

First Floor Plan

Conversion Theatre 11 Zurich, Switzerland

Nowadays musical theatres are inherent parts of our urban cultural landscape. There is a correlation between the establishment of this popular performing art and the choice of unconventional venues. Former industrial halls often give the musicals a special atmosphere. Both the rich industrial history of the location Oerlikon and the prominent neighbourhood to the Hallenstadion and Messe Zurich (trade fair) offer in this respect ideal conditions for a musical theatre. When starting to work on the competition it soon became evident that a “gentle” conversion was not possible within the financial and technical framework. Only a strategy dealing in a radical way with the existing buildingfabric could succeed. Demolishing the original Stadthof provided the chance of realising a customized building. A new spatial layer was placed around the laid open and enlarged stage and auditorium, which develops its height in a way that the highest point is reached at the corner of Thurgauer-/Wallisellenstrasse, thus proclaiming a confident urban attitude. This simple volumetric gesture mediates between the opposite Hallenstadion and the adjoining small-scale residential houses at Birnbaumstrasse. The dynamics of the new building is counteracted by the presence of the heavy stage tower. A skin of perforated steel and aluminium sheeting covers the building “all over”, thus underlining the equality of roof and walls. With the exception of the few precisely composed “eye windows” and the glazed entrance area, the aluminium sheeting covers dozens of small windows. The theatre obtains two faces like the neighbouring Hallenstadion: at daytime it seems mysteriously secretive, while at night a glittering and festive atmosphere is created. The inner organisation reacts to the new urban gesture. The new entrance at the junction is visible from all directions. The restaurant was relocated from the unattractive location at Wallisellenstrasse to the more prominent side of Thurgauerstrasse, gaining a direct visual relation to the Tram stop and the Hallenstadion. In interior, a direct, raw and industrially charged atmosphere was the aim, which provides an independent and unpretentious background for the musical productions. This was achieved by exposing the surfaces of the structural work such as the concrete walls and floor, and the technical elements of steel beams and service installations. Painted concrete and the accentuated lighting create a vibrant atmosphere. The auditorium was deliberately planned to be dark and conservative: after all, the spectacle and the music take the main stage. Red seats on a red carpet were the only design elements.


Technical Floor Plan

Roof Plan

Longitudinal Section


East Elevation

South Elevation


West Elevation

North Elevation





Ground Floor Plan

First Floor Plan

Extension Public Records Office Canton Basel-Landschaft Liestal, Switzerland

The Public Records Office is the collective memory of the political, economic and cultural life of a canton. Of central importance is an adequate urban location and appropriate architectural expression. The current location, of the existing building amidst smaller and larger residential buildings cut off from the town centre by the railway line, hardly allows the public character of the institution to be expressed. The architects interpret the need to double the spatial programme, on this site, as a chance to translate the existing building into a powerful, self-confident form. An additional storey was added to the archive wing, although the competition brief explicitly excluded vertical extensions. As a consequence the spatial programme is no longer horizontally but vertically organized. By placing the public zone on the second floor the visitors’ area is lifted out of the cramped topography. In the form of a glazed roof volume, the new public zone engages the urban district of Liestal, which lies on the other side of the railway line embankment. The vertical extension also allows the volume to be kept as compact as possible. At the ground level, the outermost plane of the facade is planted with ivy, enabling the blending of the existing and new levels, forming a single entity: the clean-edged glazed roof zone rests on a “soft” plinth. The planting of the facade also fulfils various building construction requirements (protection against driving rain, climatic balancing layer, temperature, moisture). In addition the plantings signalise the building’s special function; the organic softness connects the new building to the small scaled green valley.


Second Floor Plan







Zurich, Switzerland Two exciting developments are linked in the Toni project, which proposes to transform a former milkprocessing factory into a platform for education and culture: on the one hand, by merging several existing schools, a new university is being generated, reshaping the academic landscape in Switzerland. On the other hand, an urban transformation process is currently taking place in Zurich West, which will eventually change and shape the character of the whole city. Within this urban development, the Toni-Areal represents a central building block. Therefore this project is not exclusively about architecture. What is needed in addition is an urbanistic and programmatic hypothesis, a working model for a new kind of urbanism. The task is to develop a concept for a built structure which is almost as large as an entire neighbourhood. The project needs to develop and negotiate the encounter of the most manifold uses within this structure, and their programmatic impulses for the city. And finally it will address the technical and architectural problems and issues generated by the exceptional existing structure of Toni-Areal. The design is based upon 5 theses for a future university: Thesis 1: Permeable and open to the city. Universities are part of the social reality. They have to create interfaces to exchange with the public. Because of its size and vibrancy, Toni-Areal needs several access points and public spaces to maximize the integration into the city network. The iconic ramp system is becoming a vertical, publicly accessible boulevard which generates addresses on different floors. Thesis 2: Addresses and identities. Within the large building different addresses and areas have to be generated which communicate identities to the users. Therefore the city fabric of roads and squares has its counterpart in an inner access figure, a vertical boulevard, connecting all parts of the building. A three-dimensional path system is formed along which the single uses are located. Thus, it is possible to create addresses in the whole building. Each school and each department is connected to the public space through the vertical boulevard. Thesis 3: Specificity. Large public buildings need specific spaces, with which one can identify. Several of these will be found throughout the whole building: the large urban entrance hall with lecture hall, restaurants and shop, the cascade hall with the library, the culture terrace with concert halls, etc. Thesis 4: Flexibility. Open structures are provided which can react in a manifold way for the future necessities. The building is conceived generously enough to adapt changes at any time. Thesis 5: Adaptability. It is a building with rugged, plainly designed spaces that forgive the inhabitants for dealing in a rough way with them. A building that also allows various users to put themselves on stage differently and one that allows for differentiated manners: raw or refined, standardised or highly specific. 389


dl-a, Devanthéry & Lamunière Architectes


EPFL School of Life Sciences Lausanne, Switzerland

This project gives the School of Life Sciences new visibility. The “L” shaped volume connects the space of the new building to the centre of the campus. The imposing façade, perpendicular to the East-West axis of the firs urbanization phase of EPFL, draws attention to the Life Sciences building on the esplanade. At any time of the day or night, by its size and the way it projects itself, the façade forms a screen as well as a unique calling card. At the same time it is a forum welcoming researchers, students and professors. The project proposes a glass entry wall which gives a board view of life inside the world of research and the flow of scientific information. “Insiders” as well as visitors talk, meet, work, coffee in a generous open space. Once inside, this vast three storeyed reception area makes it possible to situate, from bottom to top, the different functional units of the buildings. The laboratory building provides a “flexible” framework and envelope. The static structure is punctual on a 7.2m orthogonal basis. This device, as well as the modularity of the façade, allows great flexibility for inside partitioning. The modular division of the curtain façade defines, on the one hand, the size of the laboratories and their installations and, on the other hand, a division in two, on the small non-bearing mullion, for the office partitioning. The rhythm, the proportions and the extensive openings improve natural lighting, make it possible to regulate sunshine with slatted blinds and allow ventilation. Where the labs are not provided with air conditioning, night-time cooling is assured by the long vertical shutters protected by a sheathed aluminium plate which circulate air and protect from the rain. One only has to open a window in the evening and to raise or lower a blind to ensure comfort. However, this highly efficient façade is simple to use and is low-tech in all parts.





dl-a, Devanthéry & Lamunière Architectes


Philip Morris International Headquarters Lausanne, Switzerland

The focal point of Philip Morris International’s activities, the Lausanne site extends over a large sloping lot between Avenue de Cour and Avenue de Rhodanie. To the south, it commands a view that embraces Lake Geneva and the Alps of Savoie. The approach to the project mandate is determined by the features of the site. The new building takes possession of the slope, whose full length is punctuated in parallel fashion by stacked elements of various dimensions. A single linear and perpendicular structure connects the office spaces and links them to the northern and southern building entrances, which are separated by more than twenty vertical metres. A succession of open courtyards lends rhythm to the whole and increases the availability of natural light on the slope. The façades create an inter-axis dimension 411cm wide for a new office type of 20m2. They are designed on the principle of a postand-beam construction with prefabricated and self-supporting components. The 1500 workstations are arranged like traditional offices, as indicated by the plan, which conceives a kind of great office machine, at once sophisticated and archaic.





Davide Macullo Architects

Entry Level +1.35 / Level Bedroom -1.45

Level Living and Dining / +2.70

House in Carabbia Ticino, Switzerland

Carabbia is a little village of approx 600 inhabitants. It rises on the western side of Mount San Salvatore slope in a beautiful bowl. This house is characterized by the creation of clearly identifiable geometric structures that delimit an organized development of the spaces. The underlying theme is the establishment of a spatial relation between interior-interior and interior-exterior that aims at the dilatation of the lived dimension. The interesting lesson comes from the succession of Japanese gardens which show a different awareness of the space through a sequence of sceneries and space dilatation. It is as if it were possible to experience a domestic atmosphere and, at the same time, to project one’s own perception on a geographic scale. This building responds to the owner’s wish to live in an intimate space, as if it were a shell. Carved in a clear square geometry, the spaces meet the slope and extend in a spiral – fluent movement that constantly changes the perception of the space and its relation with the exterior, offering privileged views towards the beautiful landscape of the region. This small house (13x13m) stands for a sequence of experiences condensed in a continuous space that gives a sense of protection and, at the same time, of being projected into the landscape. The sloped roof that follows the inclination of the land is a reaction of building on the hill side proposing an organic language instead of an urban one.


Section A-A

Section B-B




Davide Macullo Architects


House in Lumino Ticino, Switzerland

This house becomes a kind of fence piece of the ancient centre of the village of Lumino just 5 km northern from Bellinzona on the way to the Alps peak. The site is located just beside the traditional stone houses dated up to 5 centuries ago. Those houses are marked by the use of one single material (stone) for the entire construction: paving, walls, roof‌ the new presence act as a contemporary interpretation of the traditional constructions. It recalls the strength and the monolithic appearance of the ancient houses through the use of exposed reinforced concrete. The volume is cut into two parts differently sculpted according to the shifted floor plans. The interior spaces flow through intermediate partially covered external spaces till reaching the garden. A double system of vertical connections, one internal and one external, relates all the spaces of the house in a kind of endless spiral movement that stretches the perception of size and time while living the new construction.


Section B-B

Level +1.40 /+2.80 403



Section A-A


East Elevation


Davide Macullo Architects

Entry Level -5.31

Level -2.90

Level ±0.00

House in Ticino

Ticino, Switzerland Located in one of sunniest place of southern Switzerland, this house rises on the site where once old rural constructions were. It is characterized by small monolithic volumes standing on the natural slope of the land and it is surrounded by nature. The new construction reminds the pre-existences by four volumes that follow the edges of a 14 meter-square ground and by displaying a carved roof. The landscape seems to “flow” through these volumes that become a protected living space; a continuation of the green environment modeled as if to be part of the building. The construction is enhanced by an entrance “cave” surrounded by the green and following the slope in an organic and fluent sequence of spaces, related to each other and stretched outside. This typology aims at offering an alternative to the “box-shaped” construction on the hills more and more urbanized and spoiled from their peculiarities by an aggressive attitude of building without respect to the environment. The whole construction has been realized according to the principles of sustainability and with bio-ecological materials.


