Page 1


America

Asia / Pacific

Europe


Architecture Highlights 2 Copyright Š 2009 Shanglin A&C Limited Editor: Hu Yanli Publisher: Shanglin A&C Limited Unit 1021, 10/F, Ocean Centre,Harbour City, 5 Canton Road, TST, Kowloon, Hong Kong 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 B-0619, No.2 Building, Dacheng International Center, 78 East 4th Ring Middle Road, Chaoyang District, Beijing, China Tel: 0086-10-5883-1335 (Beijing) 0086-22-2341-1250 (Tianjin)

0086-21-5596-7639 (Shanghai)

0086-571-8884-8576 (Hangzhou)

0086-25-8483-9119 (Nanjing)

0086-512-6727-5123 (Suzhou)

0086-755-8825-0425 (Shenzhen)

0086-20-8756-5010 (Guangzhou)

0086-28-8665-0016 (Chengdu)

0086-27-6566-2067 (Wuhan)

0086-23-6772-5751 (Chongqing)

Fax: 0086-10-5962-6193 E-mail: info@designerbooks.com.cn http: //www.designerbooks.com.cn Printed in China All rights reserved. No part of this publication may be reproduced in any form or by any means, graphic,electronic or mechanical,including photocopying and recording by an information storage and retrieval system without permission in writing from the publisher. ISBN: 978-4-89737-620-2


This new Architecture Highlights volume is based on the 2007 edition, which sold out instantly after its publication. Since then Shanglin continue its quest to track the creation of the most important figures in contemporary architecture on the globe and adhere to its editing criterion and idea. The architects featured here are characterized in America, Asia/Pacific and Europe chapter, constituting a regional background of different culture and society. 100 wonderful design works from these unique and internationally celebrated architects reflect the dynamic trends of contemporary architecture; furthermore, this volume is an aggregation of language and technique, style and tide, concept and thought. It explores the true meaning of architecture to the human’s world and proposes various possibility of architecture design in reality and future.


P10-15 Busby Perkins + Will Architects 10

The Silver Sea

14 The Vento P16-35 16 20 22 28 30 34

Agraz Arquitectos i House L House ML House n House PC House T House

P36-43 Duarte Aznar Arquitectos 36 Regional High Speciality Hospital 42 “THE WEDGE”, beach house P44-47 JCName Arquitectos 44 BS House P48-59 48 54 58

JSª (formerly Higuera+ Sánchez) Amsterdam Complex Loma Larga House Temístocles 12

P60-67 Pascal Arquitectos 60 Da Vinci Residential Tower 64 Mourning House P68-77 68 70 74

DesignARC

P78-95 78 88 92 94

HanrahanMeyers Architects

48@Baristo Falcon House Mussel Shoals House Holley House: Landscape Walls The Juliana Curran Terian Pratt Pavilion Waveline White Space / Ash 4 Ways

P96-99 Jones Studio,Inc. + Gensler 96 Lattie F. Coor Hall, Arizona State University P100-111 Machado and Silvetti Associates 100 Bowdoin College Museum of Art 106 Dewey Square Master Plan /

South Boston Piers Transitway: MBTA Head Houses

P112-129 112 116 120 124

Mark Dziewulski Architect

P130-139 130 134 138

Steven Ehrlich Architects

P140-151 140 144 148

STUDIOS architecture

P152-159 152 156 159

Swatt Architects

F65 Center Transit Village Lakeside Studio Polish Air Memorial River House

Helal “New Moon” Residence Waldfogel Residence Warehouse Expansion

Department of Health Services office building Point Reyes Residence Sonoma Zen Spa & Observatory Morley House Orr House Tea Houses

P160-165 XTEN Architecture 160 The Openhouse P166-171 Yazdani Studio of Cannon Design 166 Hauptman Woodward Research Institute for Structural Biology

168 Price Center Student Union Expansion


P174-183 174 176 183

Bates Smart Pty Ltd

Crown 3rd Hotel Freshwater Place Stage One Freshwater Place Stage Two

P184-195 Harry Seidler & Associates 184 Ian Thorpe Aquatic Centre 188 Riparian Plaza P196-215 196 200 204 208 212

Tonkin Zulaikha Greer Architects

P216-237 216 222 228 234

Turner + Associates Architects

P238-249 238 242 244 248

APOLLO Architects & Associates

P250-267 250 254 260 264

Yasuhiro Yamashita / Atelier Tekuto

P268-283 268 274 278

Atsushi Kitagawara Architects

Zulaikha Laurence Residence Newtown Silos Apartment ‘Portico’scots Church Redevelopment Carriageworks At Eveleigh Contemporary Performing Arts Centre Craigieburn Bypass Airia Apartments Kangaroo Valley House SILKWOOD Terrace Houses FOO L SLASH SWITCH

Nakdong Estuary Eco Center Cell Brick House Twin-Bricks Parabola

Nakamura Keith Haring Collection Art Museum C'BON Headquarters ARIA

P284-289 r-session Inc. 284 East Cottage 288 North Cottage P290-309 290 294 300 302 306

RYUICHI ASHIZAWA ARCHITECTS & associates SETRE Chapel SETRE Residence Io Re Kobe Portisland Factory


P312-323 312 316 320 322

Xaveer De Geyter Architects

P324-333 324 328 330

3XN A/S

Economics Building Bezalel Academy for Arts and Design Rogier Square European Patent Office Ørestad College Tivoli Concert Hall Danish University South, Science Park South and Concert Hall Sønderborg Symphonics

P334-341 Architects NRT Ltd 334 Hollola Library 338 Katajanokka Housing P342-345 Manuelle Gautrand Architect 342 Apsys Headquarters 344 Helianthe Apartment Building P346-351 Studio Granda 346 Hof Residence 350 Vogaskoli secondary school extension P352-357 Boyd Cody Architects 352 Alma Lane House 356 Richmond Place House P358-367 358 362 364 366

OFIS arhitekti

Shopping Roof Apartments Tetris Apartments “Hayrack” Apartments Extension of the football stadium

P368-375 AMP arquitectos,S.L. 368 Insular Athletics Stadium P376-383 Camenzind Evolution 376 Cocoon – Exclusive Office Headquarter P384-395 384 390 392

e2a eckert eckert architekten ag

P396-409 396 402 406

Wilkinson Eyre Architects

Center for Language and Hearing Sports Facilities Juchhof Terrace Housing

Liverpool Arena and Convention Centre John Madejski Academy House of Human Rights


■ Busby Perkins+Will Architects  The Silver Sea  The Vento  ■ Agraz Arquitectos  i House L House  ML House  n House  PC House  T House  ■ Duarte Aznar Arquitectos  Regional High Speciality Hospital   “THE WEDGE”, beach house   ■ JCName Arquitectos  BS H o u s e   ■ JSª (formerly Higuera+Sánchez)  Amsterdam Complex   Loma Larga House   Temístocles 12   ■ Pascal Arquitectos  Da Vinci Residential Tower  Mourning House   ■ DesignARC  48@Baristo   Falcon House   Mussel Shoals House  ■ HanrahanMeyers Architects  Holley House: Landscape Walls  The Juliana Curran Terian Pratt Pavilion  WaveLine  White Space / Ash 4 Ways  ■ Jones Studio,Inc.+Gensler  Lattie F. Coor Hall, Arizona State University  ■ Machado and Silvetti Associates  Bowdoin College Museum of Art  Dewey Square Master Plan / South Boston Piers Transitway: MBTA Head Houses  ■ Mark Dziewulski Architect  F65 Center Transit Village  Lakeside Studio  Polish Air Memorial  River House   ■ Steven Ehrlich Architects  Helal “New Moon” Residence   Waldfogel Residence   Warehouse Expansion   ■ STUDIOS architecture  Department of Health Services office building  Point Reyes Residence  Sonoma Zen Spa & Observatory   ■ Swatt Architects  Morley House  Orr House  Tea Houses  ■ XTEN Architecture  The Openhouse  ■ Yazdani Studio of Cannon Design  Hauptman Woodward Research Institute for Structural Biology  Price Center Student Union Expansion


10


Busby Perkins+ Will Architects The Silver Sea, located between Vancouver’s Granville Street Bridge and George Wainborn Park, is a unique residential project designed to achieve a high level of architectural and urban design excellence. As the flagship building within the larger Icon Development, the building’s design incorporates advanced green building strategies that resulted in a reduction in the level of energy and water consumption and mitigation of the project’s overall environmental impact.

The Silver Sea Vancouver, Canada Suites are oriented facing south, taking advantage of views across George Wainborn Park and False Creek. Accordingly, while the building is aligned to the city grid along its north and east faces, the south-facing sides feature a lighter, more transparent treatment. Spacious balconies function as sunshades for floors below, and are finished to express distinct outdoor living areas and to allow interaction with the adjacent park and marina. The building’s west corner features a 160 square metre commercial retail component that opens directly onto Vancouver’s sea wall walkway. With floors four through nine gradually stepping back, the building reflects the nautical influence of its marina-side location. This theme is echoed in the project’s landscaping, most notably in the “moat” of collected rainwater, which runs along the building’s north face. The project’s sculpture and detailing serve a similar purpose. Private entrance bridges to ground level suites cut through a series of island planters containing bamboo and reeds, aiding in water filtration for the building and site water runoff. In its site, orientation, massing, form and material palette, the Silver Sea provides an intimate connection to its surrounding marine and park vernacular. With its location at the epicentre of Vancouver’s urban model - at the crossroads of the ocean’s tranquillity and the surrounding density of Vancouver’s downtown peninsula - the Silver Sea provides a distinct addition to the neighbourhood’s urban fabric.


12


First Floor

13

Second Floor

Ninth Floor


14


The first phase of a redevelopment of a former inner-city site, The Vento is located in an older single-family neighbourhood. This prompted careful consideration of the project’s massing, articulation, material palette, and relationship to the public realm. Calgary’s hot dry summers, cold dry winters, and year-round sunshine significantly informed the building’s design. Residential suites are oriented around south-facing, wind-protected landscaped terraces. Second floor decks provide additional outdoor amenity space and double as sunshades. Terraces also offer a welcomed interaction space for residents, greatly contributing to the sense of community often lacking in multi-family residential projects. The design team incorporated an extensive variety of sustainable design strategies, particularly unique for a project of its size. As a result, The Vento has earned North America’s first LEED Platinum certification for a multi-family residential project. The Vento’s interiors feature an airy open design: daylight penetrates deep into the building, 95% of spaces have direct views outdoors, and operable windows are positioned to promote effective cross ventilation. Materials were regionally sourced and manufactured, low-emitting, rapidly renewable, recyclable, constructed with a high recycled content, durable, and contextually appropriate. The Vento also achieved a 44.4% more energy efficient building than the Canada Model National Energy Code for Buildings baseline, resulting in a 42% cost savings. Because the current economic boom is placing unprecedented strain on the city’s water supply, water conservation strategies proved key to minimizing the environmental impact of The Vento on municipal resources. The most significant conservation strategy involves greywater recycling. Along with 100% of the rainwater falling on the site, water from sinks, showers and bathtubs is collected, stored and re-used for toilet flushing and site irrigation.