BCMF Arquitetos Established in 1995, BCMF’s practice has been involved in a broad range of projects marked by exceptional quality. From concept design through construction documents BCMF strive to maintain rigorous control of the design process through comprehensive detailing, complete integration with engineering work, and coordination of all disciplines to minimize conflicts. In their practice BCMF seek to be highly diversified in terms of scale and typology, ranging from interior design (retail spaces and furniture), residential and commercial buildings (including single-family houses) to large-scale projects (sports facilities, football stadiums, convention centers, shopping centers, hospitals, industries, parks, and urban schemes). Bruno Campos (1970) Bruno Campos is an Architect graduated at the Universidade Federal de Minas Gerais, UFMG (Belo Horizonte, 1989/1994), with Master of Arts in Housing and Urbanism at the Architectural Association School (London, 1997/1998). He has collaborated with various architects in Brazil and New York before establishing his practice in 2001, associated to Marcelo Fontes (BCMF ARQUITETOS). 1994 Architect graduated at the Federal University of Minas Gerais (DiplArch) 1995 MCA Arquitetura LTDA 1998 Master of Arts in Housing and Urbanism at the Architectural Association School of Architecture,London (GradDipl) 2000 Colaborated at Weiss/Manfredi Architects, New York, NY 2001 BCMF Arquitetos, associated with Marcelo Fontes 2007 Colaborated at S V Koder Architects, New York, NY Marcelo Fontes (1972) Marcelo Pinto Coelho Fontes is an Architect graduated at the Universidade Federal de Minas Gerais, UFMG (Belo Horizonte, 1990/1995). He has been Professor of Architecture Details at the Instituto Isabela Hendrix and has collaborated with various architects in Brazil before establishing his practice in 2001, associated to Bruno Campos (BCMF ARQUITETOS). 1995 Architect graduated at the Federal University of Minas Gerais (DiplArch) 1994 - 1998 Colaborated at Carlos Alexandre Dumont Architects [Carico] 1997 Professor of Architecture Details’ at the Instituto Isabela Hendrix 1998 - 1999 Colaborated with Architect Ana Beatriz Campos 2001 BCMF Arquitetos, associated with Bruno Campos

Forte, Gimenes & Marcondes Ferraz Arquitetos Founded in 1999 by Fernando Forte, Lourenço Gimenes and Rodrigo Marcondes Ferraz. Forte, Gimenes & Marcondes Ferraz (FGMF) was conceived with the cause of making a contemporary architecture, without any restraints regarding the use of varied material and building techniques, exploring the connection between architecture and Man. Based on the professional and academic experience of its partners, FGMF pursuits an innovative and distinct approach at every project proposed. There are no rigid or pre-conceived formulas: at each challenge, FGMF starts from scratch, using the drawing as its research tool for the elaboration of a new conceit for a building, an object, a city. In these few years of existence, FGMF was fortunate of dealing with a wide range of programs and architectural scales, what enhances the belief that architecture, as life itself, ought to be plural, heterogeneous and dynamic. After all these years and accomplished work, its investigation is focused, whenever it is possible, on the relation of the construction with its environment. FGMF now seeks to work the limits of construction with its surroundings and the non-built area, a spatial dialogue between the building and the non-building. All this hard work and dedication led to the satisfaction of receiving national and international significant awards, among them, several awards from the Instituto de Arquitetos do Brasil (IAB), Living Steel, Editora Abril e ABCEM. Its works are now being published in Brazil as well as many other countries such as Italy, China, England, Slovenia, Korea, India, Ecuador and USA, besides taking part in latin-american and european biennales. Rather than the recognition of a well-done job, this represents motivation for our further focus on creative and efficient projects.

Marcio Kogan Born in the marvelous city of São Paulo, Marcio Kogan graduated in 1976 from Mackenzie University, made 408

films until the age of 30, and then decided on architecture. His major projects include Casa Du Plessis (ASBEA and Record House Awards, 2004), Casa Gama-Issa (ASBEA Award and short list World Architecture Award 2002), Casa BR (IAB Award 2004 and Record House 2005), Casa Cury, Hotel Fasano (short list Wallpaper Design Award 2005), Microbiology Museum (IAB Award 2002) and recently 2 houses in Spain, one in Alabama, and a Villa in Milan, and the disarranged Micasa Store Vol.B. In 2007 and 2008 he received 10 international awards such as the International Bienal Barbara Cappochin in Padova, Italy with the Micasa Vol_B project, the “Yellow Pencil” from the D&AD Award, London and the Dedalo Minosse in Vicenza, Italy for the Primetime nursery.

TRIPTYQUE ARCHITECTURE TRIPTYQUE ARCHITECTURE was constituted by architects Greg Bousquet, Carolina Bueno, Guillaume Sibaud, Olivier Raffaelli, formed by the School of Fine Arts of Paris and installed in Brazil in 2000. Currently it has a multicultural team of architects that works together developing projects. TRIPTYQUE was recently awarded for the French contest for young architects –NAJA 2008–. This award reveals the young talents in French architecture. The office also participated in the Biennale of Venezia, in the French Pavilion. TRIPTYQUE is based on the idea of authorial dissolving it, where different repertoires, cultures and references of each participant mix together and struggle to obtain as resulting one cohesive work. The playacting of these forces result in the architecture of TRIPTYQUE. Through years of practice, TRIPTYQUE soughts to develop a unique architectural language, always influenced by other fields that are connected with architecture, such as design, urban planning and art.

Una Arquitetos Una Arquitetos has established in 1996, in Sao Paulo, and it is an association of four architects graduating at the college of architecture and urban planning of the University of Sao Paulo, where they have also concluded their master dissertation. All four partners have teaching activities at different architecture schools and have developed researches related to their work. They are professors of architecture at Escola da Cidade, University Anhembi Morumbi and Armando Alvares Penteado Foundation. Since its basis, the office develops architectural projects in a large variety of scales and programs, such as urban planning, public infrastructures, schools, institutions, commercial, services and residential buildings. Throughout more than ten years, more than 50 architects have collaborated with the office. Una has won national architectural contests as the rehabilitation of the Central Post Office in Sao Paulo (1997), the Laboratory Theater and Faculty of Theatrical and Corporal Arts of the University of Campinas (2002), Santa Cruz school (2003) and Vera Cruz school (2008). The office was awarded at the V and VII Architecture Bienal of Sao Paulo for the projects Institute of Contemporary Art, University Center Maria Antonia and for an extensive urban planning project, concerning the re-qualification of a central area of 3,000,000m2, enclosing two important neighborhoods, Mooca and Ipiranga. The team has also achieved an honor mention at Bienal Ibero Americana for the state school in Campinas, project that has also been awarded by the Institute of the Brazilian Architects, which also prized the projects: state school in Poa (1998), Carapicuiba house (1998), Curitiba house (2006) and Bandeirantes railway station (2008). The firm’s work has been published and exhibited internationally. Una displayed in two editions of the International Architecture Exhibition in Venice Biennale: in 2004, at the Brazil’s Pavilion, invited by the national curatorship and in 2006 at Arsenalle Pavilion, selected by the international curatorship. They have participated of Coletivo exhibition – Paulista Contemporary Architecture, which has taken place at Lisboa, Zurique, St. Louis, Braumshweig.

JORGE HERNANDEZ DE LA GARZA Born in 1977, JORGE HERNANDEZ DE LA GARZA graduated from Universidad La Salle de Mexico. In 1999 he won the Architectonic Composition Award Ing. Alberto J. Pani and he also worked for the Architect Abraham Zabludovsky. Studies Design at AA The Architectural Association in London, England. In 2005 was finalist of the Icons of Design Awards with Los Amates house. In autumn of 2006 won the Icons of Design Awards with the project of Vladimir Kaspe Cultural Centre, and also this year was finalist of the Interiorism National Awards

with the project of Showroom Comex. In 2007 he found JORGE HERNANDEZ DE LA GARZA / JHG and was selected as one of the 44 international firms for the Young Architects Annual Event in Spain. In the same year was part of the 101 Most Exciting New Architects In London for Wallpaper. In 2008 The College of Architecture of Mexico City gave him the first mention of Young Architects under 40 years old. His works have been published in Tokyo, England, Spain, Portugal, Brazil, Korea, Ukraine, Russia, Argentina, Italy and Mexico.

Alexander Gorlin Architects Alexander Gorlin Architects is an internationally recognized design firm that for the past two decades has actively sought to embrace a highly diverse range of clients. With a portfolio spanning all levels of society, from high-end residences to affordable housing, places of worship to educational institutions, Alexander Gorlin Architects applies the same design excellence to each project. The firm has won numerous awards, most notably AIA Design Awards for the House in the Rocky Mountains, Ruskin Place townhouse, and North Shore Hebrew Academy. In 2005, Architectural Digest recognized Mr. Gorlin as one of the country’s 30 Deans of Design. Recent projects include a loft renovation for Daniel Libeskind, 450 affordable homes in East New York, four new high schools in the Bronx, and Aqua, a 12-story condo in Miami Beach. Current projects include luxury private residences around the world and sustainably-designed housing for the homeless in the Bronx. The firm was established in 1987 after Mr. Gorlin returned from a Rome Prize Fellowship at the American Academy in Rome. A graduate of the Cooper Union School of Architecture and The Yale School of Architecture – where he taught as a critic from 1980-92 – Mr. Gorlin became a Fellow of the American Institute of Architects in 2005.

Allied Works Architecture Brad Cloepfil founded Allied Works Architecture in 1994 in his native Portland, Oregon. Today, Allied Works employs a team of talented architects, designers and support staff in Portland and New York City, and is engaged in a wide variety of projects across the United States. In recent years, Allied Works has focused on important cultural and educational buildings within urban centers, arts districts and academic campuses. Completed projects include the Contemporary Art Museum St. Louis, a major addition to the Seattle Art Museum, the Booker T. Washington High School for the Performing and Visual Arts in Dallas, Texas, and the redesign of 2 Columbus Circle for the Museum of Arts and Design in Manhattan. Current works include the renovation and expansion of the University of Michigan Museum of Art, the Clyfford Still Museum in Denver, Colorado, a new building and creative workspace for Pixar Animation Studios in Emeryville, California, and two major residential projects – the Dutchess County Residence and Guest House and the Hudson Street Loft in New York. In addition to full architectural design, project management and documentation services, Allied Works’ capabilities include the production of innovative master plans, programming documents, site analysis and building assessments, installations, furniture and exhibition design. The firm is also engaged in academic and technical research projects that range from non-profit workshops with the Caldera Foundation to materials research and design of solar-thermal arrays for new applications. Critical recognition for the firm has grown with each completed work. Allied Works has been widely published in magazines and journals throughout the US, Europe and Asia. In addition, Allied Works released its first book in the fall of 2009. The book, which explores past, present and future projects, is premised on a series of conversations with a broad selection of artists, scientists, thinkers and makers and focuses on the ideas and principles that form the basis of the work.

in ensuring successful project implementation. The firm has been a member of the City of Austin’s Green Building Program and USGBC with Leed certified consultants working in house. Due to this unique approach, the work has received national and international attention. Bercy Chen Studio has won the prestigious Emerging Voices prize from the Architectural League of New York for 2006. Every year the League selects 7 of the most innovative designers from Europe and North America for this award. In 2005 Bercy Chen Studio also won 1st place in a national competition for Urban Reserve, one of the first sustainable modernist residential developments in the US. In 2006 the Beverly Skyline Residence was shortlisted as one of top 30 finalists in the “Best Plot in the World” competition in Vienna, Austria. Bercy Chen Studio was recently featured in the leading San Francisco based publication on creative modern design: Dwell magazine – Culminating in a special television episode on the Fine Living Television Network program which discussed Bercy Chen Studio’s design approach in depth. The episode was aired on December 2004. HGTV also featured the firm’s work in June of 2006. The firm was recently profiled in Architectural Record’s December 2006 “Design Vanguard” award issue, selected as one of top 10 emerging design firms in the world. The design of Factory People, a premier fashion boutique/ art gallery on South Congress Ave. was cited by the Austin Chronicle as one of the 10 most significant cultural events in town for the year 2003. Factory People has also been well received in numerous publications including Elle, Lucky, XLXR…etc.

Johnsen Schmaling Architects Johnsen Schmaling Architects was founded in 2003 as a design and research studio in Milwaukee. Since then, the work of Brian Johnsen and Sebastian Schmaling has garnered critical attention for its conceptual clarity, formal discipline, astute detailing, and its unequivocal commitment to architectural innovation and sustainability – an “architecture of melancholic silence and intense restraint,” as Rodolfo Machado writes in a recent exhibition catalogue of Johnsen Schmaling’s projects. Practicing in a region shaped by the tensions between a besieged urban rustbelt and its agrarian hinterland, Johnsen and Schmaling use both city and rural sites as complimentary laboratories for their ongoing architectural investigations. Their projects are informed by a poetic reading of site and terrain that rejects contextual mimesis as much as modernism’s preoccupation with self-referential objects; instead, Johnsen Schmaling’s intense dissection of context and cultural memory translates into an abstract palette of articulate architectural operations and a sober design vocabulary, transcending both entropic rustbelt fantasies and bucolic sentimentalism that, for decades, have stymied the architectural discourse in Middle America. Equally important is their experimentations with the “extended surface” – the blurring of boundaries between interior and exterior, public and private, and foreground and background, derived from carefully studied tectonic, material and tactile manipulations of conventional building systems and new technologies. Johnsen and Schmaling employ a rigorous design methodology that takes advantage of digital tools and fabrication techniques but, more importantly, relies on physical, analog models at all scales. These models, from preliminary, abstract concept studies to precise detail mock-ups, form a series of artifacts, a comprehensive, three-dimensional narrative that traces the conceptual evolution and eventual execution of each project. Johnsen Schmaling’s projects and texts have been featured in numerous books and exhibitions as well as in leading national and international design periodicals, including Architectural Record, Architectural Review, Metropolis, Azure, Detail, Interior Design…etc. Recent honors include two National AIA Housing Design Awards, two AIA Small Project Honor Awards, four Honor Awards and three Merit Awards from the AIA Wisconsin, the 2008 Architectural League of New York’s Emerging Voices Award, an Architectural Record Interiors Award, as well as two Project of the Year Awards from Residential Architect and Custom Home magazines.

LA DALLMAN Bercy Chen Studio LP Bercy Chen Studio LP is a consulting architecture/ planning firm with design/build capabilities based in Austin, Texas, founded by partners Thomas Bercy and Calvin Chen, both graduates of the University of Texas Austin. The firm has experience in feasibility studies with both the private and the public sector. The firm’s work has been profiled in the New York Times and Business Week for Design Innovation in 2007. Bercy Chen Studio LP is committed to collaborating with clients in identifying design solutions and planning strategies. Innovative plans based on environmentally sustainable and financially viable business models. Having experience as a design/build operation the firm’s first hand knowledge of construction cost is crucial

The work of LA DALLMAN explores architecture as transformed site, reshaping the raw materials of found and abstracted landscape in projects of diverse scale and type. From infrastructural interventions to artistic installations, the practice deploys material and detailing investigations as cultural artifacts which grow from the context. Recent projects include permanent exhibits in the Discovery World Museum at Pier Wisconsin, the Miller Brewing Company’s Employee Meeting Center, the Kilbourn Tower, and the Levy House. Led by James Dallman and Grace La, both graduates of Harvard University, the design studio has been awarded over thirty professional honors since its inception in 1999. Most recently, the Marsupial Bridge and Urban Spaces has received the Silver Medal of the national Bruner Award for Urban Excellence . LA DALLMAN was featured as Architectural Record’s emerging architectural firm (April 2001), and was 409

recognized as one of four small firms nationally working on large scale projects (Dec. 2002). Recently, the practice has won six Design Awards for excellence from the American Institute of Architects Wisconsin, 2nd prize among 109 submissions in Pittsburgh’s 2006 International West End Pedestrian Bridge Competition, and was a finalist in Atlanta’s 2005 International Andrew Young Design Competition, Madison’s Chazen Art Museum, and Pittsburgh’s Allegheny Square Competition. The practice was awarded 1st place in the 2000 design competition for Kilbourn Tower. LA DALLMAN is published in Detail in Process (Princeton Architectural Press, 2008), 1000x Architecture of the Americas (Verlaghaus, Braun, 2008), The Green Braid (Routledge, 2007), The Public Chance (a + t, 2008), Architectural Record, Praxis, Spain’s a + t In Common Series, and Canada’s Azure. They have lectured broadly and have exhibited their design work in various cities including at the Carnegie Museum of Art .

building award in South Africa in 2005. The PIA Presidents award for Architecture was bestowed on Pieter Mathews in 2005 for the publication Architexture. Their work has been exhibited at the Miami Beach Biennale (USA) 2005 as well as the Sao Paulo Biennale (2005) in Brazil. They have been interviewed by all major local private and national television stations with more than 25 interviews to date and more than 85 appearances in local and international publications. Pieter Mathews has published two books on Architecture called Architexture (2003) and Detail House (2007) respectively. Motivated by bold, graphic lines, textures and forms their designs are specifically suited to the South African climate and way of life, while still forming part of a global architectural language.

Replinger Hossner Architects

Andrew Maynard Architects

Jim Replinger and Tim Hossner founded Replinger Hossner Architects in 1999 and have been honing their vision on small to mid-sized projects since. Ranging from finely crafted residences to mid-scale commercial and institutional design and planning, their body of work is marked by a broad intellectual approach to the design problem, a restrained and elemental use of materials, sophisticated composition, space making and proportion – and a mastery of detail and systems. Favoring a team approach to design, their work is the product of energetic collaboration both within the design team, and between the designers, ownership groups, artisans and builder. By intention, their work is a reflection of the people with whom they have worked and the places where they have chosen to build. Replinger Hossner is committed to the pursuit of authentic design solutions, which emerge through a thoughtful investigation of each project’s unique challenges and opportunities. Their timeless and elegant designs have been recognized by numerous awards and publications, and established their reputation as one of the leading architecture firms in the Pacific Northwest.

Established in late 2002 by Andrew Maynard. Andrew Maynard Architects has been recognized internationally in media, awards and exhibitions for its unique body of built works and its experimental conceptual design polemics. With shifting, random and often contradictory philosophies, the practice is about playful, fast, environmental and ethical design. Andrew Maynard Architects is concerned with architecture that can respond to the consistency of change, one that can adapt and grow with the kinetics of its user and is environmentally sensitive.

Ross Barney Architects Ross Barney Architects is an Illinois Corporation licensed to practice Architecture. Organized in February of 1981 as Carol Ross Barney Architects, the firm has successfully served a diverse group of clients. Ross Barney Architects strives to improve the built environment. The firm believes that design should be symbolic of the higher purposes of public building capturing a contemporary vision of today’s society. Ross Barney enjoys an international reputation for work primarily in the field of institutional and public buildings that include libraries, public utilities, government, transportation buildings, and elementary schools. Their buildings have received significant design awards, honors and recognitions, including four Institute Honor Awards from the American Institute of Architects and over twenty awards from AIA Chicago. The firm was the recipient of the American Institute of Architects Illinois, 2000 Firm Award. Their work has been published in architectural journals, such as Architecture, Architectural Record, Architectural Review and noted in newspapers and books including the New York Times, Washington Post, Chicago Tribune, Chicago Sun Times and USA Today. The firm regularly offers pro bono services to community organizations, including the Children’s Home and Aid Society of Illinois, Young Women’s Leadership Charter School of Chicago, YWCA of Metropolitan Chicago and McGaw YMCA. Employees are encouraged to make individual contributions and commitments to civic and professional organizations. Their working style is extremely collaborative with communications structured to allow the maximum creative contribution from team members. The clients are integral parts of the team. Since the majority of their commissions are for public use, they are very experienced working on site in public process and forum during the design process. Their design approach begins with a concentrated effort to understand the site and the community in which we are working.

Mathews & Associates Architects Mathews & Associates Architects is based in Pretoria, the Capital city of the Republic of South Africa. The firm was established in 2000 by Architect Pieter Mathews. Anton Smit and Liam Purnell joined as associates in 2000 and 2002 respectively. Mathews & Associates Architects received three National merit awards in 2006 from the South African Institute of Architects. One from each of the three provincial Institutes namely: the Pretoria, Limpopo and Mpumalanga Institutes of Architecture. They also received the coveted South African Steel Construction overall best 410

Lyons Lyons is an ideas based and research led design practice which uses ideas as the operative means of generating the conceptual underpinnings for its architectural work. The firm’s projects are based on the concept of ‘form follows ideas’ rather than the orthodox rubric of ‘form follows function’. Ideas are sourced from a wide range of phenomena in contemporary culture; the contemporary city, new materials, found urban objects, digital technologies, new media, cultural theory, envisioned futures and ideas about sustainability. Through this multiplicity, Lyons creates an architecture which is less about a search for clarity and truth, and more about uncovering the lie, the ambiguity and the misrepresentations. The contemporary city, and the particular urban conditions of the Australian city, informs all of Lyons’ projects. This is the city of floating edges, dispersed centres, of ambiguous scales and uncertain public realms. Lyons’ work also looks at the specificity of each project in terms of its program and the client’s values and aspirations in terms of their own cultural values. Each project is therefore a form of collaboration. The firm’s work is also concerned with building a sustainable future, with environmentally sustainable design embedded not only into the systemic attributes of each project, but also as another means of generating form and meaning in design.

Zen Architects Zen Architects was established in 1989, by Riccardo Zen with a commitment to innovative and sustainable architecture and has developed 18 years of experience producing energy and water efficient buildings in urban, rural and coastal locations. Zen Architects offers in-house ESD consultancy and a First Rate and Green Star energy rating service. Zen Architects is registered with the Architects Registration Board of Victoria and is a member of the Royal Australian Institute of Architects. Director Riccardo Zen has presented papers on sustainable design at the RAIA National Conference on Local/Global Issues and has taught sustainable design at Deakin University and The University of Melbourne. In an ongoing commitment to sustainability, Zen Architects sits on the RAIA Sustainable Architecture Forum. Zen Architects is committed to producing sustainable architecture through the innovative application of established principles of ecologically sustainable design. Their expertise in natural heating and cooling through passive solar design, use of sustainable materials and energy and water conservation maximizes the sustainable performance of their buildings whilst informing the aesthetic of their unique architecture. The less tangible qualities of sunlight, history, collective memory and spatial experience complement the pragmatic requirements of sustainable design. The materials used often have stories of their own that imbue another layer of meaning and beauty to our architecture. The inhabitant’s senses are stimulated by immersion in spaces that are responsive to the natural environment and landscape. Underpinning Zen’s architectural philosophy and sustainable design principles is a belief that as designers of

the built environment they also play a pivotal role in the social sustainability of our community. Through their commitment to supporting local manufacturing and design and bringing affordable sustainable architecture to as many people as possible they strive to positively impact the broader community.

Morphogenesis Morphogenesis is a design practice engaging in a critical dialogue towards bridging the boundaries of art, architecture, urbanism and environmental design in India. Founded in 1996, Morphogenesis is an association of architects, designers, urbanists and environmentalists. The Morphogenesis’ approach to creativity is inspired by the evolutionary processes in nature to create built form which is optimized for the built environment and the community. Design is viewed as a result of different stimuli, ranging from climatic conditions, urban fabric, local traditions, and human activity. At Morphogenesis, sustainability is a core creative value and is practiced in the evolution of the design. The practice considers the widening scope of sustainability to be all inclusive; to include social, cultural, financial, technological and environmental sustainability. It is this inclusive nature of design that, Morphogenesis believes, will define the new emergent Indian architecture. Issues within the architectural realm of Morphology and Sustainability are investigated and tested within the research laboratory to re-define the conceptual and the contemporary framework of design practice. The think-tank delves deeply into socio-economics, culture and identity, exploring new models and approaches to architecture and design, whilst operating in the factual domain simultaneously. The work of the practice has been exhibited at several venues internationally including the Gallerie ROM in Norway and the Royal Institute of British Architects in London in an exhibition titled ‘Critical Projects’. The practice has been the recipient of numerous awards and accolades including The Architectural Review Cityscape Awards for the Best Environmental Design internationally and the Residential (Built) category, Project of the Year in The AIQ Awards (Israel), The A+D Spectrum Award for ‘The Young Enthused Architect’, and the JIIA (Indian Institute of Architects) Award for excellence in architecture among others. The work has also been extensively published in both national as well as international publications including Architectural Design, Domus (Italy), Architecture Record, Spaces (UK), The Atlas of Global Architecture (Spain), Art 4D (Thailand), Contemporary Indian Architecture, The Guardian (UK) and 10+1 (Japan).

Nisha Mathew Ghosh + Soumitro Ghosh Nisha Mathew Ghosh and Soumitro Ghosh established the firm in February 1995, in Bangalore as Mathew & Ghosh Architects. They practice in urban projects, urban parks, corporate offices buildings, religious, industrial and residential buildings, corporate, commercial and residential interiors, furniture, products etc. Selected International Awards ● 4th prize & honourable mention for the International Competition: Contest for ideas within the Revitalization of the Riverine Front of Oporto, Portugal 2008. ● Winner of Cityscape and Architectural Review Awards 2007, Dubai, UAE Oct 2007 for Community Built Projects of Basavangudi Police Station and St. Mark’s Cathedral Resource Centre. ● Winner of Cityscape and Architectural Review Awards 2007, Dubai, UAE Oct 2007 for Community Future project of Freedom Park . ● Winner of The Chicago Athenaeum International Architecture Award for Bhopal Gas Tragedy Memorial Competition Entry, Chicago, USA 2007. ● Winner in leisure category for Architecture + Cityscape Awards, Singapore 2007. ● Winner in commercial category for Architecture + Cityscape Awards, Dubai, UAE 2005. Selected National Awards ● 2 Special Mentions A+D & Spectrum Foundation Architecture Awards Recreational Architecture Award & Young Enthused Architect, INDIA ‘07. ● VM&RD Awards INDIA ‘07 Best Apparel Design Store for ravage @ ffolio and 3 merit awards for Civet Resaturant, ffolio and fuego design support cell. ● Society Interiors Award 2006 INDIA ‘06. ● 2nd position winner in the Bhopal Gas Tragedy Memorial National Open Design Competition, INDIA ‘05. ● 2 Special Mentions A+D & Spectrum Foundation Architecture Awards Residential Buildings Award, INDIA ‘04. ● Design for Corporate Cultures Award ‘04 for corporate office design and interior by Indian Architect & Builder + ERGO Mumbai Dec ‘04.