Busby Perkins+ Will Architects

The Vento Calgary, Alberta, Canada


16


First Floor Plan

Ground Floor Plan

i House Zapopan, Jalisco, Mexico The work developed a strong and clean architectural concept that created the right environment to accommodate the needs of a single inhabitant. Having privacy as a primary objective, the architects pursued the solution for a unique way of dwelling, bringing out a space where program sequences come to a minimal expression. Therefore, endless interior spaces are the basis for the architectural solution, where a central patio vanishes any possible frontier in between the different atmospheres of the house. The inside extends to the outside, creating a place that gives a beginning for a light and shade dialogue, a continuous flow between transition and contemplation, and a balance between user and observer of it all. Scale plays an important role in the spatial sequence in order to link the main scheme in intimate relation with the patio. Therefore, walls have been reduced to the minimum and have been converted into a sort of casing element that also enhances the relation between what occupies space in its most basic form, and that which divides it, allowing a natural follow-up of the house’s program. The double-storey hall is the main bond of spatial elements as well. This is the place where the endless dialogue between volume and gap, light and shade, inside and outside begins, the place where the presence of a single space with diverse forms and atmospheres gains sense. It is a simple and clear architecture that offers an easy reading of itself and the project, as a never-ending sequence of every balanced element held within; An honest architecture that deled with the east-west position of the site, and carefully answered with the mentioned patio that gives i House the chance to face southwards, having the main facade facing east, and hopefully fulfilling the client’s expectations.

Agraz Arquitectos

Roof Floor Plan


18


19


20


L House is the reconsideration of a house as conceived up to now by Agraz & Tacher architects . It revolves empty and full spaces with pure geometry and homogeneous material in order to break down outdated habits or traditions. Therefore, it redesigns subdivisions, according to nowadays life. This is how L House prototype emerges from a simplified draft where a central plant lodges all public spaces, and where the seizing of circulations makes most of the rest of the areas. These, once added to the main plant, are optimized throughout the 250 or 270 square meters (variation is due to the seven created models with different facades) that hence find amplitude in the transversal rear garden. First floor is made up of a clear space where living and dinning rooms, as well as garden and terrace integrate. Terrace is where kitchen connects to the rest of the house and has the capacity to isolate by a wooden screen system, and is also able to separate from the exterior by laminated crystal sheets. Inside, axial and straight crossings were proposed in order to let perception and knowledge of space be carried by means of lateral halls that connect spaces sequentially. The crystal display placed in the center of the house solves, as light and ventilation filter, the following of spaces by letting this by the main character of a rational solution that bets, at all times, on material sobriety and artificiality absence.

Ground Floor Plan

Second Floor Plan

Section aa'

Agraz Arquitectos

L House Zapopan, Jalisco, Mexico


22


ML house has been conceived as an architecture that is capable of containing and perpetuating the spirit of each member of the family; an art form that enhances the daily life with its singular presence and becomes the lively back-drop for the making of the personal memories. The project proposes the dissolution between urban and residential boundaries; the street transforms into plaza and the interior becomes a garden that overlaps within the private and the public. Once the front sculpture is left behind, the entry garden appears as an overwhelming water mirror that captures surreal images of the sky and the tree branches that overflow from within the fountain. The entry event occurs under the undulating wood ceiling that clarifies circulation around the interior court; natural light permeates the double height ceiling through a wooden skylight and transforms sunrays into seasonal patterns. Natural light becomes an ornament that transforms light and shadow into an everchanging play of surface and texture.

The ground floor benefits from its southern orientation and makes direct contact with the exterior gardens and patios; the upper level has interesting views towards the exteriors, while, the central court allows it better independence from its urban surroundings. The family rooms in ground floor and in the upper level stack one upon the other towards the North, in order to make a better use of light for their destined activities and also in order to conform to the volumetric intentions of the main elevation.

ML House Zapopan, Jalisco, Mexico

Agraz Arquitectos

Vertical circulation is conceived as a continuous spine that emerges from the underground and favors visual permeability through different levels and functions. Its architecture makes a gesture of fragile articulation that is consistent with the transparency of space and overlapping of function.


Section aa'

24

Section bb'


25


26


27


28


Ground Floor Plan

First Floor Plan

This project was designed to enhance a particular local tradition that is about building the living spaces of a house around a patio, this as a consequence of the client’s request: a couple with two young daughters. The n House is based on three levels: garage area is located in the basement together with service areas and a game room. The stairway, attached to the central wall, creates a spatial connection between all these different levels of the house, also acting as the meeting point for dwellers right in the moment when they exit the private rooms.

n House Zapopan, Jalisco, Mexico First floor is where the hall, dinning room, and kitchen are, surrounded by a minor patio where a tree offers peace for these areas. Right on the side, living room and family room are also framed by this patio. Last but not least is the second floor where the three bedrooms enjoy both the patio and garden views. The wrapping of the house is almost transparent because it was conceived as a complete viewpoint for the garden. Whereas in the upper floor, walls predominate to offer privacy and security to the users of the rooms. However there is a constant dialogue between volumes through a meticulously designed rhythm for solid and clear, transparent and opaque, offering inhabitants a promenade of lights and shades. Neatness in the elaboration of the constructive detail, all along the design and constructive processes make a virtue out of simplicity, and the material language is converted into a rich and complex world.

Section aa'

Section bb'

The n House cannot be defined as an object but as a diversity of spaces that came out of the combination of opaque and transparent surfaces that lightly separate nature and dweller. Hence, architecture allows an intentional relationship with the outside due to the fact that there is no real boundary between interior and exterior.

Agraz Arquitectos

Underground Floor Plan


30


In the search to create an architectural piece that comes from innovative forms and finds -in that quest- the paths to perpetuate this condition, the architects combine efforts and imagination. The result is PC House, a dwelling based and tailor made for a family program that takes the land as the perfect frame for doing so: it takes the river's length for self adaptation. Once this natural environment is tamed, the structure is used to contain it within the house, entering the backyard towards the living room and dinning room.

PC House Guadalajara, Mexico Spanish ivory marble slabs allow the continuity into the frontal areas of the house, centered themselves by a water fountain that shall play the main role of this first floor. Whereas the main entrance, allowing space for a strong character too, is guarded by a steel art piece done by the architect, specifically made for this house and named 'Family'. Balanced by strong art pieces, this first floor contains discreet covered area for up to three vehicles, one small bathroom (at a convenient distance from the rest of the areas), family studio, kitchen, laundry, dining, living rooms and a spacious and privileged terrace.

Agraz Arquitectos

The upper floor carries a private personality designed exclusively for the master bedroom and children’s room where bathrooms extreme the delicacy of every detail. The use of woods and Spanish marble guarantee quality and elegance throughout this second stories, completing the impeccable conception of the architects, also carried by the mastery work of general contractor, Sergio Pacheco.


32


33


34


Ground Floor Plan

Section bb'

Over a threesome of walls that conform its architectural plan and achieve a graceful geometry of three elements, the T House works and operates efficiently having aesthetics as spatial authority. With a simple package program in each one of its floors, T House raises from a rectangular scheme. Packages on the first floor accommodate the services (kitchen, laundry, patio and service) and social activities (entrance hall, living room, dining room and bathroom). Whereas on the second floor, the double section continues offering mostly private areas (bedrooms, TV room and bathrooms). Based on the three walls that hold within the described packages, the T House responds to an architecture that reflects the back to basics. Subdivisions are much more than subtle, if not inexistent. Therefore it conceptually achieves this graceful geometry of three elements, as said before, and thus works efficiently, having aesthetics as main guideline because the user - conscious of his time and dedicated follower of design - requested a contemporary way of life scenario. This is the reason why the site plan is developed from this central idea. Spaces, material, and even details were carefully planned around this concept, exposing it easily as can be, that marble had to be opaque for this house, and the shower had to be signed by Phillip Stark.

T House Guadalajara, Mexico Due to the symbiosis between architecture and thought, every single step came asking for the precise material and finishing it would need, and the result ended up more than genuine: three parallel walls facing a background where borders dismantle themselves, becoming light filters from the gardens to the interiors. The T House is, itself, a set of see-through skins that shift life images and carry the opaque conditions of any material to transparency in a continuous movement.

Agraz Arquitectos

First Floor Plan


36


A triangular liquid patio limited by three entities oriented according to their functions and relations, shapes and organizes the hospital life. The building is erected in a natively wooden area. The triangle’s edges symbolize the Attention, the Knowledge and the Death. The basic process to settle the buildings on the site was to analyze the content of each one, then favorable orientations, expected public’s movements and intern flows. The access views, the projected service vehicles paths, the natural ground potential and the construction processes are also considered. The use of linear forms extruded along angular profiles could be explained by the aim to represent big rocks fitted in the natural landscape, some limy stones with their occlusions emphasized by the intense peninsular sun, which let pass the winds and the views to the near gardens.

Regional High Speciality Hospital Mérida, Yucatan, Mexico

The hospital building is a prism with a trapezoidal plan. There are 6 levels: on the ground plan is the medical residence and intendance area. From 2nd to 6th level are the hospital facilities and specialities. The auxiliar diagnostic and treatments building holds the Emergency Unit, Scanners, operating rooms and intensive therapy On the ground floor. On the first floor are laboratories, blood reserve, nuclear medicine unit and consulting rooms. On the Northwest side of the Treatment building is located the Anatomical Pathology. The extern consulting, government, auditorium and education building holds 40 consulting room of different specialities, the Records Room and the general pharmacy. In the Government area are the Direction Office and Administration. The auditorium could take 300 people and the Education area gets 5 study rooms. The general supplies building is on the west part of the complex, shaped like a “L”, which borders the maneuver zone and the charging desks. This area is linked to the others by a tunnel in the basement. The specialized medical units could be identified by the two levels “L” building of the Complex. In this building are Oncologist Speciality, HIV Treatment, Hemodialysis, Recuperation and Short Stay Surgery.

Duarte Aznar Arquitectos

This hospital is located on the Northeast part of Mérida City. To find a significant atmosphere for every hospital’s user was the main design goal. This project integrate the cultural root, tradition and way of life in Mexico, as well as the biological environment composed by sun, air or vegetal, even the local stone.


38


39


40


41


42


To make a prismatic hole in a small piece of beach, where winds are passing through and sea is observed, was the main goal for this temporary used beach house situated in Chicxulub, a yucatecan harbour near from Mérida. Located in a three family parcels block, with its 4.20-meter-wide front side, the house design is like a wedge, allowing the wind to cruise and the users to see the sea or the river in every part.

Built with charging walls, the white cement finish concrete is the mainly used material, which mixes itself with beach sand, like a beach extension. The other elements used in this aggressive environment are made of aluminum, glass and stainless steel, due to the water salinity in this part of the Gulf of Mexico, compensation for its fresh winds.

“THE WEDGE”, beach house Chicxulub, Yucatan, Mexico

Duarte Aznar Arquitectos

The ground plan displays a small kitchen and living room preceding a small exterior living place. In a kind of basement, an auxiliary room is put up. Looking up, three bedrooms with their own bathroom are distributed by middle level.


44


JCName Arquitectos BS House

Zapopan, Jalisco, Mexico

The project was developed in a land of 3,245 square meters that is located in the subsequent part of the division of Pinar de la Venta and close to the city’s national forest of La Primavera. The house was designed on a circular platform of 15 meters of radio, and 17 meters from the street level, which allows focusing the views to the forest without any obstruction. The structure was oriented to way of compass to obtain an exact adjustment of the longitudinal axes to the magnetic north. The integral line of the project is composed by orthogonal axes in a three-dimension layout using the golden section. This factor is the reason by which the proportions of all the architectural elements are formed by their multiplication based on the "number of gold". The roof is the element of the program with the best view of the landscape and it functions as terrace space that at the same time has a Jacuzzi; were users can sunbathe, or to enjoy a pleasant evening. As for the design of landscape, the conservation of the native trees of the ground was determinant; leaving in its original state the vegetation was a main factor, with exception of the circular platform that is covered with grass.