Shirish Beri & Associates After graduating from CEPT, Ahemedabad, Shirish Beri’s works have been bearing their distinct mark on modern Indian architecture since 1975. His name was mentioned in the onlooker’s annual issue of 1980-81 as one of fourteen architects from India, who would be “inheritors of the 1980’s in the field of architecture”. Shirish Beri’s designs strive to reflect an inherent sense of unity and harmony with various natural and manmade elements and forces. His designs tend to explore various fundamental roots and relationships, such as those with nature, the environment, other fellow beings and with man’s basic aspirations and values. He was awarded “The J. K. Architect of the year - Commendation Award”1995 for residence design. His design in the 8th International Design competition, Japan was the only Indian entry to bag one of the prizes awarded to outstanding works from the 1021 entries from over sixty countries. In 2006, he was awarded Hindware Archidesign “Architect of the year award” . His design was short listed in the first three for the prestigious “Cityscape Architectural review award 2006” at Dubai from over 260 international entries. He has also won the special mention A+D spectrum award‘06 amongst other awards. His works have featured in various national & international publications on Modern Architecture. His name was short-listed to be included in Dictionary of Contemporary Architecture, (UTET, Italy.), Series on Asian Architects and in the traveling Retrospective Exhibition on “50 Years of Indian Architecture & Planning.” His work has been filmed for a special Television serial - Nature + by RA Vision, Delhi. A very special exhibition of his work, paintings, sketches, photographs and poems called - “A search for wholeness” is being received very well in various cities. ‘The unfolding white’, a recent issue based 25 minute film made by Shirish, that explores the relationship of one’s work with this wholeness of life, has won the international jury award at the international festival of sustainable development films in Europe.

Hiroki Tanabe + Shin Yokoo Hiroki Tanabe 1972 Born in Tokyo, Japan 1999 Completed the master course of architecture, Nihon University 2000 Established Design Studio Selected Awards 1997 Harima Science Garden City Near Future House Design Competition 2006 JCD Design Award 2006 Good Design Award 2006 27th INAX Design Contest 2007 Wallpaper* Design Award 2007 33th Tokyo Architecture Award (Highest Award) 2008 Selected Architectural Designs of the Architectural Institute of Japan Shin Yokoo 1975 Born in Yamanashi, Japan 2001 Completed the master course of architecture, Tokai University 2001 - 2004 Masahiro Ikeda Architecture Studio 2005 Established Ouvi

MOUNT FUJI ARCHITECTS STUDIO / Masahiro Harada + MAO Masahiro Harada 1973 Born in Shizuoka 1997 - 2000 Architectural office of Kengo Kuma as Chief Architect 2001 - 2002 Architectural office of Jose Antonio Martinez Lapena and Elias Torres (Barcelona,Spain) as Chief Architect as National Fellowship for Artist (Japanese Governmen Scholarship) 2003 Architectural office of Arata Isozak as Project Manager 2004 Established MOUNT FUJI ARCHITECTS STUDIO 2005 - Visiting professor, University of Keio 2008 - Associate professor, University of Shibaura 411

MAO 1976 Born in Kanagawa 2004 Established MOUNT FUJI ARCHITECTS STUDIO Selected Awards 2001 Tokyo Designer’s Block 2001 Selected project 2003 SD Review 2003 Grand Prix 2004 American Wood Design Award 2004 Honor Award 2007 The Barbara Cappochin Prize for Architecture Best international works 2008 AR Awards for Emerging Architecture 2008 Honourable Mentions

Selected Awards 2001 GOOD DESIGN AWARD 2001 2002 International Design Competition Northern Style Housing Complex In Aomori Special Prize (The Jury: Jean Nouvel, Tadao Ando) Exhibition: 2004 - 2005 3_2_1 New Architecture in Japan and Poland "Manggha" POLAND

Forum Architects Sou Fujimoto Architects Sou Fujimoto was born in 1971 and graduated from University of Tokyo, Faculty of Engineering, Department of Architecture in 1994. In 2000, he founded Sou Fujimoto Architects in Tokyo. He is now the First Class Licensed Architect. Selected Awards 2008 - World Architectural Festival Private House Category Final Wooden House 2008 - Japanese Institute of Architecture Grand Prize (Children’s Center for Psychiatric Rehabilitation) 2007 - KENNETH F. BROWN ARCHITECTURE DESIGN AWARD Honorable Mention (Children’s Center for Psychiatric Rehabilitation) 2006 - AR Awards 2006 “Grand Prize” (Children’s Center for Psychiatric Rehabilitation) 2006 - AR Awards 2006 “Highly Commended” (7/2 house) 2006 - “Gold Prize” in House Competition by Tokyo Society of Architects and Building Engineers 2005 - “1st Prize” in Wooden House Competition in Kumamoto 2005 - AR Awards 2005 “Highly Commended” (Dormitory for Mentally Disabled in Date) 2005 - AR Awards 2005 “Honourable Mention” (T house) Selected Works 2008 Ordos 100 (Ordos, China) 2008 Primitive Future House (Basel, Switzerland) 2008 2007 - present Musashino Art University Library (Tokyo) 2007 - exp2008 Namba House (Tokyo) 2007 - exp2008 Hayashi House (Tokyo) 2007 - exp2008 Velcan House (Romania) 2007 House O (Chiba) 2006 Treatment Center for Mentally Disturbed Children (Hokkaido) 2006 7/2 house (Hokkaido) 2006 Group Home in Noboribetsu (Hokkaido) Teaching Career 2007 - Present Kyoto University, Adjunct Lecturer 2004 The University of Tokyo, Adjunct Lecturer 2004 - 2008 Showa Women's University, Adjunct Lecturer 2001 - Present Tokyo University of Science, Adjunct Lecturer 2009 - Present Keio University, Adjunct Lecturer 2009 - Present The University of Tokyo, Associate Professor

Takao Shiotsuka Atelier Takao Shiotsuka 1965 Born in Fukuoka Prefecture 1987 Graduated from Department of Architectural Engineering,Faculty of Engineering, Oita University 1989 Completed the Master Course, Oita University 1989 - 93 Worked at Archaic Associates 1994 Established Takao Shiotsuka Atelier 2002 - Currently lecture at Kyusyu University, Oita university 412

Forum Architects is an architectural practice based in Singapore. It was founded by Tan Kok Hiang and Ho Sweet Woon in 1994. Kok Hiang and Sweet Woon both graduated from the National University of Singapore in 1987. Their early training under well known Singaporean architects, William Lim and Tay Kheng Soon instilled a deep concern about building in context, the environment and public engagement in architecture. Forum has won more than 30 awards. Their recent project, the Assyafaah Mosque was exhibited in Venice Biennale 2004 and also won the Architecture+ Award held in Dubai in 2004. The Assyafaah Mosque examines spirituality in architecture and seeks a contemporary expression for mosques in Asia at a time when any allusion to Middle-Eastern brand of Islam was not desired. Amongst other award winning projects are Henderson Community Club(1999), Wilby House(2000), Boon Tat Street Offices(2001), Bukit Timah NUS Law Faculty(2007) and Singapore Embassy in Philippines(2008). More than 100 regional and international articles have been published on their works. Forum Architects are currently working on projects in Singapore, the Asia Pacific and the Middle East.

Boran Ekinci Architects Boran Ekinci Architects was established in Ankara in 1991 and moved to İstanbul in 1996 for the project of Ekinciler Headquartes Building. With the experience of this building, the firm got the chance to design several office buildings. Although Boran Ekinci Architects has designed various types of buildings such as shipyards, marinas, olympiad villages, office buildings, and research-development buildings the firm predominantly design housing projects. Boran Ekinci Architects has won several prizes at domestic competitions and nominations for international ones such as Mies van der Rohe Award 2005 and Aga Khan Award for Architecture 2007. 8 architects are working for Boran Ekinci Architects at the moment, but sometimes the firm get s support from outside the office. Boran Ekinci Architects’ office doesn’t have a hierarchical structure, so the working system gives equal responsibility to each architect. Everybody has at least one project to be responsible for and is responsible for his/her project’s whole architectural process from beginning to the end. This gives especially young architects a chance to gain experience rapidly without pecking order. Boran Ekinci Architects attaches a lot of importance to self-improvement. Some of the architects in the office attend postgraduate programs. Boran Ekinci Architects also values a friendly working atmosphere since it undoubtedly increases the motivation and productivity.

project A01 architects project A01 architects is a design firm based in Vienna, Austria. Owner and founder is the Austrian Architect Andreas Schmitzer, who has been teaching interior design at the Technical University of Vienna for several years. The office was opened in 1997, oriented from the start towards high end design. Since then various projects in architecture and interior design have been completed. This initiated a broad and positive response and brought public recognition as a top quality design company. In the last years several international projects focused the team more towards a larger architectural scale. Currently projects in 5 countries across Europe are under development, also including a hotel and a school of hotel management in Croatia.

HOLODECK architects Marlies Breuss, Arch. DI. MArch. Studied piano and composition, graduated in architecture from Vienna University of Technology, postgraduate master pgrogramme at Southern California Institute of Architecture (SCI Arc) of Los Angeles, teaching

assignments at Universities of Technology at Turin, Paris and Vienna. Michael Ogertschnig, Arch. DI. Studied architecture at Vienna University of Technology, postgraduate course at Barcelona IAAS/MACBA, teaching assignments at Vienna University of Technology. Lectures in Milan, Paris, Budapest, Stuttgart, Vienna, Zagreb. Exhibition participations in Buenos Aires, Saint Petersburg, Rome, Helsinki, Shanghai, Paris, Milan, Pärnu, Crete,Tel Aviv, Taipei, Ljubljana, Zagreb, Prag, New York. Project selection ‘promis14’ Creative Industries 1140 Vienna 2007-11. ‘urban topos’ Housing 1150 Vienna 2009-10. ‘urban reflections’ Rooftop extension 1010 Vienna 2005-10. ‘22tops’ Housing Wolfsberg 2002-08. ‘stratified townscape’ Housing 1050 Vienna 2005-08. Conceptual Contextualism Architecture is the connecting element of user, location, technology and philosophy. we collect detailed information about particularities of the site, we analyse user programs, investigate the newest technologies and then develop the contextual concept. our architectural strategy aims to overlay the intertwined complexities and we generate buildings with new programatical interpretations, continuity of landscape, urban context and differentiated sequences of space.

eer architectural design eer was founded by geert buelens and veerle vanderlinden. It stands in the Dutch language for respect, honour, honesty. The design philosophy of the office is based upon the following guidelines: program: the program is the cornerstone of the project and defines the organisation of the building budget: monitoring the budget and adapting the design when necessary material: the true nature of the materials and its construction details are made visible and respected nature: always in balance with nature, respecting location, orientation and geography energy: using energy efficient technologies, aiming for a low energy construction scale: continues switching the design process from micro to macro, product to project, architecture to urbanism industry: introducing industrial construction methods to break with the “uniqueness” of architecture prefabrication: prefabrication where possible, as a tool for quality control creativity: always questioning the borderlines Selected Awards IF Design, Frankfurt, 2009 Grand Design, London, 2009 Steel Construction, Brussels, 2004 Good Design, Chicago, 2003 Belgian Architecture, Brussels, 2003 Current Projects private hospital, Brussels residential development, Brussels loft extension, Brussels green housing development, Brussels private housing, the Netherlands

Allford Hall Monaghan Morris At Allford Hall Monaghan Morris, the architects make buildings that are satisfying to use and beautiful to look at; an architecture that is defined by the experience of users who should be able to understand and use each building with ease and enjoyment. They design very different buildings, for very different people to use in very different ways and, since their early days in the late 1980s, they have grown from four to over one hundred people and their budgets from a few thousand to tens of millions of pounds. Through Allford Hall Monaghan Morris’ wide range of projects they search for the opportunities in every site, budget and programme and pursue a pragmatic, analytical and collaborative working method to produce a

responsive, intelligent and delightful architecture. This clarity facilitates discussion of their approach between all parties: clients, architects, collaborators, constructors and users. Their aesthetic approach is shaped by their working method. If a design concept is clear and logical, the resulting building will express its function in a clear and logical way; it will be easy to recognize and enjoyable to use. They innovate because they know that innovation is as much about finding simpler ways of doing things better as it is about finding new things to do. Over nineteen years this way of seeing the world has allowed Allford Hall Monaghan Morris to make architecture which resonates with our clients, some critics and changing constructional techniques. Their success is reflected in the winning of many competitions and numerous design awards for houses, apartments, schools, sports and exhibition buildings, healthcare facilities, offices and the odd bus station, art gallery and now, interestingly, hybrids of many of the above. Westminster Academy has won over 15 design awards including the RIBA London Building of the Year and was short-listed for the Stirling Prize; Adelaide Wharf housing scheme won CABE’s Building for Life Award and a Housing Design Award; Barking Learning Centre was awarded the BCIA Local Authority Award; and AHMM was named Building Design’s Architect of the Year – The Richard Feilden Award.

KHR arkitekter KHR arkitekter has a reputation for creating architecture of exceptional character and quality. National and international exhibitions and publications have cemented KHR’s position as an architectural firm, which explore the boundaries of architecture with curiosity and do not shy away from experimenting with new methods and materials. KHR’s architecture has a clear Nordic standpoint in the sense that they strive for a simple and clear mode of expression where the individual, the place and the function is in focus. For KHR arkitekter a house is not just a house. Architecture is more than mere form, function and colour. Great architecture changes the way we look at the world and creates new modes of living and working. It is KHR’s goal to constantly improve itself, use new methods and experiment, so can develop buildings that point into the future.

Heikkinen–Komonen Architects Heikkinen–Komonen Architects was established in 1974 by Mikko Heikkinen, architect SAFA, HonFAIA (born 1949) and Markku Komonen, architect SAFA, HonFAIA, professor at Aalto University (born 1945). As well as designing buildings and completing projects in a variety of locations, each of the principals has been active in architectural education in Europe, USA and Finland. The firm has been active besides Finland also in Europe, Africa and USA. It has been invited to architectural competitions around the world and has won many prizes. Major awards and nominations include The Aga Khan Award for Architecture, Aleppo 2001; Nominee for the Mies van der Rohe Pavilion Award for European Architecture, Barcelona 1997 and 1994; Finland Award 1996 and European Steel Structure, Paris 1993. Firm’s project history include the European Film School, Ebeltoft, Denmark 1993; the Finnish Embassy in Washinton D.C. 1994; the Max Planck Institute of Molecular Cell Biology and Genetics, Dresden, Germany 1997-2001; Headquarters for National Research and Development Centre for Welfare and Health and State Real Property Agency Office, Helsinki 2002; Schönbühl Housing Area, Lucerne 2001-; The Extension for the Lappeenranta University of Technology, 2002-04 and Provincial Archive in Hämeenlinna, Finland 2009.

Rolinet & associés Marc Rolinet architect DPLG graduated from the école des Beaux Arts de Paris in 1979. In 1980 he went on to gain a Masters in Urbanism from the école Nationale des Ponts et Chausées, setting the foundation for a body of work comprising diverse yet complimentary scales of reflection . In the following year Rolinet opened his first practice and began his professional career with housing schemes in Marseille and Paris, as well as in newer towns in the Paris region, such as Mélun-Sénart or Cergy Pontoise. With these projects he established certain key conceptual principles in his work, such as the use of wood for its flexibility, incorporating circular forms, the sobriety of division in dense volumes , and the interplay between vertical and horizontal, etc. From this point on, these fundamental concepts in his architecture underpin Rolinet’s expressive work on projects ranging from churches to residential developments. The essential contemporary quaility in his structures underline their modernity, as does his integration of dense urban materials and his deep interest in 413

the intersecting of the city and the rural landscape. Rolinet’s combined experience in housing, commercial and corporate projects has nurtured a particularly versatile urban architecture, and the creation of buildings which lend themselves to different functions over time, whether for residential use or professional activity. Since 2001, Rolinet and his team have been located in the 7th arrondissement of Paris in one of their own creations: Gros Caillou. This site, totally transformed at the request of the landowners who wished to increase the architectural value of their local community, comprises various units, including residential buildings, a young women’s refuge and a day care centre, the whole complex being united by a spacious tree-planted courtyard. This project enabled Rolinet to fuse his expertise as both architect and urban planner and to attain new professional goals. Always concerned with creating a diverse range of work, he has continued to apply himself to smaller scale projects which have allowed him a greater freedom of expression, such as l’Arbresle in Versailles (2001), as well as larger scale projects such as the ZAC Chablais Gare in Annemasse, a section within the city centre of Toulon. Through a strong concern for both the functional aspect of his buildings and for the comfort of its users, Rolinet has developped a bioclimatique archirecture in line with his environmental values. Harmonizing the environmental with the aesthetic has allowed him to reach a conceptual balance reflecting the creative principles fundamental to Rolinet and Associates : sobriety, simplicity of design, and the expressive interplay of materials and flexibility, exemplified in designs such as the Lac Léman hospital facilities in Evian (2005). Equally active on an international basis, Rolinet has recently completed two large office buildings in Lisbon, Portugal. In Grimentz, in the Valais region of Switzerland, he is constucting a multiple chalet development which blends fine natural materials such as wood and stone. To respond to this continued expansion in his work; Rolinet opened a second practice in Geneva in 2006 which supports a full portfolio of international projects. In collaboration with around 30 partners and colleagues, he is consistently focused on prospective future projects in Europe and beyond, including more recently, the Ukraine. It is these fundamental approaches for which Marc Rolinet has gained international recognition, as illustrated by his inclusion in the key architectural reference ‘Architecture Now’ (Vol.III, ed. Taschen), in ‘ Paroles d'Architects’ (ed. Bouygues-Immobilier) and in the recent encyclopedia ’ 10,000 Architects in Europe’ from German publishers Braun.

Anamorphosis Architects Anamorphosis Architects was founded by Nikos Georgiadis, Panagiota Mamalaki, Kostas Kakoyiannis, and Vaios Zitonoulis in 1992. Based in Athens, Anamorphosis is engaged in practical design work in a wide range of fields including buildings, urban design, interior design, graphic design, video, branding, advertising…, while simultaneously participating in theoretical research and experimentation. The ‘total-design’ method of this practice is based on Nikos Georgiadis spatio-psychoanalytic research involving a spatial approach of the Lacanian theory of psychoanalysis; his research explores the psychoanalytic dimension of designed space. Along these lines Georgiadis (former assistant professor in Architectural Dpt University of Patras, Greece) develops a new theory of space: ‘anamorphosis’ which can be applied to design fields of any scale, on which the team of Anamorphosis currently works and has already acquired significant experience. Research and Experimentation are part of the regular activities of Anamorphosis; examples include work done for the AD/ Architectural Design magazine such as the research for Open Air Cinemas in Athens (1994) and the Tracing Architecture editorial work (1998), and their involvement in seminars, conferences, workshops and academic work for Greek, European and American Institutions and Universities (from 2000 until the present). Anamorphosis’ work has been published in Architectural Design Magazine (1994, 1996, 1998, 2004), 10X10 Phaidon (2000) and other international press and media. Their work has been commented by recognized theorists and critics; and presented at the ICA London (2000); European, Mexican, Turkish, and Greek Universities; the 8th Venice Architectural Biennale (2002); the 1st Rotterdam Biennale (2003); the 50th Venice Art Biennale (2003); the ‘Snow Show’ Cultural Event Finland 2004, ARCO Madrid 2004; and the Museums in the 21st Century, Art-Centre Basel, Travelling Exhibition (2006-2012). Such work has already created a platform for discussion and exchange of ideas, in relation to other architects and specialists on an international level.

intense collaboration with Walter Gropius, Minorou Yamasaki and P.L. Nervi, Nicoletti opened his office in Rome. The Studio practice's expanded through all major aspects of urban and building design in Italy, Europe, Africa, USA, Middle and Far East. Among the many 1st Prize International Competitions awards received, built and on the process of being built: the Astana State Auditorium for 3500 seats, Kazakhstan; the Nigeria National Complex in Abuja, including the Museum of Nigeria, the Cultural Center, the Tower of Nigeria, the City Hall; the New Acropolis Museum, Athens; the Abuja Nigeria 32 ha Millennium Park; the New Hall of Justice, Arezzo; the New Hall of Justice, Reggio Calabria; the Palermo Sport Palace; the University City of Udine (120,000 sqm); the Agrigento Main General Hospital; the Tropical Butterfly Greenhouse for the University of Catania; the Piazza dei Navigatori Civic Center, Rome; the MoWa Museum of Modern Art, Warsaw; the Putrajaya Waterfront development, Kuala Lumpur. Manfredi Nicoletti is visiting Professor at the Rhode Island School of Design USA; Lecturer at the M.I.T. School of Architecture, Mass, USA; Full Professor with tenure at Rome University “La Sapienza”; Vice President of the International Academy of Architecture; Member of the Russian Academy, of the Moscow International Academy and of the Academie de France d'Architecture. Manfredi Nicoletti is a pioneer in Megastructurals and in Bioclimatic Urban and Architectural Design; Expert in Architectural Ecology for the Italian Government and the European Community, member of the Italian Institute of Bioclimatic Architecture (ENEA), of Eurosolar, of PLEA (Passive and Low Energy Association). Manfredi Nicoletti received the International Award of WREN (World Renewable Energy Network). He is the founder of the course “Ecosystemic Architecture” at Rome University. His most innovative structures derive from the study of nature. Nicoletti published internationally also various essays about architectural criticism and the urban ecosystem. His book “The Architecture of Caves”, searching for the rooths of architectural language, received the First International Prize by the CICA, Comité International des Critique d'Architecture. From the French Government Manfredi Nicoletti received the title of “Officier de l'Ordre des Arts et Lettres”. Gold Medal from the Architectural Association of Rome (2001); Great Prize Viterbo San Valentino for architectural quality; Sabino d'Oro Career Prize Rieti Municipality; Vaccarini Career Prize, Pedara Municipality; New Church design, National Award (Cei Vatican city).

Pietro Carlo Pellegrini Architetto Pietro Carlo Pellegrini was born in 1957, in Lucca. His studies were carried out in Rome and Pescara. In 1983 he received his degree in Architecture. He has taught at University Institute of Architecture of Venice. In 2000 he was commissioned as a professor from the Faculty of Architecture at the Delft University of Technology. In 2006, he was a lecturer at the European School of Urban Architecture, based in Naples. Currently he is professor of design at the Faculty of Architecture in Ferrara and Geneva and director of the post-master “MASP - the project of public space” in Lucca. Since 2005 he has been in charge of the architecture department at the school La Sterpaia. In 2002 and 2004 he was invited to exhibition Lonely Living at the Biennial in Venice. In the years 2001 and 2002 he participated in each of the touring exhibition signs of the ninth century. In 2004 he was invited to the IX Review International Architecture Biennial in Venice. In 2006 he was invited by the Foundation annals of architecture and the city of Naples to the exhibition 2006 Overview of Italian architecture. His architecture is following always one path. For one part the modernity is important. But on the other hand he is giving also the necessary respect for the existing substance.


Studio Nicoletti Associati

Carlo Cappai was born in Venice in 1966. Maria Alessandra Segantini was born in Treviso in 1967. They study architecture at the University of Venice and obtain an awarded degree in 1991. They are visiting professor at the University of Architecture of Venice and at the University of Architecture of Ferrara. In 1994 they open the C+S ASSOCIATI architecture office in Venice. Their work is published in the most important architectural reviews such as: Abitare (I), AD (GB), Architectural Review (GB) Area (I), A+U (J), AW (D), Bauwelt (D), Casabella (I), D'Architettura (I), Detail (D), L’architecture d’aujourd’hui (F), Spazio e Società (I). Their work was exibited in the 8th and 11th Biennale of Architecture of Venice.

Manfredi Nicoletti graduated at Rome University “La Sapienza”, Master in Architecture at the M.I.T, Massachusetts Institute of Technology - USA, PhD in Urban Design at Rome University “La Sapienza”. After

Selected Works - social housing in Marcon, Venice for which project they were awarded with the special mention in the 5th


edition of the architectural prize Luigi Cosenza. - the primary and secondary schools of Caprino Veronese for which project they were awarded with the Oderzo Prize in 2001. - The university students’ complex in Murano (winner of the international competition) is actually under construction. - the new cultural structures and the project of accessibility of Sant'Erasmo island for which they were awarded with the 1st prize in Oderzo architectural prize 2004. The same project obtained a special mention in the international prize Dedalo-Minosse 2004, a special metion inthe Luigi Cosenza european architectural prize 2004, in the Arcès architectural Prize 2004. - a new underground parching in Conegliano and a new nursery school in Pederobba (Treviso) winner of the Gold medal of italian architecture in the section of ‘Education’, the Honorable Mention in the award Architettura e Colore and was selected for being exhibited in the exhibition Sustainab_Italy in London in June 2008.

Neutelings Riedijk Architecten Willem Jan Neutelings and Michiel Riedijk have been working together since 1992. They are partners of Neutelings Riedijk Architecten, domiciled in Rotterdam. The practice operates as a studio of some 35 architects in varying combination. Work by Neutelings Riedijk Architects has been shown in Paris, Venice, Porto, New York, Antwerp, Brussels, Prague and Rotterdam. Willem Jan Neutelings (1959) studied at Delft University of Technology, worked from 1981 to 1986 at the Office for Metropolitan Architecture and in 1987 established an independent practice in Rotterdam. From 1989 to 1991 he was partner of Neutelings Roodbeen Architects. Since 1992 he worked with Michiel Riedijk in Neutelings Riedijk Architecs, also in Rotterdam. He has taught at various architectural institutes including the Berlage Institute in Rotterdam and was visiting professor at Harvard University. In 1991 his work was awarded the Rotterdam Maaskant Prize for Young Architects. Michiel Riedijk (1964) studied at Delft University of Technology and worked from 1989 to 1991 with Juliette Bekkering. Since 1992 he has partnered Willem Jan Neutelings in Neutelings Riedijk Architecs of Rotterdam. He has taught at various architectural institutes including the Berlage Institute in Rotterdam and the TU Delft, and was visiting professor at the R.W.T.H. in Aachen. In September 2007 he accepted a professorship at the Faculty of Architecture at Technical University Delft.