46


47


48


JSÂŞ (formerly Higuera+SĂĄnchez)

This complex did not really begin as one: the projects began to be linked one to the other in the course of time, and during the progressive construction of the buildings. It includes four component buildings: Centro qi (2002), Amsterdam 315 (2005), Amsterdam 309 (2006) and Amsterdam Tower (2010). Being able to work in adjoining lots adds potential to opportunities isolated projects lack, such as views from one property to the other, recesses in the facades that provide diagonal views through the neighboring property, or even at a functional level, the possibility of connecting parking lots more efficiently through an integrated ramp system. As regards the city, it’s important to transgress the boundaries between public and private, and bet that the urban fabric comes out winning in such operations, with the creation of semi-public spaces that link the inner section of a block and create a pedestrian bridge between the two avenues, especially in this case, where the higher real estate value of Amsterdam Avenue can raise the depressed value of Insurgentes Avenue, and in this way transmits, as if by contagion, the Condesa neighborhood urban regeneration process to its perimeter.

Amsterdam Complex Condesa, Mexico


50


Level 3

Level 4

51

Transversal Section of Amsterdam 315


52


53


54

Longitudinal Section


Family Room, Level -2

Bedrooms, Level -3

JSª (formerly Higuera+Sánchez)

Dining / Living Room, Level -1

The deep slope of the land toward the holm oak ravine suggested a project in the flat ground, by the street. However, the presence of a monumental adjacent construction of the neighbor obstructed the views and created very pronounced shadows on the site. The house is located below, in the ravine, between the trees, thus avoiding visual contact with the neighboring constructions. The high part of the land could be used for the entrance to the house, with a ballroom and a garden, using its almost flat topography.

To connect the top floor and the house below, a pedestrian bridge was built and a lift to overcome the 82 feet difference in levels, both horizontally and vertically. This route would allow the house panoramic views of Mexico City and the ravine. On the other hand, a pedestrian path was designed to come down to the house through the “mountainous” evergreen oak landscape.

Loma Larga House State of Mexico, Mexico

The house was devised as a bridge in the ravine, permitting visuals upward and downward, from the exterior, additionally creating spaces that have double lighting and crossed ventilation. This quality is accentuated in the stairs, which cut the house diagonally, connecting the three levels of use, in descending order: the entrance floor with public areas, the middle level with the family room and visitors’ bedroom, and the lower level with the family bedrooms. Every level has a cantilever structure, and recedes to the ravine, with galleries that create a horizontal view of the house and prevent seeing the higher and lower levels.


56


Transversal Section

57


58


Typical Floor Plan

Ground Floor Plan

JSÂŞ (formerly Higuera+SĂĄnchez)

Penthouse Floor Plan

Temistocles 12 Polanco, Mexico

Temistocles 12 is a building on a rectangular-shaped property, like many others in Polanco. However, the way in which it is set on the property is the result of a structural analysis, which allowed architects to avoid the use of intermediate columns, and gave great freedom in the interior distribution. A cube providing lighting and ventilation in the center is also used for stairs that go up the five levels, and reach the eight apartments and pent-house on the top level.

Four concrete walls go through the building; they become thinner toward the street, forming two volumes, which make up the facade. All the apartments have an irregular terrace to the front, accentuating the verticality of the walls and the depth of the facade. A large tree covering the west facade, plus the wide range of apparent materials result in a building with character.


60


Huixquilucan, Mexico

This residential tower includes 38 apartments. The service areas include a multipurpose room, paddle tennis court, open swimming pool at the roof garden, lounge, SPA, jacuzzi, restrooms, dressing room, and a balcony with a fantastic view to the gardens. Each apartment has 3 bedrooms, all with bathroom and a walk-in closet, dinning room, living room, family room, full kitchen, service room; resulting in two types: one of 272.61 square meters and the other of 268.99 square meters. All facade-covering elements are hanged, attached with screws or staples, making them completely detachable. All these create a thermo-meteorological acoustic barrier and in consequence this is a very energy efficient building. At the same time, this system facilitates facade maintenance and replacement and a convenient access to hydraulic and sanitary installations that go through along the perimeter of the building. All of the residual water is treated and re-used in garden watering, car wash, and toilets. This building also comprises intelligent systems regarding access control, closed circuit, energy saving lighting controls and lamps.

Pascal Arquitectos

Da Vinci Residential Tower


62


63


64


A project of this nature must encourage introspection and peaceful visual harmony through a discrete use of materials and lighting. The construction is located in a residential area and being planned as an isolated construction from the surroundings, an indoor illuminated yard was built. The building facade is completely covered by Grissal flamed granite.

Mourning House

Bosques de las Lomas, Mexico The building welcomes the visitor with a 6´4” wide and 30´ high triangular shaped wooden door which leads to an access tunnel in the same shape, creating a solemn atmosphere as you enter. This darkening experience at the entrance ends when the hallway opens to a large, double height granite hall illuminated by the northern light coming from the indoor courtyard with a tall Dracaena at the center and a symbolical abstract sculpture by artist Saul Kaminer as the only artwork piece for decoration.

The room shows no added ornament but the light and shades playing on the granite volumes. No furniture was used inside this place, only a floating bench surrounding the room that is made out of the same wood used in all the building. It also serves to hide all of the air conditioners, speakers and recessed lighting, which adds a dramatic touch. The ceiling is made of dark cumaru wood and floats without touching any wall and a skylight puts a highlight on this detail.

Pascal Arquitectos

This is a project with very strong emotional implications. Architects had to understand the mood of the user, who at such moment would not care very much for an aesthetical analysis of any place, but at the same time architects wanted to create a space that can create a spiritual mood, for this they referred to ancient buildings that were designed for this purpose, as the Egyptian “Mastabas” or some Mayan buildings in Palenque.


66


67


168 68


In configurations of two, four, and eight units, buildings blanket the site, allowing public space to weave between private courts. Private garages and individual pools, hallmarks of the suburban patio home, are now rendered in a dense, urban “carpet” which attempts to present notions of owned private outdoor space with urban ideas of density and hierarchy.

48@Baristo

Palm Springs, California, USA Despite the project’s relatively high density, each home sits on its own parcel, allowing every 2-storey unit to embrace its exclusive outdoor courtyard and pool. Varied organizational schemes are all defined by double height living spaces and second floor bedrooms—some with detached poolside guesthouses. Basic volumetric forms interact with flat and folded planes creating specific apertures for mountain views, and defense against the strong desert sun. As part of the city’s current revitalization, 48@Baristo seeks to contribute to its ongoing suburban tradition of modernism, while providing for a much denser urban paradigm. As such, 48@Baristo aims to renew the city within the context of a greater collective urban spirit.

DesignARC

48@Baristo is a multi-family development within the heart of the City of Palm Springs. One in a series of ongoing multifamily projects, this development represents a continuing investigation into new ways not only to provide shelter, but a physical and emotional connection to the desert.


DesignARC

Falcon House

Carmel Valley, California, USA

Falcon Ridge Road winds itself along a steeply inclined ridge in a stretch of foothills within Carmel Valley in Monterey County. An old lichen covered barn, and cedar split rail fences characterize this area known as Markham Ranch, and contrast sharply with the preponderance of sprawling, large estate-style homes — many more at home in the Italian countryside than any landscape of California. Designed for a young couple with a child, Falcon House responds to the family’s desire to live a more modest lifestyle, eschewing overt displays of extravagance for an intimate and deferential relation to nature. The 3,200 square foot residence occupies a difficult portion of the Northern slope of a hillside, overlooking a verdant valley and oriented toward Castle Rock in the distance. The steep terrain necessitated a compartmentalized plan capable of negotiating the gentle hillock at the center of the site. A corridor as bridge spans two pieces of the house, uniting living and sleeping spaces, and allowing an existing watercourse to flow essentially through the house unobstructed. Large panels of glass open the living spaces to the landscape, beneath the deep overhang of a butterfly roof. Operable clerestories placed high on the window-wall allow prevailing breezes to cool the interior spaces. The bedroom wing of the house hugs the hillside as it turns to the west, ensuring privacy from the main living spaces. The sense of seclusion and protection of this wing is reinforced by its lower roofline, and its embedment into the hill. Initial resistance by neighboring homeowners has given way to appreciation, having seen the results of careful siting and a material and color palate sympathetic to the surrounding hillsides. The dwelling embodies an attitude of respect for the landscape, and through that perspective Falcon House has become as natural a part of its environment as the hawks flying overhead.


71


72


73


74


The restrained budget and need for security suggested a specific design approach: The creation of a homogeneous exterior, minimal in its aspect and material articulation, which would allow the color and texture of the ocean environment to be made legible and emphasized through the framework of this “shell.” The introduction of rolling sunshades and storm doors complete the house’s protective layering, fending off the depredations of sun, salt air, and rogue surfers, while allowing variability in living space based on weather conditions. The arrival sequence begins at the adjacent highway and moves downward to the lower beach, passing through an entry courtyard created by the house’s stepped section. This court, rendered as a terraced Zen garden, is designed as a calm but compressed space, which compels movement toward the ocean. The skyward emphasis created by simultaneous downward movement, coupled with the house’s transparency in this direction highlights the endless line of the horizon and magnifies the vastness of the sea. The emphatic resolution of the house’s carapace contrasts with the soft textures of the garden, and introduces an asymmetric relationship with the ragged terrain of the rocky beach.

Mussel Shoals House

California, USA

The intermediate level of the entry necessitates further descent to the home’s main living area, thus preserving the skyward emphasis of view, while underlining the home’s primary relationship with the sea and horizon. The master bedroom, located above the living area, shares in this relationship; one is invited to ponder the tranquility of the sea from this perch above the rocky shore. A disciplined approach to design, minimal in its attitude, and based on an unsentimental framework, creates a home with a background posture to the site. The architectural resolution emerges from a recognition of the essential nature of the site – its rugged beauty and ever-present horizon – through the lens of design.

DesignARC

The Mussel Shoals House is located at a critical juncture of the California coastline, between Los Angeles and Santa Barbara, near a legendary surf break. Designed as a weekend retreat from the demanding rigors of city life, the project responds to the significant constraints of a paucity of budget and a requirement to secure the house against storm and absence. The result is a confident and self-effacing home that defers to the repose and tranquility of the sea while providing a place of quiet respite for the client.


76


77


78


HanrahanMeyers Architects Holley House: Landscape Walls

Garrison, New York, USA The design for Holley House was initiated in response to existing stonewalls on the site, a twenty-five acre parcel near Garrison. The architects designed the house by first building two parallel stonewalls from stone quarried on the site. The house is experienced as indoor and outdoor space organized around the two walls. Two open pavilions on either side of the parallel walls connect interior spaces to outdoor landscaped areas. The spatial sequence through the house east to west runs from a wooded area behind the master bedroom pavilion to the pond below, passing through the north-south walls that separate the two pavilions. The sequence walking north to south runs from the driveway to the pool, passing through the linear space between the two stonewalls. These two experiential sequences intersect in the formal entry area of the house, in the guest wing nestled between the two parallel walls. The house program is divided into master bedroom pavilion to the east, wall space containing guest bedrooms in the center, and living / dining / kitchen space to the west. The house includes green features: cladding is sustainably harvested cedar; stone is from a local quarry and harvested from blasting on the site; paint and floor finishes are low VOC; landscaping is native species; lighting is high efficiency fluorescent. 


80


81


82


83


84


85


86


87


88


HanrahanMeyers Architects

The Juliana Curran Terian Pratt Pavilion Brooklyn, New York, USA

The Juliana Curran Terian Pratt Pavilion unites two existing buildings on the Pratt Institute Brooklyn Campus into a single Design Center. The Pavilion site was a small opening between two buildings. Pratt Pavilion, a steel clad box floating in the air, is the public face for a new 200,000 square foot Design Center that houses all of Pratt’s Design Arts (Industrial Design, Graphic Design, Fashion, Interior Design and Communication Design). The Pavilion reflects the architects’ original concept of a volume in the air crafted from fine materials. The craft of the building underlines Pratt’s legacy of design arts, housed in the new Center. The Pavilion itself is a gallery where Pratt student and faculty work is shown. The front facade is clear glass with a screen within the Pavilion that, when lowered, allows for rear projection in the evenings, broadcasting studio work going on inside the Center to the Campus. The overall square footage of the new pavilion includes a bridge that connects all three buildings facing the new interior courtyard, a first floor glass entry area, and a basement student lounge area totaling 10,000 square feet. Green technologies include: a passive cooling system funneling air from a central courtyard through the buildings; recycled GWB; low VOC finishes; and courtyard paving from local sources.


90


91


92


HanrahanMeyers Architects

WaveLine New York, USA

WaveLine is a steel and masonry pavilion of subtle but powerful vision, with modest dimensions. The building is located in Queens. WaveLine does not try to blend in with its neighbors - twenty-storey public housing towers built during the 1950's - but instead uses the contrast of contemporary materials and graceful form to define a place for performance and sport within an existing public housing complex. WaveLine’s main facade is the building's bent roof plane built with standing-seam galvanized steel and aluminum. The interior is a simple, white, one-room volume for performance and sport. The pavilion ceiling is a faceted surface expressive of the overall form of the building’s exterior. A new entrance vestibule on the south elevation of the existing community center is the lobby for the new pavilion. WaveLine, a term from ship-building and physics, refers to a shape able to move through water without resistance. Acoustic sound calculations of reverberation times also influenced the building shape.


94


HanrahanMeyers Architects

Ash 4 Ways is a Manhattan apartment where ash is used in four different states of finish within a minimalist white envelope. The apartment finishes are primarily ash, with different finishes: white finished, sandblasted ash (wall panels); sandblasted, acid washed and wire-brush scrubbed ash with high gloss white finish (bedroom furniture); natural finish ash door panels; and natural hand-rubbed, wax finished 5� thick wood from ancient ash trees.

White Space / Ash 4 Ways

New York, USA

Most of the ash has a white, shop-applied finish, to make the apartment envelope relatively silent. Throughout the project, pieces of old ash planks with a hand-rubbed finish float within the neutral, white envelope. The white envelope is differentiated on inspection, however, by the varying degrees of wood grain. The painted ash is acid dipped and wire brushed, or sandblasted, so that the wood grain appears more or less prominently. Painted panels are juxtaposed to naturalfinished ash door panels and free-form ash planks from ancient ash trees harvested locally in upper New York State. The principal materials for the two bathrooms are: natural finished solid ash doors: white-painted sandblasted ash wall panels; translucent, hand-made glass tiles, as well as translucent glass panels. One bath makes the eastern edge of the living room, with translucent glass. The other bath has a privacy window (painted sandblasted ash), which can be opened to the adjacent master bedroom, and has a window looking over Central Park. The desired overall effect was to create a space of calm where the large pieces of free-form ash from ancient trees could float. This wood is in reference to the Nature in Central Park, which the apartment overlooks.


168 96


Jones Studio,Inc. + Gensler

The site is a pivot point between the town center of Tempe, Arizona and the university campus, providing the opportunity to create an interconnecting gateway. The adjacent public broadcast television station to the north required coordination for antennae rays. Existing classroom buildings and a fine arts center sit to the south. A pedestrian mall and the university campus extend to the east. Future private development of retail/social space is planned to the west. The elongated site in the east-west direction with strict setback envelope drives the footprint of the building. Height of the building is limited to avoid requirement of compliance with high-rise code. There are three main components to this building: a 161,500 SF, six-story administration building; a two-level, 103,000 SF classroom building; and a 8,000 SF computer commons. Below grade and ground level classroom circulation is designed to handle over 2,000 student class changes every hour. Daylight reaches every classroom regardless of its location. Glass inserts in the main east west bridge contribute light to the lower level corridor.

Lattie F. Coor Hall, Arizona State University

Tempe, Arizona, USA

Large outdoor areas with concrete seats and tables are shaded by the huge overhanging glass tower (nicknamed “the planet�) encouraging student socializing adjacent to Forest Mall on the east and future night time oriented retail activity towards the west provided by the soon to be redeveloped, Tempe Center. Rough, as cast, structural concrete contrasts with sleek, blue glass skin imprinted with fragments of alphabets from Hopi, Spanish, Korean, and mathematical language.

There are five floors beginning twenty-two feet above grade to accommodate the various liberal arts departments. Other than the 30-foot grid of support columns, the 30,000 square foot plates are free of obstruction. The fixed program elements such as public restrooms, mechanical, electrical and communications' rooms, stairways, elevators and shear walls have been positioned outside the basic footprint in an effort to assure future flexibility and reorganization of departments. Special attention has been given to the placement of faculty offices along the perimeter of the Tower. However, interior spaces receive natural light as well, through a combination of carefully placed interior glazing, and a sloped ceiling system. The aspiration for interior modulated daylight will requires many wall surfaces to have clerestory glass as opposed to opaque dry wall construction. Exposed structure and higher ceilings around the perimeter will play an important role in the diffusion of natural daylight. The design explores the use of graphics printed on the glass to provide sun shading and an expression of the ideas and thoughts produced by the individuals and departments inside of the buildings. Exterior building finishes are glass, metal, and patterned concrete. The intent is to have a building that requires minimal exterior maintenance and will only get better with the patina of age.


98


99


100


Machado and Silvetti Associates

Bowdoin College holds one of the oldest collegiate art collections in the country, dating from 1811 when James Bowdoin III, bequeathed his collection of European paintings and Old Master drawings to the College. The collection’s first official home was a small gallery, fitted out in 1850, at the rear of the campus Chapel. In 1891, Mary and Harriet Walker endowed the construction of a freestanding museum building worthy of the collection. The result was the historically significant Walker Art Building, which was designed by Charles Follen McKim of McKim, Mead and White, and dedicated in 1894.

While the 19th-century Walker Art Building symbolically projected Bowdoin's continued commitment to the arts, it did not provide the space or technical amenities required of a 21st-century teaching museum. In November of 2003, after three years of evaluating the Museum’s physical needs and refining its programmatic vision, Bowdoin hired Machado and Silvetti Associates to develop designs for the building renovation and expansion.

The design addresses new program needs, necessary code and accessibility upgrades and incorporates state of the art security and climate control systems to meet current museum standards. A dramatic glass, bronze and blackened steel pavilion on the south side of the original building provides a new entry to the expanded museum from the town of Brunswick to the West, and the Bowdoin College quad to the East. This six hundred square foot pavilion houses a gracious new steel and stone stair and glass elevator which lead down to visitor service spaces and a new lower level gallery entrance.

Bowdoin College Museum of Art

A renovation and addition to an historic museum Brunswick, Maine, USA A larger addition on the west side of the historic structure houses seven new galleries, including a dedicated seminar room, and includes an upgraded loading facility and high capacity elevator as well as a new public stair connecting upper and lower gallery spaces. To support the teaching mission of the museum, the design of the 30,000 square foot project provided a highly efficient administrative office wing and high-density archival storage spaces. The restoration of the Walker Art Building included structural and waterproofing upgrades as well as new gallery lighting, signage and the insertion of state of the art mechanical systems within the historic building envelope.


102


103


104


105


106


Dewey Square Master Plan (1993-1994) and (1998-2002)

Boston, Massachusetts, USA

A master plan and urban design for the Dewey Square precinct in Boston’s Financial District, the project comprises a privately funded redesign of the surface restoration above the Central Artery/Tunnel Project. The 1998-2002 design expands the scope of the plan developed during the earlier study, to include the sizeable privately owned plazas that abut the square, and re-conceives the entire area as one urban space with a single contemporary character unique within the city. In attempting to maintain the space as a distinctive, inclusive, and progressive public plaza, the proposed guidelines promote a condition of orchestrated variety through several components. The square’s overall pavement serves as a continuous carpet of stone and concrete onto which a series of disparate objects are placed. The pavement’s patterns reflect the large scale of the plaza, with a giant order of stripes that adjust in width to accommodate the different objects. Each object is carefully orchestrated in order to establish visual relationships with the main pedestrian thresholds into the square.

Machado and Silvetti Associates

Smaller objects take the form of buildings, pavilions, subway entrance head houses, objectified crosswalks, and infrastructural improvements to provide public services and amenities. These include: retail spaces, a cafe, a newsstand/information broadcasting booth, a large public television screen, street furnishings, gardens, fountains, and various smaller plazas. All objects are designed to support urban activities — encouraging use, sensual interactions, legibility, and people’s attachment to the structures as recognizable landmarks.

South Boston Piers Transitway: MBTA Head Houses (2002-2006)

The design for the MBTA subway entrance pavilions was recommended as part of Machado and Silvetti Associate’s proposal for the Dewey Square Master Planning guidelines. These glass-louvered head houses lead to underground train access, give the Dewey Square precinct a distinctive identity and serve as glowing beacons at night. The glass lobbies of the surrounding office buildings inspired the concept behind these structures, with the completed head houses acting as a public version of these private spaces, in order to support urban activities in the newly revitalized Dewey Square.


108


109


110


111


112


The center is located in a blighted area of decaying industrial buildings. It was identified as a redevelopment zone by the city and was the focus of a new master plan, as an overlay zone. The building was seen as a tool for re-defining the image of the area and it acts as a kind of “urban pioneer” in this harsh industrial environment. The center is intended to create a recognizable urban environment, with a level of detail and complexity that provides a pedestrian scale for the area. It is the beginning of a new neighborhood.

The modern dynamic forms of the buildings reflect their role as an urban transit hub and also something of their ancestry in the industrial area. The designs are intended to be dynamic and eye-catching, to create a recognizable landmark quality that will anchor the new area. They are intended to have an “edgy” urban quality that reflects some of the character of the industrial warehouse conversion that is going on in other cities, such as Portland and New York. The residential lofts are bi-level, with a spiral stair leading to an open space that overlooks a double-height living area below. Many of the structural elements are left exposed, such as polished concreted floors and wood roof trusses.

F65 Center Transit Village

Sacramento, California, USA

Mark Dziewulski Architect

Situated adjacent to a new light rail station, this is a new approach to dense mixed-use development. It is the lead project of a new master plan for the area and is intended to provide the impetus for the renewal of the surrounding area. The scheme is a pedestrian-oriented urban environment with outdoor gathering spaces. It is intended to create a sense of community for the area.


Building A Elevations

114

Building B Elevations


115


116


The house is a combination of flexible living space, art studio and gallery. It provides a tranquil and sheltered environment from which to enjoy a rich natural landscape. The relationship between the natural environment and the house is central to the design. The sculptural form curves to take advantage of spectacular river views. Uninterrupted glass walls open the room up to the landscape and the boundaries between exterior and interior are blurred. The occupant feels fully immersed in a benign landscape; the effect is contemplative and peaceful. Sunlight reflecting off the water dapples the ceiling with dancing patterns, constantly changing with the progress of day.

Mark Dziewulski Architect

Lakeside Studio Carmichael, California, USA


118


119


120


A gently curving wall of solid granite, engraved with the names of the fallen and their campaigns, is elevated on a platform, which is shaped in plan like the aerofoil section of an aircraft wing. The use of a mound has its origins in ancient burial mounds or barrows. In contrast to the heavy wall, a dynamic stainless steel sculpture climbs and soars into the sky. The sculpture is an abstract representation depicting the dynamic movement of flight. Its shape evokes different images for each viewer. The rear of the wall is planted with climbing English Ivy, since many of the pilots made their last flights from England. If the wall symbolizes the solidity of the earth, the sculpture represents the freedom of flight and the soaring human spirit, breaking free from the worldly realm. The curving energy of the sculpture is reflected in the parabolic silhouette of the wall, joining together the two basic themes: the fallen airmen and their heroic fight. The memorial also serves functional requirements by providing a suitable setting for large remembrance ceremonies. It also creates a sense of place, a tranquil setting with special meaning, for contemplation of those who gave their lives and the historical events.