Architectenbureau Marlies Rohmer Architectural Office Marlies Rohmer is an Amsterdam (NL) based practice. Its field of operation and its more than twenty years’ experience range from urban renewal and master planning, housing projects, school buildings and care centres to interior design. With a staff of approximately twenty five employees Marlies Rohmer is a network-based organization in which various disciplines are integrated and enrich one another. The design process is always driven by research into a variety of social and cultural phenomena. The firm is well equipped to carry projects through from start to finish, all stages of the process. Every assignment is approached as a unique project, demanding specific solutions. The results are a powerful and recognisable architecture with a strong detailing. Since 1999 Marlies Rohmer carries out a research into youth culture related to architecture and public space, resulting into the book ‘Bouwen voor de NEXT GENERATION’ (Building for the NEXT GENERATION, NAi Publishers, Rotterdam 2007). The firm got several awards, among which The Dutch School Building Award 2002 and The International School Building Award 2003 of the ‘Buenos Aires International Forum of Educational Architecture’. The Amsterdam Fund for the Arts awarded the Amsterdam prize for the Arts of 2008 to Marlies Rohmer. The winner is of special significance to the arts and culture and has delivered according to the jury, a specific, current and cross-border contribution to the arts in Amsterdam.

UArchitects UArchitects (UA) is a collective of architects in the city of Eindhoven, The Netherlands, for which Misak Terzibasiyanand Emile van Vugt are responsible. UArchitects is fascinated by the interplay of different levels of scale and thinking: the scale of the city and that

of mankind; thinking in abstraction and thinking in tangibility. The cohesion of these levels is not to be found in one compulsive, dogmatic theme but rather in different concepts and concrete projects. The differences in the nature and scale of the projects prompt UArchitects to develop new strategies. But the design philosophy remains recognisable throughout: intuitive and reflective, and always based on the fascination for people and places. UArchitects is involved in ongoing construction projects and tendering processes, while additional activities such as a guest lectureship at the Eindhoven University of Technology (TU/e) and the work as a regular architect for the State Buildings Agency [Rijksgebouwendienst], South Region, allows UArchitects to improve the work in a wider theoretical context. UArchitects makes a social contribution to the position and responsibilities of the architect and town planner in a wider cultural context. In concrete terms, this involves the organisation of debates, workshops and exhibitions such as, for example: - “Living City”, lectures including a debate on what activities might play out in Strijp S, ‘the Forbidden City’, once Philips vacates this industrial estate. - “Cultural identity of Helmond?”, a debate and interviews, on the relationship between the ‘retro feel’ of neighbourhoods like Brandevoort and the diversity and stratification of society. - “Eindhoven Revisited: the blue carpet”, a workshop with an exhibition on the relationship between art, design and public spaces. These activities are not intended to discover definitive answers, but to encourage questions - and thus to continue the contemplative operating methods in relation to the projects which are designed at UArchitects.

A-lab (Arkitektur Laboratoriet) A-lab (Arkitektur Laboratoriet) was founded in 2000 with the goal of producing innovative and refreshing projects by joining forces with associates from diverse professional backgrounds. Including partners Odd Klev, Adnan Harambasic and Geir Haaversen, a-lab consists of 19 persons with various background and experience. When a-lab decides to enter a competition or start to work on a given commission they try to identify the collaborators necessary to create a project group that will lead to the best result for the client and at the same time be professionally challenging for them. The working method a-lab has established within its team is inclusive and therefore positive to new impulses and changes.

Rintala Eggertsson Architects Sami Rintala (born 1969) is an architect and an artist, with a long merit list after finishing his architect studies in Helsinki Finland in 1999 under professor Juhani Pallasmaa. He established architect office Casagrande & Rintala in 1998, which produced a series of acknowledged architectural installations around the world during the next five years until 2003. These works combine architecture with critical thinking of society, nature and the real tasks of an architect, all within a cross-over art field using space, light, materials and human body as tools of expression. In 2008, Rintala started a new architect office with Icelandic architect Dagur Eggertsson, called Rintala Eggertsson Architects. Important part of Rintala’s work is teaching and lecturing in various art and architecture universities. Teaching takes place usually in form of workshops where the students often are challenged to participate the shaping of human environment on a realistic 1:1 situation. He is currently professor in AHO Oslo and NTNU Trondheim. Sami Rintala’s work is based on narrative and conceptualism. Resulting work is a layered interpretation of the physical, mental and poetic resources of the site. Dagur Eggertsson (born 1965) is an architect with a professional background from a number of the most prominent offices in Oslo. After his professional degree from the Oslo School of Architecture in 1992, he started his collaboration with architect Vibeke Jenssen, as NOIS architects. In 1996 he finished a postprofessional master’s degree at the Helsinki University of Technology, where he started experimentation with building full scale architectonic objects, under the supervision of Professor Juhani Pallasmaa. Along with his professional practice, Eggertsson has taught architecture in Norway, Iceland and Sweden. He is currently a project examinator at the Oslo School of Architecture. In 2007, Eggertsson started collaboration with architect Sami Rintala, which resulted in establishment of the office Rintala Eggertsson Architects. The office is based in Oslo and Bodø, Norway. 415

Jarmund / Vigsnæs AS Architects The practice focuses on projects with potential for outstanding and meaningful architecture, most often closely related to nature and preferably in strong natural settings with harsh climate. The practice explores modern possibilities with sensual and tactile means, seeking the right character for the place and purpose. Clear and understandable strategies attempts to results that are both self-evident and sensational. Larger projects results most commonly from competition-winning schemes, smaller from the reputation of former clients and structures. The partners are Einar Jarmund, Håkon Vigsnæs and Alessandra Kosberg. Jarmund and Vigsnæs were born in 1962 in Oslo and graduated from the Oslo School of Architecture in 1987 and 1989. Håkon spent one year at the Architectural Association (AA) in London and Einar took a Masters degree from University of Washington in Seattle. Håkon worked with Sverre Fehn, while Einar taught and worked in Seattle. Both have been teaching in Oslo and Bergen, and were visiting Professors at Washington University in St. Louis in 2004 and at University of Arizona, Tucson in 2005. Jarmund / Vigsnæs Architects was established in 1995 after teaching and independent practice for both partners. The office employs today 12 architects. In 2004 a third partner, joined in, Alessandra Kosberg. She is born in 1967, graduated from the Oslo School of Architecture in 1995, and started working with JVA in 1997. Selected Completed Buildings 2004 Cabin Nordmarka, Norway 2004 Villa by the Ocean, Stavanger Norway 2005 Svalbard Science Center, Longyearbyen, Spitsbergen. 1. prize competition 2001 2006 Norwegian Ministry of Defence, Akershus Fortress, Oslo 2006 White House, Norway 2006 Triangle House, Nesodden Norway 2008 Oslo International School, Bærum, Norway 2008 Farm House, Toten Norway 2008 Edge House, Kolbotn, Norway Selected Current Projects 2008 - 2010 In Between House, Thorpeness, Suffolk, England 2008 - 2011 National Tourist Road projects. Several places in Norway 2008 - 2010 Hotell Voss, Norway. 1. prize competition 2008 2009 - 2013 250 apartments Sørenga, Oslo, Norway

Studio Olafur Eliasson Olafur Eliasson, born 1967 in Copenhagen, studied at the Royal Danish Academy of Fine Arts. In 1995 he established Studio Olafur Eliasson in Berlin, a laboratory for spatial research in which he works with a team of architects, art historians, and material and light specialists. There he develops and produces artworks such as installations and photographs of an experimental nature. Eliasson represented Denmark at the 50th Venice Biennale in 2003 and later that year installed The weather project in the Turbine Hall of Tate Modern, London. Exhibition venues include Hara Museum of Contemporary Art, Tokyo; Museum Boijmans van Beuningen, Rotterdam; and Kunstmuseum Wolfsburg. Take your time: Olafur Eliasson , a large survey organized by the San Francisco Museum of Modern Art, travelled to The Museum of Modern Art in New York and P.S.1 Contemporary Art Center in April 2008. The exhibition opens at the Museum of Contemporary Art, Chicago, in May 2009. Olafur Eliasson has engaged in a number of projects in public space, including his intervention Green river , 1998, carried out in various cities between 1998 and 2001. With the Norwegian architect Kjetil Thorsen he designed the Serpentine Gallery Pavilion 2007 , a temporary pavilion situated in Kensington Gardens, London. Commissioned by the Public Art Fund, his The New York City Waterfalls were installed on Manhattan and Brooklyn shorelines from July to October 2008. As professor at the Berlin University of the Arts in Berlin, Olafur Eliasson has founded the Institut für Raumexperimente (Institute for Spatial Experiments). Opening in April 2009, the Institute is an educational research project.

KWK PROMES Robert Konieczny born in 1969 in Katowice, Poland. He is Certyficate for the New Jersay Institute of 416

Technology (1996) and Master degree in architecture, Silesian University of Technology in Gliwice, Poland. Robert Konieczny established KWK PROMES in 1999 with Marlena Wolnik. In 2005 Marlena Wolnik leaved KWK PROMES. Selected Projects 2001 Grand Prix - architecture of the year in Silesia – Triangle House 2002 Mies van der Rohe Award Nomination – Broken House 2003 The best building in Katowice – Broken House 2004 Mies van der Rohe Award Nomination – Komoda House 2006 Mies van der Rohe Award Nomination – Aatrial House 2006 Grand Prix – architecture of the year in Silesia – House with a Capsule 2007 House of the Year 2006 – WAN Award – Aatrial House 2007 Robert Konieczny among 101 of the world's most exciting new architects – Wallpaper 2007 Leonardo 2007 – Grand Prix of the Festival for the Aatrial House, Gold Medal for the Hidden House 2007 Robert Konieczny among 44 Young International Architects 2007 nominated by Scalae – exhibition in Barcelona at Santa Monica Center 2008 Robert Konieczny among “Europe 40 under 40” 2008 International Architecture Awards for Aatrial House and Hidden House, The Chicago Athenaeum 2008 Mies van der Rohe Award Nomination – Safe House, OUTrial House

Correia / Ragazzi Arquitectos In 2005, Graça Correia and Roberto Ragazzi established Correia / Ragazzi arquitectos, through which they develop individual and shared projects, one of which the House in Gerês. This project reached the final stage of the V BIAU (Bienal Iberoamericana de Arquitectura Y Urbanismo) representing Portugal in the Young Architect’s Show in Montevideo (2006); 1st prize (ex-aequo) at the III Prémio Enor Portuguese category, Gold Medal for Single Family Housing at the Bienal Miami+Beach 2007 , the International Architecture Award 2008, 1st prize IDA-International Design Award new residential building category, and 2nd prize on the building category at Project of The Year by AI Quarterly . It has been published in several national and international magazines and sites. The office was recognized in New York with the selection “Europe 40 Under 40”. Graça Correia was born in Porto in1965, graduated from the Porto University’s-Architecture Faculty in 1989 collaborating from that year with Eduardo Souto de Moura until 1995. Lecturing as a 5th grade professor at the Architecture Department at the Architecture Faculty from Lusíada University in Porto, established her own business in 1995 initiating an individual trajectory along with some project collaborating. In the year 2000 she begins to develop projects in partnership with Eduardo Souto de Moura, namely the Project for the Conversion of the “Companhia Aurifícia” in Porto and its surroundings; the Project for the Superior School of Hotel and Tourism in Portalegre and the Planning for the Robinson Factory Historical Buildings located at the same city. Taking part on several Seminaries and Conferences, homeland and abroad, her works are published in different publications and exhibitions. Supported by the Ministry’s Science and Technology Foundation, GC sustains her Doctorate Thesis: Ruy Jervis d’Athouguia – A Modernidade em Aberto at the Catalunha Politechnical University’s Architecture Superior School under the guidance of Hélio Piñón, architect, thus obtaining the jury’s unanimous maximum grade of Exccelent, Cum Laude. Applying for several public competitions she obtains two first prizes and the respective work has been distinguished in several ways, namely, at the HABITAR PORTUGAL 2003-2005 selection, through the work on the S. João de Brito College (2003-05) and at the “Ordem dos Arquitectos SRN”selection, named ATELIER ABERTO . Roberto Ragazzi was born in Poggio Rusco, Italy in 1969, graduated from the Architecture Faculty of IUAV (Venice University’s Architecture Institute) in 1997, sustaining the thesis Città di Treviso - Un progetto

per le aree: ex-scalo Motta, stadio ed ex-Foro Boario guided by prof. Filippo Messina (110/110). Between 1998 until 1999 Roberto works on modelling for exhibitions and competitions in Alvaro Negrello’s professional modelling studio in Porto. Between 2000 and 2005 Roberto works as project manager at Virginio Moutinho’s architectural studio (www. virginiomoutinho.com/arquitectura.html).

EZZO EZZO is a young equips of architects and graphic designers coordinated by César Machado Moreira (Architect) and Alexandre Moreira (graphic Designer). The department of architecture established in 2006 of the association with the EZZO DESIGN, it has developed projects in different areas of work, of the construction of equipment and habitation to the whitewashing of buildings, trying to find new conceptual responses for each project. The field of inquiry of the atelier is based on one inter relation of architects, designers and authors establishing bridges between the diverse areas, with one strong attention to the innovation. Currently, César Machado Moreira and Alexandre Moreira combine their practice with teaching in different schools of architecture.