Polish Air Memorial Warsaw, Poland

Mark Dziewulski Architect

This is the national memorial to the Polish airmen who gave their lives during the Second World War. The monument is set in a prominent location in Pole Mokotowskie, a park in central Warsaw that has special historical significance as the location of the first airfield of the Polish Air Force. The design of the memorial was conceived from ideas and emotions that were conveyed by surviving pilots and also takes its inspiration from Poland’s history. The sculptural forms convey the youthful spirit and energy possessed by those young pilots who flew for their country.


122


123


124


The site is on the banks of the American River, heavily wooded and facing a state park across the river. The house is located to maintain as many mature trees as possible, which provide sun screening and further enhance the concept of living in nature. The form of the house is a response to the natural context, a gently rolling and wooded slope overlooking a river and the State Park on the opposite bank. The plan frames views of the river and park, opening up to the setting with a continuous wall of glass, protected beneath extended cantilevered overhangs. The project also creates a dynamic and sculptural form floating above the bluff. The design describes the journey from public realm to a private sanctuary: from street to entry court, over a bridge spanning a koi pond and into the private inner world, which literally opens up to the spectacular natural context beyond.

Mark Dziewulski Architect

River House

Carmichael, California, USA


126


127


128


129


130 168


Steven Ehrlich Architects

second floor plan

first floor plan

north elevation

east elevation

south elevation

west elevation

Islamic culture is embodied and reinterpreted through modern technology and design in this 35,000-square-foot residence, located in the Persian Gulf. Searing temperatures and ample desalinated water allowed the desert site to be transformed into an oasis with pools and landscaping. Sheathed in shimmering aluminum, a massive curved roof shelters and unites the compound’s series of two-story buildings. In section, the canopy forms a crescent moon, the symbol of new life that tops the minarets of Islam. The canopy is supported by stone-clad columns that function as mechanical exhaust vents; they pierce the roof and project up to the sky, reminiscent of traditional wind catchers in the age before air conditioning. The whole structure suggests a giant Bedouin tent, with the football-field-sized roof, cantilevered 30 feet on each side, casting a giant swathe of shade.

Helal “New Moon” Residence United Arab Emirates

The main entrance is approached through date palm grove aisles. A reflecting pool, which flows indoors and provides cooling, surrounds the front facade. A mashrabiyya, the traditional lattice sunscreen, filters direct sun. Gardens, fountains, shady courtyards, and terraces surround and penetrate the buildings, making it a desert paradise. The three-part plan separates the reception area (majlis) for male guests at the west from the women’s area behind the central grand hall and the family’s sleeping quarters to the east. In a dance between ancient and modern, massive stonewalls are counterpoint to large expanses of glass and taut elements of steel. Shadows of Islamic patterns from the mashrabiyya are cast onto stone floors and shimmer in the reflecting pools.


132


133


Steven Ehrlich Architects Waldfogel Residence

Palo Alto, California ,USA

An 8,000-square-foot house on a flat, half-acre site a mile from Stanford University takes its cues from the urbanity of the community and the sophistication of its owners, who wanted a home suitable for displaying their contemporary art collection. The house opens itself on all sides through a pinwheel plan that forms four distinct courtyards. Two two-story volumes are connected by taut horizontal planes that extend beyond the building envelope and are clad in gray Rhine zinc. The entrance is flanked by an axial wall of poured-in-place concrete, which continues indoors to become the north– south circulation spine of the house; carved alcoves along its length house the couple’s unique ceramics collection. The entrance court doubles as a terrace for a doubleheight dining room paneled in mahogany. The first volume, which contains the living room and the husband’s study to the north, shares another paved court extending out to the garden, and the kitchen and family room in the southern volume open onto a separate garden and pool. At the upper level, the master suite and wife’s study are linked across a glass bridge to the child and guest bedrooms. A floorto-ceiling window wall adjacent to the glass bridges and stairway brings light into the finished basement.


135


136


137


Warehouse Expansion

Santa Fe Springs, California, USA

Steven Ehrlich Architects

This project added approximately 300,000 square feet of additional shipping, distribution, and warehousing capacity to an existing 300,000-square-foot warehouse facility built in 1984. The addition dramatically improves the work environment for more than hundreds of employees by providing access to natural light and ventilation. An 800-footlong “main street,” punctuated by skylights, bamboo gardens, and lounges, connects two new entrances and “nodes” with employee break areas. A walking track encircles the 52-acre site that has been newly landed and hardscaped, featuring drought-tolerant California native plants and bioswaled parking lots. The “tilt up” concrete construction technique used inexpensive particle-board panels as “form liner” for portions of the patterned 40-foot-high walls. Rusted Cor-ten steel, insulated metal panels, and burnished concrete block complete the durable industrial exterior. Contrasting expanses of translucent “channel glass” allow soft natural light deep into employee work zones.


139


140


Richmond, California, USA

STUDIOS' design for the Department of Health Services office building conveys the pub­lic agency's commitment to innovation, while continuing traditional civic typologies. Its large-scale linearity and extruded forms establish a common identity with its two existing companion structures while still making a unique visual statement. The entry courtyard, which features a sculpture garden with a sunken grass court and public seating, creates a significant and welcoming space for visitors and employees both through its architecture and its landscape. Beyond the entryway, a central atrium feeds natural light into the build­ ing, and serves as a community gathering space for numerous DHS functions ranging from group staff meetings to all-hands assemblies. The DHS building is equivalent to LEED Silver Standard. The design was used as a demonstra­tion project for the State of California's alternative sustainable design program: the "Energy Efficiency and Sustainable Building Measures" (California Tier 1/ Tier 2 Measures).

STUDIOS architecture

Department of Health Services office building


142


143


144


Inverness, California, USA

This private residence is located on a steeply sloped, heavily forested site just 400 feet from Tomales Bay on California’s Point Reyes National Seashore, an area known for its cool, seaside woodlands and dairy farms. The wooded site and its neighboring historic rural buildings inspired STUDIOS’ design concept for this house of dichotomies, which appears at once as a wood cabin to its immediate neighbors, and as a glass and steel tree house on stilts facing the down-slope view of the Bay. Wooden decks and an enclosed glass dining area thrust out from the base shed and appear to float amongst the trees. Strong, earthy materials were selected to stand up to the harsh coastal elements and to respond to the dynamics of the steep site. Concrete walls inside and out anchor the building. An eroded wooden shell encloses the space and positions the open, glazed steel skeleton. An ensemble of garden walls, decks, the garage and gate house engage the site, forming an outdoor compound.

STUDIOS architecture

Point Reyes Residence


146


147


148


Sonoma Zen Spa & Observatory

STUDIOS designed a Zen spa retreat and observatory adjacent to the owners’ primary residence. The astronomical observatory houses a robotically controlled 20-inch tele­scope and an extensive private library. Clad in corten steel panels, the structure sits in a reflecting pool and is axially sited between an alley of old olive trees. A structural corten steel stairway provides access to the telescope and dome. Sited among 250-year-old Oak trees, the 4,000 square-foot concrete, stone and corten steel Zen spa building includes a living/dining area with fireplace, and wet spa areas. Images from the observatory’s telescope, the Hubble catalog and other sources are displayed on a large rear projection screen in the home theater.

STUDIOS architecture

Sonoma Valley, California, USA


150


151


152


The Morley House is built on a 1 ½ acre semi-rural gently sloping site, with a major road on the east side, a private drive on the north side, neighboring houses to the west, and a beautiful creek bordered by mature oak and bay laurel trees to the south. The owners, a couple with four school-age children, had lived in the site’s original bungalow for several years before embarking on this project to create a home uniquely suited to their family’s heritage and lifestyle. They stressed their desire to fully enjoy the beautiful site, particularly the riparian environment of the year-round creek at the south side of the property, while the maintaining privacy from the two adjacent roads. Aesthetically, the owners warmed to the ideals of modern architecture, with an emphasis on open interior planning and strong connections to the surrounding environment. In a nod to the family’s ethnic heritage (the wife is of Mexican ancestry), they also requested that the interior materials and finishes be sympathetic to their growing collection of Spanish Colonial art. The design that evolved is based on a “Z” shaped plan that created three distinct outdoor areas for living: an entry and motor court on the north side, a broad grassy play field to the east, and a private terrace and swimming pool overlooking the creek on the south side. Vehicular access is from the private drive, allowing new dense landscaping to screen the major road on the east side of the property. The service wing (garage and laundry) buffers the house from the neighboring houses to the west.

Morley House Lafayette, California, USA The center of the “Z” shaped plan is a “great room” that contains the entry, the living and dining spaces, and a glass-railed cantilevered stair that leads to four children’s bedrooms at the upper level. In keeping with the owners’ desire for privacy, the north (entry) side is almost entirely opaque, while the south creek side is almost all glass. At opposite ends of the great room are the master suite to the west, and the kitchen / family wing to the east. Terraces surround three sides of the family room, connecting interior spaces to the play and swimming areas beyond. In form, a series of folded wooden planes provide privacy on the north and west sides, while infilled planes of glass focus views and provide access to the south and east sides. The balance of the building is clad in ochre colored stucco which blends and harmonizes with the interior palette of light earth toned terrazzo floors, concrete casework and hearth details, cor-ten steel fireplace surround, Venetian plaster art walls, stained redwood walls and soffits, vertical grain Douglas Fir cabinets, and Brazilian Cherry wood floors and stairs. While the Morley house is thoroughly modern in its open planning, connection to the outdoors, and form, one of the many successes of the project for the owners is the blending of modernity with a sense of tradition that, through materials and hues, embraces their ethnic background and love of Latin American culture and art.

Swatt Architects

East Elevation


154


155


156


The Orr House is an addition and remodel to a 5,080 square foot 1970’s stucco clad two-story home, built on a steep down-slope lot in semi-rural Saratoga, California. Although originally built well, the existing home, with its long and narrow living room, lacked sufficient space for entertaining, had inadequate parking, and had tired and outdated interiors throughout. The existing entry was severe and uninviting, and the semi-formal dining space did not work for the owner’s casual lifestyle. The owner is a single man with two children, ages 16 and 20, who loves modern design and evocative landscapes. The design charge was to address all of the deficiencies in a creative modern way, completely in tune with our time. Additionally, the owner specifically requested that major portions of the framing and skin of the building be retained in the new design, in order to make the project as “sustainable” as possible. Because of the proportions of the building, almost square in plan, affectionately called a “wide-body” building by the architects, the first strategy was to provide natural light by inserting an atrium into the center of the building. Bathed in light from a skylight above, the new atrium brings natural light to the entry, the living room, a lower level tatami room and home office, and dramatically illuminates the stairs to the lower level as well as a beautiful mahogany bridge that spans the two story space. The kitchen has been planned as a large multi-purpose space, which includes dinning. The kitchen / dining area and the living area all share a beautiful new stone terrace, edged with a cantilevered reflecting pool that extends the vistas to the horizon while minimizing views of the driveway below. Formally, the new design introduces a series of overlapping horizontal cedar clad planes, which serve to extend interior space to the exterior. Two of the pre-existing sloped roofs were retained (one used to support new photovoltaic panels), and seamlessly connected and tied to the new design. One of the most successful aspects of this project is the sensitive combining of new and old to create a new design that is fresh, unique, beautiful to look at and comfortable to live in.

Swatt Architects

Orr House California, USA


158


The client, a recently retired executive in the network computing industry, desired space for work, sleep and meditation, remote from his main house. These spaces, or “tea houses� as he refers to them, were to be quiet, tranquil environments where he could spend time away from his teenage children and enjoy nature and valley views from his three-acre canyon site. The essence of this design is the use of structure to give clarity to function. Each function is given its own pavilion consisting of steel framed floor and ceiling planes with frameless glazing infill. The pavilions are suspended between board formed concrete service towers. The structural solution physically embodies the contrast between served and servant spaces, light and dark, meditation and engagement.

Swatt Architects

The larger of the two structures, consisting of two pavilions linked by a skylit concrete service space, provides spaces for work and sleep. The smaller pavilion, for meditation, is located on a lower earth bench about 35 feet from its larger sibling. The frameless glazing of the pavilions allows uninterrupted views of the canyon and city below. At night the delicate steel frames will be illuminated from within, appearing like Japanese akari lanterns in the garden. The design attempts to work at several levels. At the most practical level, the design provides the required spaces for work, sleep and meditation, remote from the main house. Metaphorically, the design symbolizes a state of meditation— silence, tranquility and detachment. Architectonically, the design attempts to engage nature through its transparency, while at the same time being separate from its natural setting through its structural clarity.

Tea Houses

California, USA


160


The Openhouse

Los Angeles, California, USA

Glass, in various renditions, is the primary enclosure material. There are forty-four sliding glass panels configured to disappear into hidden pockets or to slide beyond the building perimeter. Glass in the form of fixed clear panels, mirror plate walls and light gray mirror glass panels lend lightness to the interior spaces. These glass walls are visually counterweighted by sculptural, solid elements in the house. The fireplace is made of dry stacked granite, which continues as a vertical structural element from the living room floor through the second story. The main stair is charcoal concrete cantilevered from a structural steel tube. Service and secondary spaces are clad in floor to ceiling rift oak panels with flush-concealed doors. Several interior walls are dark stucco, an exterior material that wraps inside the space. The use of cut pebble flooring throughout the house, decks and terraces continues the indoor-outdoor materiality, which is amplified when the glass walls slide away.

XTEN Architecture

The Openhouse is embedded into a narrow and sharply sloping property in the Hollywood Hills, a challenging site that led to the creation of a house that is both integrated into the landscape and open to the city below. Retaining walls are configured to extend the first floor living level into the hillside and to create a garden terrace for the second level. Steel beams set into the retaining walls perpendicular to the hillside are cantilevered off structural shear walls at the front of the site. Lateral steel spans fifty feet between these beams creating a double cantilever at the leading edge of the house and allowing for uninterrupted views over Los Angeles. Front, side and rear elevations of the house slide open to erase all boundaries between indoors and out, connecting the spaces to gardens on both levels.


162


163


164


165


Yazdani Studio of Cannon Design

Hauptman Woodward Research Institute for Structural Biology Buffalo, New York, USA

The project is located on a site at the southwestern corner of the Buffalo Niagara Medical Campus, between Ellicott and Washington Streets, and acts as the southern gateway to the Campus. A proposed enclosed bridge linking the HWI research facility and the proposed Roswell Park Cancer Institute Research Facility and the UB Center for Bioinformatics will facilitate scientific collaboration among the researchers. The key organizational element of the building embraces the principle of scientific collaboration. The building is separated into two main programmatic components: research labs, and office and multifunction support space. this allows each discrete space to be built cost effectively in support of the guiding principles of the project. The program shaped the design into a three-part geometry: a rectilinear translucent laboratory block, a curved office wing and a three-story atrium joining the two. The combination of the purity of the square and the fluidity of the curve reflects the dynamic coexistence of intuition and reason at the essence of scientific research: the curved office section symbolically houses the scientific mind while the square lab holds the tools. The two programmatic components of the facility are housed in separate volumes that are linked by a glass-covered atrium that visually links the facility to the other world-class institutions of the Buffalo Niagara Medical Campus. Multifunctional support spaces line circulation paths that thread through the atrium between the office and laboratory blocks, creating an environment of visibility and interaction among scientists throughout the campus. A campus bridge links the facility to allow the atrium to be a central gathering space for all facilities. The notion of connectivity and collaboration is further enhanced by visually connecting the HWI research building to the City by fully glazing the eastern wall of the atrium. Glazing the lab block and opening it to the public exposes the inner workings of the research labs to the public. The laboratory component of the facility is rotated to the west ten degrees to enhance visibility from the street into the atrium and the labs. The rotation allows for better access of natural light and views from the lab block.

1. 2. 3. 4. 5. 6. 7.

Ground Floor Plan

Second Floor Plan

Entry Atrium Offices Seminar / Lecture Laboratories Lunch / Lounge Area Parking / Loading


167


168


Yazdani Studio of Cannon Design

Price Center Student Union Expansion La Jolla, California, USA

The 140,000-square-foot expansion to the existing Price Center at the University of California at San Diego seeks to accommodate the growing needs of the urbanizing campus for dedicated student activities space and a thriving retail environment. As the campus hub, the sloping site is surrounded by major campus circulatory arteries. A shuttle drop off at the north end brings an average of 14,000 students a day during the school year. A historic nature preserve of eucalyptus trees frames the north and west skyline. To the south, a vehicular drop-off loop will be transformed into a ‘town square’ for the campus. The program for the expansion includes additional retail and food venues, a conference center, two ballrooms, meeting and event spaces, lounge and study spaces, and administrative offices for various campus institutions and student organizations. In addition to additional program, the new building will create a unified ‘center’ for the campus. The expansion works to extrovert both the old structure, currently organized around an introverted central courtyard, and new via architectural strategies at the perimeter of the building that encourage a dynamic urban street life. This extroversion will generate a diverse range of spatial experiences for social expression, study, and rest. The design advances the building’s overall goals by examining elements of contortion, porosity, and transparency. The building mass warps to enhance the local urban condition and accommodate pedestrian movement patterns. Openings in surfaces and massing strategy allow the building to act as a pedestrian ‘hub’ for cross-site connections at multiple levels. Visual connections through the building provide exposure for various organizations within a “public and open urban space”. The building interior yields an environment of overlapping spatial trajectories informed by movement through the site and compression by urban forces. Opportune view windows take advantage of the contextual narrative and differentiate the components of the building mass. A variety of permeable and translucent materials, skylights, and curtain walls maintain the intended openness of the space and provide natural light into areas for dining, study, and social gathering.


170


171


■ Bates Smart Pty Ltd  Crown 3rd Hotel  Freshwater Place Stage One  Freshwater Place Stage Two  ■ Harry Seidler & Associates  Ian Thorpe Aquatic Centre  Riparian Plaza  ■ Tonkin Zulaikha Greer Architects  Zulaikha Laurence Residence  Newtown Silos Apartment  ‘Portico’Scots Church Redevelopment  CarriageWorks At Eveleigh Contemporary Performing Arts Centre  Craigieburn Bypass  ■ Turner + Associates Architects  Airia A p a r t m e n t s   K a n g a r o o Va l l e y H o u s e   S I L K W O O D   Te r r a c e H o u s e s   ■ APOLLO Architects & Associates  F O O   L S L A S H   S W I T C H   ■ Yasuhiro Yamashita / Atelier Tekuto  Nakdong Estuary Eco Center  Cell Brick House  TwinBricks  Parabola  ■ Atsushi Kitagawara Architects  Nakamura Keith Haring Collection Art Museum   C'BON Headquarters   ARIA   ■ r-session Inc.  East Cottage   North Cottage  ■ RYUICHI ASHIZAWA ARCHITECTS & associates  SETRE Chapel  SETRE Residence  Io  Re  Kobe PortIsland Factory


174


Following the State Government’s decision to develop the new International Convention Centre on Southbank, the premium 4.5-star Crown 3rd Hotel is ideally placed to capitalize on the business, convention and leisure markets. It will complement the two existing Crown Hotel offerings. It is proposed that the new hotel will be supported by a substantial addition to Crown’s already impressive convention and conferencing facilities, which will be positioned between the Crown Promenade Hotel and the new site in Clarendon Street. The site is an entry point to Melbourne and the sinuous form of the tower and its activated podium will create a striking and highly memorable gateway to the CBD. By extending the pedestrian-friendly environments that already encircle the Crown Entertainment Centre, the urban design component will create a much needed link to the adjacent South Melbourne retail precinct and riverfront promenade. The main podium level will contain a major retail offering, which along with bar and restaurant facilities on the podium and upper levels will help to enliven the Clarendon Street edge and to identify the hotel as a major leisure destination. All three Crown Hotel tower forms will share a similar language and related branding but this building will be the most arresting and dynamic. At an estimated cost of $300 million AUS and with 658 rooms, this new hotel will be the largest hotel in Australia.

Bates Smart Pty Ltd

Crown 3rd Hotel Melbourne, Australia


176


Freshwater Place Stage One Melbourne, Australia

Freshwater Place Residential Level 3 Plan

Freshwater Place is a unique and comprehensive urban redevelopment project that transforms and integrates the entire Southbank precinct. Melbourne’s urban design policy defines this part of Southbank as an extension of the central business district: a high density, mixed use precinct that allows Melbourne to expand while avoiding undue pressure on densities within the city grid. In this co-ordinated and staged project, Bates Smart sought to create a new focus for Southbank, resulting in a high-density neighbourhood that combines residential, commercial and retail functions with enticing urban spaces. The new neighbourhood provides both a new focus for Southbank and links to other smaller projects. Drawing on Melbourne’s urban precedents, Bates Smart translated the character and scale of places like the Block Arcade and Hardware Lane into contemporary thoroughfares that connect Freshwater Place to the new Queensbridge Square. Of equal importance is the arcade that links Freshwater Place to Power Street, and a new street extension of Riverside Quay.

Freshwater Place Residential Level 10 Plan

Within the development, the scale and material palette maintains consistency with Melbourne’s urban character. The pedestrian environment is defined by a substantial masonry and glass podium, which encompasses the entire site. A series of internal pedestrian streets and arcades lead to a new and unique 60m by 30m urban public square that is the heart of the project.

Bates Smart Pty Ltd

Freshwater Place Residential Level Ground Plan


Freshwater Place Commercial Level Ground Plan

Freshwater Place Commercial Level 10 Plan

178


Freshwater Place Commercial East Elevation

Freshwater Place Commercial South Elevation

179


180


181


182


Melbourne, Australia

Freshwater Place Stage Two is a 22-level tower that comprises commercial office and retail spaces and associated parking. In urban design terms this stage completes Freshwater Square, a new neighbourhood open space linked to Queensbridge and the Yarra River. Conceived as a side-core building providing studio-like office space in the tradition of ICI House, the design incorporates extensive ESD principles to achieve a 4.5-star energy rating accreditation. On ground level, the lobby incorporates approximately 570sqm of nett lettable retail space, while the 22-level office building provides office space in three podium levels and 15 tower floors. The building also provides six levels of car parking. The materials palette is lighter than Stage One, while the lobby’s interior design features sculptural forms and bold use of colour.

Bates Smart Pty Ltd

Freshwater Place Stage Two


184


HarryAssociates Seidler &

The building is crowned with a wave shaped roof that rises from the Darling Harbour elevation towards the Harris Street ridge. The expressed steel roof structure recalls the character of Darling Harbour and resolves itself with a colonnade of shaped concrete piloti columns on Harris Street complementing other iconic buildings in this precinct. The built form addresses the hierarchy of Harris Street as the primary urban axis, the main 'boulevard' for Ultimo, and William Henry Street as a primary view corridor. This results in a non-symmetric dynamic resolution to the principle corner of the site. Clear glass walls to the east and west facades also reinforce important visual links towards the city skyline. This transparency establishes a dialogue between the activities of the aquatic centre and Harris Street, and by extension, the community. The curved form of the roof is also recalled in the freeform shapes of the protruding amenity pods and the leisure pool in contrast to the otherwise controlled rectilinear form of the three-storey building.