Souto Moura Arquitectos S.A. Eduardo Souto Moura 1952 Born in Oporto, Portuga. 1980 Graduated from the School of Architecture of Oporto (ESBAP). 1981 - 1991 Assistant Professor at the Faculty of Architecture of Oporto (FAUP) from. 1974 - 1979 Worked with the architect Álvaro Siza. 1980 set up own office. Eduardo Souto Moura is Visitor Professor in Paris-Belleville, Harvard, Dublin, Zurich and Lausanne. He attended seminars in Portugal, Spain, Great-Britain, France, Italy, Switzerland, Yuguslavia, United States, Netherlands, Ireland, Canada and Norway. His work was exhibited in Portugal (Oporto, Lisbon, Braga), France (Paris biennale, Clermond-Ferrand, Bordeaux), Great Britain (London, Cambridge), Italy (Milan triennale, Rom), Yuguslavia (Pirano), United States (New-York, Harvard), Switzerland (Zurich). Selected Awards 2001 - Award Heinrich-Tessenow-Medal in Gold. 2002 - Nominee for the “III Bienal Iberoamericana de Arquitectura y Ingenieria Civil”, with the Courtyard Houses in Matosinhos. 2003 - Award “Stone in Architecture” – Honorable Mention of the Project in Matosinhos South. 2004 - Finalist of the FAD Award 2004, with the project “2 Houses in Ponte de Lima”. - Opinion Award of the FAD Jury 2004. - SECIL award for architecture. 2005 - Finalist of the Prize “Prémio Europeu de Arquitectura Pabellón Mies van der Rohe 2004” with the Project of the “Braga Stadium”. - Award FAD, Barcelona, with the project of Braga Stadium. - Opinion Award FAD, Barcelona, with the project of Braga Stadium. - Gold Medal for Braga Stadium – IAKS – International Association for Sports and Leisure Facilities, Cologne, Germany. - Finalist of the “I Prémio de Arquitectura Ascensores Enor”, with the project “Cinema House Manoel de Oliveira”. - 1º. Prize in the competition for a Crematorium in Kortrijk, Belgium. 2006 - Rewarded for “Braga Municipal Stadium” – Architecture International Prize Chicago Athenaeum Museum, USA. - FAD Award “Ciutat i Paisatge” with the Project “Metro do Porto”. - ENOR Ward of Portugal with the Project “Metro do Porto”. - “Finalist” for the Jury of Enor Award with the Project “Metro do Porto”.

AK2 architectural studio AK2 architectural studio was founded by two authorized architects, Andrea Klimková and Peter Kručay, both graduated Faculty of Architecture, Slovak University of Technology in Bratislava in 1997 Master Diploma (Ing. Arch.). AK2 architectural studio have many experiens in the field housing projects, mixed use buildings, smaler urban areas, interiors, etc. AK2 provide all stages of an architectural projects – architecture design, architecture study, project for planing permition, building permition, final realization and authorial supervision. AK2 perceives architecture not as a sole translation of brief into a built form, but as an art determining the identity of our environment. While designing in a contemporary context AK2 is always on the search for a new

spatial quality that will endure. For AK2 architecture is both a challenge and an inspiration, that needs the right clients to be realized.

Corona & P. Amaral Architects, S.L. Corona & P. Amaral Architects, S.L. is a team of architects made up of Antonio Corona Bosch and Arsenio Pérez Amaral who began their activities in Tenerife at N Tres Architects, S.L. with Eustaquio Martínez García. They have carried out, among other projects, the Jet-Foil Station (Manuel Oraá. Prize 5th Edition), the Maritime Ferry Station, the Médano Maritime Promenade, the Santa Cruz Urban Plan, and diverse home projects which have received honorable mentions from eight calls for projects related to the aforementioned prizes. Recently they built the new North Tenerife Airport Terminal, a work cited at the 11th edition of the Manuel Oraá Regional Architecture Prize. Their work has received many prizes, such as honorable mentions at the 3rd, 4th, 5th, 6th, 7th, 8th and 11th editions of the Manuel Oraá Architecture Prize from the Official College of Architects of the Canary Islands, as well as First Prize at the 5th edition for the “Building for the Jet-Foil Maritime Station”. Their quality policy is based on the following commitments: 1. The production of architecture which is sensitive to the location it occupies, respecting the urban environment, and favoring the protection of the historical and natural patrimony of all sites. 2. The completion of quality architecture within the context of current trends, analyzing them in light of purified language and the optimization of resources to adapt them to the economic framework presented in each case. 3. The development of projects within regulatory Building and Urbanism frameworks, employing those technical/economic processes which assure the quality of the process until project completion. 4. Interpretation of the needs of the end user in order to understand and meet the client’s expectations.

Rafael de La-Hoz Arquitectos Born in Córdoba in 1955, Rafael de La-Hoz graduated in architecture from the Higher Technical College of Architecture of Madrid, and went on to obtain an MDI Masters in the Polytechnic University of Madrid. Rafael de La-Hoz now directs his own architectural studio and participates in town planning projects and important architectural works in Spain, Portugal, Poland, Romania, Hungary, and the United Arab Emirates. Many of his projects have been the result of national or international architectural competitions. His most recent awards include: the COAM (Distinction from the Official Architects’ Association of Madrid) 2009 and 2007 Distinctions for Architectural Works; The “2007 International Work Award” for Telefonica’s District C, awarded at the XIst Biennial of Argentinean Architecture (Buenos Aires); The Award for Innovation in the “Quality, Architecture and Housing Awards” 2005 and 2006 of the Community of Madrid; the “Bex Awards 2005” (Greece) in the Technological Innovation category and the “American Architecture Awards 2004 of the Chicago Antheneum (USA)”. He is a visiting professor at the Universidad Internacional de Cataluña, and is a member of the Editorial Council of the COAM Architectural Magazine. He participates in numerous conferences, activities and judging panels and his work is published in national and international architectural books and magazines.

Abalos + Sentkiewicz Arquitectos Work developed by Iñaki Ábalos and Renata Sentkiewicz stands out in the national and international scene for proposing an original synthesis of technical rigor, formal imagination and discipline integration between architecture, landscape and environment. This combination of quality, innovation and integration reaches an unknown synthesis in their buildings and projects both in public and private field. With a special emphasis in high rise buildings, cultural equipments, public spaces and collective housing, their work respond creatively to social values and emerging cultures, providing them a symbolic and cultural dimension, complemented by their research work through writings and academic activity, developed with wide international repercussion from the Laboratorio de Técnicas y Paisajes Contemporaneos LTPC, created and directed by Iñaki Ábalos from 2001. After a decade of collaboration, working method of Abalos+Sentkiewicz is, from the firsts steps of the project, based on integration of energy, statics, materiality and landscape, through the creation of interdisciplinary teams to guarantee the synergy between quality, innovation and integration that defines the profile of the firm. This basic scheme adapts to the specific circumstances of each project under the principle of “building the project of the project” in conversation with all the involved agents to guarantee the best creative and 417

participative atmosphere. Each project is developed through a Project Manager architect and a team of external and internal collaborators. All the projects receive constant and personalized attention of Iñaki Ábalos and Renata Sentkiewicz from the first steps until the execution. The office has a group of widely experimented collaborators: the most prestigious in every field. In each case this team is reinforced or modified with experts or local architects guarantying the maximum adaptation to the local uniqueness and maintaining the characteristic quality of the firm.

Wingårdh Arkitektkontor AB Wingårdhs is the generic name for Wingårdh Arkitektkontor AB and Wingårdh and Medarbetare AB. Gert Wingårdh, architect SAR/MSA, and CEO is owner and manager. The office is today among the five largest architect groups in Sweden, and among the ten largest in the Nordic Region. This falls well in line with the target set in the office’s general objective; that Wingårdh must be one of Scandinavia’s leading architect offices. Wingårdh Arkitektkontor AB has been operating in Göteborg since 1977 and in Stockholm since 1985. As Wingårdh enter its thirtieth year of business it employ 73 men and 74 women in our total of 147 staff. It originates from eight different countries on five continents.The distribution is 110 employees in Göteborg and 37 in Stockholm. Wingårdh is a knowledge company where assuming great responsibility is commonplace among employees. Wingårdh is in a state of growth. The office has an expressed objective of recruiting personnel primarily from the younger generation. This gives the option for everyone to assume responsibility and develop within a range of projects. Wingårdh has established a very sound structure. Part of the rerason for the growth of the company is personnel turnover. Over the years a number of the office’s more experienced architects have resigned and started their own successful companies. This is a natural and sound trend which provides new opportunities for other employees to develop their skills. The office works on all types of project from product development (e.g. Volvo’s stands at international car shows) and interior design (e.g. the Filippa K store “Ease” in Grev Turgatan in Stockholm) to large structures (e.g. Hyllie centre in Malmö) and city planning projects (e.g. Havneholmen in Copenhagen). Wingårdh works on projects in all phases, everything from pilot studies and surveys, to finished construction documents. The office has extensive experience of both reconstruction and new construction work. Its clients are from the business sector, government authorities, municipalities, real-estate companies, contractors and private individuals. A large proportion of its clients are returning customers such as AstraZeneca, Ericsson, Volvo, Statens Fastighetsverk (Swedish National Property Board), AP, Riks byggen (the Cooperative Housing Organization of the Swedish Trade Unions) HSB, SKB, Steen & Strøm, and others. Today the office has great expertise in working throughout the country and internationally. Wingårdh implements projects in Denmark (housing and offices), Finland (housing), England (offices and theme park), Germany (visitor centre/aquarium and sculpture museum), USA (houses) and China (offices and R&D). Within the framework of the projects for larger clients Ericsson and Volvo, Wingårdh is working in a further thirty or so coun-tries across the world. Competitions represent a large part of the office’s business operations. The majority of projects Wingårdh carry out are competitions it has won. Wingårdh competes both domestically and internationally. Gert Wingårdh 1951 Born in Skövde, Sweden. 1975 Masters of Architecture, Chalmers University of Technology in Göteborg. 1975 Member of SAR, The National Association of Swedish Architects. 1975 Employed at Olivegrens Arkitektkontor AB, Göteborg, Sweden. 1977 Founded own practice Wingårdh, Göteborg, Sweden. 1988 Kasper Salin Award for Öijared Executive Country Club. 1992 Member of The Royal Academy of Fine Arts. 1993 Kasper Salin Award for AstraZeneca, R&D, Mölndal site, Sweden. 1997 - 2005 Chairman of the board of directors at Arkitekturmuseet, the Swedish Museum of Architecture. 1999 Ph.DHC at Chalmers University of Technology. 1999 Member of The Royal Academy of Engineering and science, IVA. 2000 - 2001 Chairman of the board of directors at Chalmers University of Technology, School of Architecture. 2001 R&D Magazine’s 2001 Laboratory of the Year for AstraZeneca R&D Waltam site, Boston, USA, phase 1. 2001 SAR’s Housing Award 2001 for Kajplats 01, apartment building at the Bo01 Housing Expo in Malmö. 2001 Best contemporary Building. First prize in Swedish public election, for Universeum. 418

2001 2002 2004 2004 2005 2005 2006 2007 2007 2008

Kasper Salin Award for Auditorium and Student Union at Chalmers University of Technology, Göteborg. ECSN European Award for Excellence in Concrete for Arlanda TWR. The Biennale di Venezia’s 9th International Architecture Exhibition. “Svenska Träpriset” for Universeum, Göteborg. Helge Zimdal Award for Villa Astrid, Göteborg. The Prince Eugen Medal. Kasper Salin Award for Aranäs senior high school, Kungsbacka, Sweden. Artistic Professor of Architecture at Chalmers University of Technology, School of Architecture. Kasper Salin Award for House of Sweden, Washington DC. World Architecture Festival Award for K:fem, Vällingby, Sweden.

ssm architekten ag ssm architekten ag was established by Jürg Stäuble, Theo Schnider, Reto Mosimann in 2007 in Solothurn, Switzerland. Jürg Stäuble Was born in 1957. Graduated from the university of applied sciences Biel in architecture 1981. Established Jürg Stäuble Architects in 1985. Since 2007 leading the ssm architects cooperation. Theo Schnider Was born in 1963. Graduated from the swiss federal institute of technology Lausanne in architecture 1993. Established Theo Schnider Architect in 1995. Since 2007 leading the ssm architects cooperation. Reto Mosimann Was born in 1973. Graduated from the university of applied sciences Burgdorf in architecture 1999. Since 2007 leading the ssm architects cooperation.

EM2N MATHIAS MÜLLER | DANIEL NIGGLI | ARCHITEKTEN AG | ETH | SIA | BSA The office was established in 1997 and has practiced in housing, refurbishment, public buildings, commercial buildings and city planning. EM2N aims to produce architecture that is powerful and personal, architecture with the capability of developing its own character. As a result EM2N’s projects may polarize the public, which is fine with EM2N. One may love or hate EM2N’s architecture, but one should never be left indifferent. EM2N is convinced that there never is just one solution. Its’ projects must cope with the unforeseen, even the accidental. Therefore, EM2N tends to think in scenarios, works with hypotheses and generate oppositional alternatives. Each one of these projections into the future originates from different assumptions and has its own history or story to tell. If the architects manage to develop projects that can stand for themselves in the urban fabric, they have achieved our goal.

dl-a, Devanthéry & Lamunière Architectes In 1983 Patrick Devanthéry and Inès Lamunière founded Devanthéry & Lamunière Architects, specializing in heritage restoration and town planning. In 2007, the society was transformed into a Public company, under the corporate name of dl-a, designlab-architecture. In 2001 they became co-directors, in association with Bruno Marchand, of DeLaMa, urban and environmental designers. In 2008 they became co-directors, in association with Vincent Mas Durbec, of dl-a, designlabintérieurs, interior design. The projects of dl-a are shaped by a commitment to building strategies that both embrace and advance the sense of place that is unique to each site and urban context. Its practice has participated in a process of architectural competitions, acquiring an in depth experience and particular skills in understanding the complexity of very different programs. Its’ projects reveal what is emblematic and significant in the architecture and its urban context. dl-a has demonstrated experience in site planning and urban design, responding creatively and sensitively to the existing architectural context of distinct environments. Central to its practice are strategies to compose inventively with the ecological, social, and economic factors that make up sustainable architecture.

Selected Finished Projects - Life Science Faculty at the EPFL, Lausanne, 2008 - Global headquarters of Philip Morris International, Lausanne, 2007 - Transformation of the industrial terrain of the SIP, Geneva, finished in sequential phases, 2005-2007 - Villa Bloch-Pasche, Paudex, 2007 Patrick Devanthéry was born in Sion in 1954. He finished his studies in architecture at the Federal Polytechnical School of Lausanne (EPFL) in 1980. He continued his studies in history and theory of architecture as a member of the Swiss Institute of Rome and became chief assistant at the Architecture School of the University of Geneva for Professor Bruno Reichlin where he headed the Modern heritage and conservation conferences. In 1996 and 1999, he was invited as a professor at the GSD of the University of Harvard. He was co-editor of the revue Faces- Journal d’architecture at Geneva from 1989 to 2004. From 2005 to 2008, he is the president of the FAS, the Swiss Architects Federation. President of numerous international competition juries, he is also invited as a lecturer and critic in Europe, the United States, and Canada. Inès Lamunière was born in Geneva in 1954. She finished her studies in architecture at the Federal Polytechnical School of Lausanne in 1980. She continued her studies in history and theory of architecture as a member of the Swiss Institute of Rome and became an assistant at the Federal Polytechical School of Zurich (ETHZ) for Professor Werner Oechslin. She was named professor of theory and critic of architecture projects at the ETHZ, then at the EPFL in 1994. She founded and presently heads the Architecture and Urban Mobility Laboratory (LAMU) since 2001. In 1996, 1999 and 2008, she was invited as a professor at the GSD of the University of Harvard and co-editor of the revue Faces-Journal d’architecture at Geneva from 1989 to 2004. She is also invited as a lecturer and critic in Europe, the United States, and Canada. She has published a book on the theory of urban architecture Fo(u)r Cities in 2004 and an essay on the contemporary perception of on the menace and its incidences on architecture in Habiter la Menace in 2006, with both works edited by the Swiss-French Polytechical University Press, Lausanne. Since 2008, she is the director of the Architecture School at the EPFL.

Davide Macullo Architects Davide Macullo was born in Giornico, Switzerland in 1965, Commercial study in Zug, Technical high school in Lucerne, graduated in 1989 from the Professional University of Art & Design in Lugano. Since 1998, he is member of the Swiss Register of Architects and Engineers. He undertakes several study journeys in Europe, Asia and United States. Commences working in the atelier of Mario Botta in Lugano in 1990 as architect responsible for projects abroad. Davide Macullo opens his atelier in 2000. The office aims at becoming a place of “cross-experiences” by promoting strong cultural exchange with architects coming from different backgrounds. The separate contributions will promote an all-embracing approach to architecture, spanning from the theoretical analysis of the territory to pedagogy and the sustainability of the construction. The research for synthesis between the individual and the collective expectations filters Davide Macullo ‘s approach to architecture. Architecture and design should positively influence our lives. They are the disciplines that relate people to cultural and social life, both physically and emotionally. This belief encourages Davide Macullo to look for quality in the production process by considering the clients, the consultants and all the persons involved. Holding in mind the functional, technical and pragmatic aspects of the work, the new artificial landscape has to be thought at human scale and represent the fertile ground that feeds one's needs. The task means the complete involvement in the process from the preliminary concept to the realization. Selected Awards - Selected as “Architect of the Month” by Archiworld magazine, South Korea - November 2008 - Exhibited at the Centro de Arte y Comunicación CAYC in La Plata, Argentina - April 2008 - Exhibited at the Bienal de Arquitectura de Buenos Aires, Argentina - 2007 - Selected for “101 of the world’s most exciting new architects” by Wallpaper magazine, Great Britain - 2007 - “House in Carabbia” project shortlisted for “house of the year 2007 WAN” (World Architecture News) - 2007 - “House in Ticino” won TECU® 1st Prize Architecture Award for Residential Buildings - 2007 - “House in Gorduno” selected for “Swiss Architecture” (Taschen) by Philip Jodidio - 2006 - “Building in Ticino”, lecture for Kent State University, Florence - Italy - 2006 - First prize for competition “Alzheimers Clinic Al Ronco” Italy - 2005 419

Deodoro Sports Complex, pp12-13. © Bruno Carvalho, Kaká Ramalho, Bruno Campos, Marcelo Fontes, Silvio Todeschi Micasa Volume B, pp22-25. © Nelson Kon, Fran Parente Mirindiba's House, pp26-29. © Nelson Kon Osler House, pp30-31. © Pedro Vannucchi Panama House, pp32-37. © Nelson Kon Harmonia // 57, pp38-41. © Nelson Kon House in Joanópolis, pp42-45. © Bebete Viégas Los Amates House, pp46-47. © Paul Czitrom Suntro House, pp48-51. © Paul Czitrom Contemporary Art Museum St. Louis, pp58-59. © Helene Binet, Robert Pettus, Allied Works Architecture Seattle Art Museum, pp60-61. © Jeremy Bittermann, Richard Barnes, Allied Works Architecture Levy House, pp78-81. © LA DALLMAN, Kevin J. Miyazaki Arts Science Technology Pavilion, pp84-87. © Steve Hall, Hedrich Blessing Photographers Jewish Reconstructionist Congregation Synagogue, pp88-89. © Steve Hall, Hedrich Blessing Photographers James I Swenson Science Building, pp90-93. © Steve Hall, Hedrich Blessing Photographers Oklahoma City Federal Building, pp94-97. © Steve Hall, Hedrich Blessing Photographers Barrow House, pp112-113. © Peter Bennetts Vader House, pp114-115. © Peter Bennetts Hedley Bull Centre, the Australian National University, pp116-119. © Trevor Mein, Dianna Snape Hume City Council Offices, pp120-121. © John Gollings Automotive Centre of Excellence, Kangan Batman TAFE, pp122-123. © John Gollings School of Medical Research, University of Western Sydney, pp124-127. © Trevor Mein, Dianna Snape North Carlton Green House, pp128-129. © Emma Cross Photographer Residence in New Delhi, pp132-133. © Andre J Fanthome Pearl Academy of Fashion, pp134-139. © Andre J Fanthome, Edmund Sumner St. Mark's Cathedral Resource Centre, pp144-145. © Soumitro Ghosh Minami-Nagano Dental Clinic & Residence, pp154-157. © Takeshi Noguchi M3/KG, pp158-159. © Ryota Atarashi, Satoshi Asakawa SAKURA, pp160-161. © Ryota Atarashi Children's Center for Psychiatric Rehabilitation, pp162-163. © Daici Ano, Sou Fujimoto Ceremony Hall, pp166-167. © Toshiyuki Yano / Nacasa & Partners Inc. Silent House, pp168-169. © Toshiyuki Yano / Nacasa & Partners Inc. White Cave, pp170-173. © Toshiyuki Yano / Nacasa & Partners Inc. Metu Prep School Annexes, pp186-189. © Gücügür Görkay Private Residence Klosterneuburg , pp192-195. © Andreas Schmitzer, Nadine Blanchard Production Facility and Office building for Schiebel Elektronische Geräte GmbH, pp196-197. © Andreas Schmitzer, Nadine Blanchard 22 tops, pp198-199. © Paul Ott Adelaide Wharf, pp202-203. © Timothy Soar Kentish Town Health Centre, pp204-205. © Timothy Soar, Rob Parrish The Yellow Building, pp206-209. © Timothy Soar Westminster Academy at the Naim Dangoor Centre, pp210-211. © Timothy Soar Emergency Services College, phase IV, pp218-221. © Jussi Tiainen Lappeenranta University of Technology, phase VII, pp222-223. © Jussi Tiainen The Chapel of the Deaconesses of Reuilly, pp224-227. © Daniel Moulinet The Church of Ermont Taverny, pp228-229. © Daniel Moulinet The Cultural Park of the Hellenic Cosmos (CPHC), pp232-243. © Anamorphosis Architects The Nursery School in Covolo, pp252-255. © Carlo Cappai, Alessandra Chemollo University Hall of Residence in Novoli, pp256-259. © Marco Zanta, Pietro Savorelli, Carlo Cappai, Maria Alessandra Segantini Water Filtration Plant, pp260-261. © Pietro Savorelli Netherlands Institute for Sound and Vision, pp262-267. © Daria Scagliola, Stijn Brakkee Walter Bos complex, pp268-271. © Daria Scagliola, Stijn Brakkee De Matrix: five quadrangles and polyester facade elements, pp272-275. © Jeroen Musch, Alexander van der Meer De Zeester: day care centre for mentally handicapped persons, pp276-277. © Luuk Kramer, Scagliola / Brakkee 420

Smarties: student accommodation, pp278-279. © René de Wit, Akzo Nobel Maasberg Juvenile Detention Living, pp280-283. © Norbert van Onna Maasberg Juvenile Detention Pavillion, pp284-289. © Norbert van Onna Arctic Culture Centre, pp290-293. © Jiri Havran, Luis Fonseca, a-lab Element House, pp294-297. © Park Wan Soon, Emil Goh Edge House, pp298-301. © Ivan Brodey, Nils Petter Dale Oslo International School, pp302-305. © Ivan Brodey Svalbard Science Centre 78°north, pp306-313. © Nils Petter Dale Serpentine Gallery Pavilion 2007, pp314-315. © Luke Hayes, Studio Olafur Eliasson Casa em Lousado, pp324-329. © Alberto Plácido, Luis Ferreia Alves Casa no Gerês, pp330-333. © Juan Rodriguez, Luis Ferreira Alves, Nelson Garrido Paco de Pombeiro / Rural Hotel, pp334-337. © João Ferrand Fotografia Braga Municipal Stadium, pp338-341. © Luis Ferreira Alves, Christain Richter Burgo Tower, pp342-345. © Luis Ferreira Alves RELAXX, Sport and Leasure Centre, pp346-347. © L'ubo Stacho, Andrea Klimkova Vivienda en Jardín del Sol,Tacoronte, pp348-351. © Roland Halbe The High Council of the Chambers of Commerce, pp352-355. © Miguel de Guzmán Telefonica’s District C in Las Tablas, pp356-361. © Joan Roig, Miguel de Guzmán K:fem department store, pp370-373. © Patrik Gunnar Helin Müritzeum-science and visitors centre, pp374-377. © Åke E:son Lindman, Gert Wingårdh Erweiterung Kunsthaus, pp378-379. © ssm architekten ag Community Center Aussersihl, pp380-381. © Hannes Henz Conversion Theatre 11, pp382-385. © Hannes Henz, Roger Frei Extension Public Records Office Canton Basel-Landschaft, pp386-387. © Hannes Henz Toni-Areal, pp388-389. © Maaars, Luxigon EPFL School of Life Sciences, pp390-393. © Fausto Pluchinotta, Photograph in Geneva Philip Morris International Headquarters, pp394-397, © Fausto Pluchinotta, Photograph in Geneva House in Carabbia, pp398-401. © Pino Musi, Enrico Cano House in Lumino, pp402-405. © Enrico Cano House in Ticino, pp406-407. © Enrico Cano All drawings and sketches are by architects as credited.


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Architecture Highlight vol. 3  

This new edition includes a broad variety of architectural works from around the world. It provides a splendid record of architecture with d...

Architecture Highlight vol. 3  

This new edition includes a broad variety of architectural works from around the world. It provides a splendid record of architecture with d...

Profile for shanglin