Ian Thorpe Aquatic Centre Ultimo, Sydney, Australia

The high spacial volume was appropriately provided over the main pool with the lower space over the smaller pools. The entry was deliberately compressed to heighten the experience of the grand space to the pool concourse. The high-end walls to the north and south were glazed with u-profile glass panels to economically resolve the large spans. This glass is frosted to provide a sense of enclosure, a steamy bathhouse feel, yet a hint of what lies beyond. The glass walls to the pool concourse are flushed with tempered air from linear floor grilles to avoid condensation. The planning of building also establishes a reference to the former Bullecourt Lane with its wool store bridgings recalled in links between the main pool and leisure pool / entry circulation. The resultant void also provides a visual connection between the pool concourse and fitness hall below. Natural daylight is further introduced with skylight ribbons at each roof truss. Together with natural ventilation openings in the roof and glazed facades, efficient heat exchange systems and water harvesting energy features have been integrated in the provision of a 'natural' environment.


186


187


188


HarryAssociates Seidler &

Plaza Plan

Riparian Plaza

Brisbane, Queensland, Australia

Squeezed between 2 existing high-rise buildings, the riverfront site came with restrictions caused by light and air easements, which virtually dictated the shape and disposition of the building’s envelope. Combined with the added complication of a telecommunications underground easement affecting the layout of the building’s services core, the restrictions imposed a virtual noose on any design viability. The plan shape is a square turned on the diagonal with rounded corners to the east and west, and indented corners to the north and south. 11 floors of car parking slabs are located above the 10-metre high Main Lobby, spiraling around the central concrete services core. These floors are accessed via a double helix spiral ramp, which begins and ends in the Basement below the Lobby. Above these car-parking floors sits a two-storey circular plant room structure, before 25 floors of Office space rise above. At Level 39, a Recreation Level is situated containing a 25-metre indoor/outdoor heated lap pool as well as Spa, Sauna, Steam room, Gym, Meeting Room, Function Area and Outdoor BBQ facilities, above which is another Plant room. 11 floors containing 50 apartments complete the tri-partite physical expression of the Tower, with an alternating 4 and 5 apartments per floor arrangement leading to the counter-curving balcony expression at the top of the building. A full-floor Penthouse caps the building with the Cooling Towers and Plant room above, supporting a 50-metre communications mast. A Promenade on the river accommodates cafes and outdoor seating whilst allowing pedestrians, bikes and joggers to perambulate along the water edge. The Main Plaza 2-metres higher and accessed by stairs and ramp, is leveled with the Eagle Street address point of the corporate and residential Entry Lobbies situated under the Tower. These Main Lobbies, quite independent yet visually connected, are contained within 10-metre high, quadrant shaped glass walls, which allow unimpeded outlooks towards Brisbane River to the east, Eagle Street to the west, and the dramatic Waterwall and Glass Entrance Canopy. An avenue of palm trees against the existing office block to the north, leads to a castellated steel and glass wall screening the double helix ramp connecting the car park levels above the Lobby. A single mature fig tree shades the Plaza in front of 2 levels of cafe/restaurants overlooking the river.


Basement Plan


191


192


193

Carpark Entry Level

Typ 4apartment Plan

Carpark Office Level

L41 4apartment Plan

Typ Office Lowrise Plan

Typ 5apartment Plan

Typ Office Highrise Plan

L51 3apartment Plan

L39 Recreation Plan

L52 Penthouse Plan


194


195


196


Tonkin Zulaikha Greer Architects Zulaikha Laurence Residence Sydney, Australia

The original structure of the house is of a single room, originally constructed as a gunpowder store under the control of the Harbour Master. Later additions carried out in the eighties converted this into a modest and relatively uninteresting dwelling. The original store formed the core of the house and its interesting robust concrete construction was not apparent until construction commenced – consequently the structure escaped the notice of consultants when compiling the heritage listings for Leichhardt Council. This probably had some benefits for designing the house. The project was to add a weather-enclosed verandah, and to renovate the remainder of the structure. The site is very exposed, faces south onto Sydney Harbour and is subject to extraordinary weather changes. The challenge was to create a comfortable dwelling which could be made liveable in all weather conditions, was informed by the relatively mundane architecture of the existing dwelling house, as well as the robust quality of the original gunpowder store.


198


199


200


level 9

Tonkin Zulaikha Greer Architects

Level 9

Newtown Silos Apartment Sydney, Australia

The Crago Mill in Newtown, on the western fringe of Sydney’s inner city, has landmark structures that are the significant heritage survivors of a period when flour milling was dominated by large city mills alongside railway lines. The concrete silos (1930) and a tall complex of timber storage bins (1898) were originally used for the storage of grain. This project converts these structures into residential use with associated open space. A new lower-rise structure provides additional residences alongside the refurbished heritage buildings. All new work is to be clearly articulated, and the retained portions are restored in such a way that the three buildings form a coherent and functional whole. The new building, of approximately 7,200 square metres, was developed retaining the industrial qualities, scale and aesthetics of the existing complex. The three buildings accommodate 63 apartments over 14 levels. The existing ground–level bases of the historic silos and bins have architecturally impressive concrete and timber structural forms, and have been designed as the main foyers for the new building. At the top of the concrete silos, a new three-storey metal–clad ‘crown’ provides penthouse accommodation. The silos apartments take advantage of the circular plan form to generate unusual but rational room shapes, reconciling southern views with northern sunlight. Throughout the development unfinished wall surfaces have been retained, linking the past to the building’s present use.


Section AA

202

South Elevation


Ground Plann

203


204

York Street Elevation


The winning scheme in the City of Sydney Design Excellence Competition, this project explored the redevelopment of the disused, heritage-listed Scots Church in Sydney’s CBD. The project involved the conversion of the former church building and its airspace into residential units with some commercial uses at the lower levels. A stratum containing the original church auditorium of 2500 seats has been retained by the Church and was restored in a separate commission. The six-storey heritage building by Rosenthal Rutlidge and Beattie (1927-30) was originally designed to have an additional 12 floors but during the Depression of the1930s this scheme was abandoned. The new development uses the original support structure and reflects the neo-Gothic massing of the original proposal. To achieve the maximum number of high quality apartments, a system of two-level units was developed by arranging corridors and lift access at every second floor. The whole building is within the sloping height plane, which preserves solar access to Wynyard Park, south of the site. The elevation created by the sequence of double-storey apartment boxes continues the proportions of the Perpendicular Gothic facade from below, emphasizing the building’s verticality and silhouette.

‘Portico’Scots Church Redevelopment Sydney, Australia

Tonkin Zulaikha Greer Architects

A series of sky follies - sculptural roof forms - lean over each of the rectilinear ‘towers’, the northernmost roof looking forward to the Harbour. The facade of the double-storey apartments augments views to the city and sky from within and incorporates louver banks for natural ventilation, operable sliding doors and shading blinds. The enclosed winter gardens act as both acoustic buffer and passive solar warming system, allowing daylight to penetrate deep into the apartments. Louvers in the ceiling plenums collect sun-warmed air rising behind the winter garden facades and direct the air outside. This serves as a natural cooling system, reducing the air-conditioning requirements of the apartments. The tower forms of the new building utilize sandstone colours that relate to the restored stone base, as well as expanses of seamed zinc and glazing. The interplay of solid and light, zinc and glass, combined with the irregular rhythm of coloured glazing panels, blinds and shutters, creates an urban elevation that reflects both its residential use and its relationship to the heritage building below.

Wintergarden Floor Plan

Ground Plan

Level 2 Plan


Wintergarden Section

206


207


208


Tonkin Zulaikha Greer Architects

Level1(Ground)

CarriageWorks is a new home for contemporary arts in Sydney. Developed by the NSW State Government through Arts NSW, the former 1888 Carriage Workshops building at Eveleigh has been transformed into an innovative new centre committed to the conception, development and presentation of a wide spectrum of performance. Tonkin Zulaikha Greer’s adaptive reuse of the building as the CarriageWorks Contemporary Arts Centre has embraced the building’s past whilst providing it with a bold new future.

CarriageWorks At Eveleigh Contemporary Performing Arts Centre Sydney, Australia

Three fully serviced, flexible theatre spaces - small, medium and large - rehearsal rooms, administrative offices, workshop space and amenities are housed in discrete concrete boxes. These are clearly articulated from the heritage fabric, which retains its patina of age and use and its remaining industrial artefacts. The new forms stand free of the rows of original cast iron columns, creating circulation routes in the interstitial spaces with views through the building. The foyer spans the entire width of the building. The linear entry structures to each of the theatre spaces are like ‘ghosts’ of the carriages that once moved through the space. The front of house is divided by glass doors from the back of house activities, which are located adjacent to the railway tracks. Bay 17, the large performance space, has been designed for experimental and physical theatre. This required removal of a portion of the original wrought iron framed roof to achieve the briefed height. The new-elevated roof echoes the rhythm of the original roof monitors and reads as a glowing beacon. The original trusses have been reused as a sculptural entry structure, located on Wilson Street, to herald the new use.


210


Level 3

211


212


Sound walls and road furniture for a new 32 kilometres stretch of freeway linking the Hume Highway with the Melbourne Ring Road were designed in association with Landscape Architects Taylor Cullity Lethlean. Artist and sculptor Robert Owen was also creatively involved in the concept design and modeling of all the elements. The project was designed to be experienced at a freeway speed of 110 kilometres per hour. It includes three series of sculptural sound walls, a pedestrian bridge and a set of design parameters for road bridges, crash barriers and retaining structures. The main series of walls by Tonkin Zulaikha Greer total over 2 kilometres in length, and are made from facetted austenitic steel sheets modeled in simple concave and convex folds to produce a gently undulating wave of steel floating on a recessed dark concrete base.

Craigieburn Bypass

Sound Walls and Road Furniture Melbourne, Australia A second series of walls by Taylor Cullity Lethlean, are translucent and transparent, preserving light and views from residential areas. These are edge-lit acrylic, sandblasted with a digital pattern and overlaid with coloured precast concrete blades, which form a relationship with the existing Melbourne Portal by Architects Denton Corker Marshall. The third series, by Tonkin Zulaikha Greer, was built on the existing landform with dramatic earth sculpting. The use of gabions and heavily planted earth berms achieve the required sound control.

Tonkin Zulaikha Greer Architects

A major element of the work was a new pedestrian bridge, which was designed as a gateway to the distant city of Melbourne, visible on the horizon. The bridge, a complex curve in plan and elevation, is a tubular steel truss faced with the same austenitic steel as the main sound walls, which at this point appear to leap over the road in a gesture of welcome or farewell.


214


215


216


Turner + Associates Architects

level 4

level 1

Airia Apartments Sydney, Australia

Victoria Park is a component of Green Square that is setting the standard as a model urban renewal project. Airia is part of a competition-winning proposal for stage 2 and comprises 129 apartments.

The buildings are organized in a perimeter form around two large courtyards on a site that is orientated north/south. Living and sleeping spaces are arranged to take advantage of the street and park outlook with predominantly service and circulation spaces addressing the courtyards.

Robust, slim-line forms flank the long east and west boundaries. The building to the east addresses Joynton Park and is articulated with a large, threestorey, black frame that extends almost the full length of the site that boldly responds to the scale of the park space before it. At the upper fifth level are three pop-up portions that individually express penthouses. The building to the west addresses a local street and previous project stages, and is therefore broken down into three legible parts, each with its own architectural vocabulary and use of materials. At the southern corner the upper levels are expressed as a dramatic cantilever that accentuates acute street geometry. The courtyard facades, by contrast, are solid planes punctuated by a staccato rhythm of coloured slot windows. The NSW Government Architect collaborated in the design of the northern building element that makes provision for elevated garden spaces articulating the northern facade in a more informal response to the street, with oblique views to the park. These apartments are known as garden apartments that simulate a vertical urbanization of the suburban house. The buildings sit on a legible base punctuated by grouped apartment entries and direct street access for many ground floor individual apartments. The northern pedestrian entry on the east building is celebrated by an undercroft access ramp nestled amongst a forest of orange columns. Environmental performance and occupant comfort is fundamental to the design concept of Airia and includes effective apartment cross ventilation, shading devices, performance glazing, and storm water collection and reuse.


218


219


220


221


222


The house is sited on a previously cleared plateau near an escarpment edge and surrounded by a rugged bushland context. A long meandering approach road allows a gradual revealing of the house that appears defensive and deceptive in scale on arrival from the east side. The house is made up of a family of containers, roofed and open to the sky. A material selection of concrete, copper and timber have been assigned to the key three elements of the house; the living volume, the garage and southern courtyard enclosure and the usable outdoor ground planes. Concrete is used as a robust material where connections to the ground are made and compatible with the massive organic rock shelf formations adjacent. Copper is used as a crafted, soft and patinated surface hovering above the ground colour of which makes a connection with the red/brown eucalypt leaves on the ground and the purple/brown hues of the tall bloodwood and stringybark that dominate the site. Timber is used on the external living surfaces as a rich but domestic contrast to the cladding and structural materials.

Turner + Associates Architects

The geometry of the house is simply orthogonal forming quietly arranged spaces within a dramatic natural landscape. Of the containers, the first accommodates the primary interior living spaces, which run east/west, and wrapped in copper. It cantilevers 4.5 meters to the east making a generous and legible undercroft arrival space with an extension of the copper wall cladding wrapping down and under to line this and other projections. This element is elevated on a concrete second container accommodating entry lobby, parking garage, workshop and utility areas. This lower space diminishes from a full visible level on the east side to meet the adjacent rising ground level towards the west. To the south of the primary living space is the third container, an open air room with out door fireplace and enclosed on three sides by 2.4-meter high concrete walls with openings that frame local views and shield the house from south westerly winds and by night exposes the intensity of a sky never seen in the city.

Kangaroo Valley House Kangaroo Valley, Australia

The simplicity of the spatial configurations and overall form belie the ability of the building to offer different living patterns that respond to seasonal and diurnal changes. Outside the winter months, the terrace, living volume and southern external courtyard represent an extended flexible living space, orientated north/south whilst in the colder months, living is internalised in an east west direction with open fireplace as the focus. The house is organized internally with a continuous zone along the south wall that accommodates storage, robe space, pantry and primary circulation. From the lower arrival space you are delivered into the living/dining space revealing a slim and transparent form by comparison with the closed and defensive first impressions on arrival.

A continuous surface of slate slabs extend to all rooms and bathroom walls creating a calm and secondary focus; the emphasis from all spaces being, constant connection to the site environment which is maintained through this highly place specific concept. White surfaces together with an extension of the external concrete elements make up the few internal walls and 3-meter high ceiling.


224


225


226


227


228


Turner + Associates Architects

Silkwood is located on the fringe of the city centre occupying a disused triangular parcel of land between a robust turn of the century warehouse building and a mock Georgian styled apartment building. The building design responds to the transition in scale between the warehouse building and the taller apartment building creating a highly modelled and legible form. With a balanced tri-partite approach, the width and size of the openings maintain the rhythm and proportion of the warehouse grid whilst the metal clad box responds to the height and scale of the adjoining apartment building. A mixed-use brief with a residential, commercial and auditorium programme has permitted the development of a building with several identities.

North Elevation

The auditorium, which occupies a former lane way adjacent to the warehouse building, emphasises the nature of the lane and provides an appropriate separation between the warehouse building and main building form. The location of the entry to the internal foyer, the height of internal spaces and clear glazing at either end of the auditorium allow for the continued physical and visual access through the lane. The external nature of the lane is further heightened with the continuation of external materials into the auditorium and the existing warehouse building facade being visible within the foyer area. The use of corten on the external facades strengthens the contrast between the main building forms whilst, as a material, is a sympathetic neighbour to the masonry.

SILKWOOD Sydney, Australia

The commercial spaces occupy the majority of the lower levels of the building and assist in creating a base to the building. Sculptural skylight elements clad in corten project into the residential courtyard space over and further enhance the amenity gained from a clear span floor plate. The extent of glazing and introduction of playful elements such as the timber tube not only provide an appropriate scale and level of detail but also assist in activating the street frontages. Located over the commercial spaces the apartments take on a courtyard typology. A solid off form concrete entry with oversized building address cast into the concrete, cantilevered canopy and bamboo formwork to internal walls provides a clear identity for the residential foyer whilst the metal clad box over assists in holding the street corner and provides a jump in scale between the overall building form and adjoining apartment building. With a mix of single and double storey apartments orientated around a central courtyard the majority of apartments are able to be north facing, cross-ventilated and have multiple aspects. Access to apartments is via corridors located on every second or third level to maximize the number of ‘through’ or cross-ventilated apartments. Views to the city skyline and surrounding area can be captured through single and double height openings contained within the stitched precast concrete facade. Materials selected have been considered in response to the existing context. At street level tactile materials including timber, stone, masonry, corten and galvanized steel are used maintaining the variety found in the adjoining buildings. On the upper levels a more robust palette is used, predominantly precast concrete with metal cladding to highlight the corner box and top floor mezzanine apartments.


Level 1

Level 6

230

Level 7


231


232


233


234


This pair of mirror reverse contemporary terrace houses are located in Alexandria, one of the most vibrant light industrial inner city suburbs of Sydney. They are orientated towards the north and command panoramic district and city skyline views. The locale comprises a relatively level street with small terrace subdivisions. These are interspersed with double lot freestanding early twentieth century houses and larger consolidated lots with multi residential buildings and light industrial uses. The site was previously occupied by a single storey federation weatherboard cottage. Prior to subdivision, it had an approximate area of 306 square metres and both street and rear lane frontages of just over 10 metres.

Terrace Houses

Sydney, Australia

From the street, the terraces appear to be two storeys, consistent with the character and proportion of neighbouring terraces. In reality, whilst the bulk of the building is sited towards the street, sensitive to traditional setbacks, the rear of the terraces are three storeys, opening up to spacious landscaped urban courtyards, taking advantage of aspect, natural lighting, ventilation and the skyline views.

Turner + Associates Architects

On the top floor, the master bedroom opens onto a sheltered roof terrace which functions as an outdoor room for much of the year. Remaining bedrooms are located on the middle floor, either side of the main bathroom. Each features outdoor spaces and operability to the north for sun shading. A double height void occurs above the sunken living area located on the ground floor. The open plan ground floor space opens each end to enclosed landscaped courtyards, assisting in simple circulation. A galley style kitchen becomes a very public transition space between the living and dining areas. Careful detailing and a restrained palette of materials, neutral colours and finishes have helped to create a sophisticated response to a simple and clear design brief.


236


237


238


APOLLO Architects & Associates

FOO Yokohama, Japan

This two family house is built in the quiet residential area of Yokohama city. The husband’s hobby is golf and wife’s hobby is gardening. They requested to have a Japan and West mixed style garden in south side of the house, and it is can be seen from the first floor central living area. The residential space for the family of son is arranged in the second floor via void space to consider to naturally communicating between parent and child. Simple outside appearance by exposed concrete and wooden louver is modern design for harmonized green of the site and city landscape. It is succeed in creating dignified atmosphere.


240


241


242


Second Floor Plan

APOLLO Architects & Associates

First Floor Plan

Third Floor Plan

L Tokyo, Japan The client is a couple in age of thirties. Their purchased site is located in the quiet area of Setagaya. This project’s aim is to build a RCstructure house with a garage to settle their favorite Mini Cooper. To be able to see a big cherry tree in the opposite side and to take the advantage of corner location of the site, a line of horizontally continued window was set in the north side corner of the house. The opposite south side is arranged a lighting window to pour enough natural light through the void space. The penthouse in the third floor is used as study room for the wife who is an editor. Here the luxurious roof garden is arranged where the family is able to enjoy barbecue. The void space between LDK is set a projector to enjoy the movie, and the same style of playing devices are arranged everywhere. The house has a distinct character that inside of the spacious space could not be imagined from the constitutive appearance.


244


APOLLO Architects & Associates

SLASH Futtsu, Chiba, Japan

The site is located near coastline closed to the Kanaya Marina. The client who lives in Daitou city in Tokyo, requests a space for spending relaxation time on weekend. Long in south and north, this one-storey concrete house is built in a natural park. It is endowed with a panorama of the luxurious seascape without any obstacle, with each room having the view to the shorelines. While it affords splendid sunset seaward everyday, the pleasure of family life may heal the fatigue in the city.

The building is of simple one-storey plan not giving the overpowering impression to the coast. Facing a road through the parking area, it is not designed open as much as possible and has a ramp for elderly guest. The horizontal slit window in front acts as a device to see the horizon of sea unaffectedly. Close facade design makes a gap with contrasting inside space of wide splendid panorama view. The plan of house comprise a large living dining kitchen space for family gathering, twin size of three bedrooms for guest and family, and a large bathroom with a bathtub made by natural stone. The RC wall structure system is selected to support the ceiling weight on short-side directions, and the beams are hided by six-meter span of the flat-surface ceiling. The concrete is high-strength waterproofing by increasing the quantity of cement to prevent the damage of seashore. Also inside space is using insulation painting, so limited space is effectively used without any finish materials.


246


247


248


APOLLO Architects & Associates

SWITCH Tokyo, Japan

This is a rebuilt project of 85-years long-established restaurant in Shinagawa. The client is forced to receive the site reduction to the road expansion of new city planning, so he decided to greet the coming 100th year of a business establishment at the new place. The new project of modern concrete store and resident is started. The site has a long frontage with shallow in depth. To take advantage of large facade area, the first floor is reduced the openings, and expressing a long-established personality by designing resembled the alley of black cedar board wall. The second floor of residential area expresses the contrast by using exposed concrete design. A 4.5-meter cantilever balcony makes it seem to be a ship. While this project is based on long-established guest’s overwhelming support and past atmosphere, it aims to challenge a new domain.


250


/ Yasuhiro Yamashita Atelier Tekuto

Nakdong Estuary Eco Center Busan, Korea

The Nakdong River estuary, the famous stopover site for water birds was the planning site, where a vast marshland spreads to the sea. The center was planned as an observatory and research center for water birds as well as a conservation and exhibition facility for marshland materials. The building consists of a flattened black volume main exhibition hall on top of the first floor management office and research laboratories, floating on the marshland. The black outer bark of the main volume uses burnt cedar, a traditional Japanese technique that is resistant to brine damage. Although wood could not be used for structure, the same thick wooden board was used on all four surfaces of the interior of the flattened volume, the 2000 square meter main hall's floor, walls and ceiling, where natural and artificial lighting pours in from the dotted slits of all four surfaces. Wood has less environmental burden upon extraction and its soft and organic quality has a ready made pro-naturalistic image compared to other material, but here the objective was for a space consisting of strength and indescribable sensation transcending the serene image of wood. On both the south and north sides, a vast swamp panorama spreads in the 33 meter wide full opening, and this space is a dynamic platform placed in the midst of the swamp holding the axis line from north to south stretching out to the sea beyond the swamp. This architecture existing solitary in the beautiful nature stands out as the comparatively alien manmade object, and its figure does not have the strength to excel over natural landscape. But in this situation inserting a strong impressive architectural space is not possible in the world of nature, the aim was for a site where one can experience at the same time the manmade architectural space and the grandeur natural landscape spread in front and rediscover values of both raw nature and our artificial world.


252


253


254


/ Yasuhiro Yamashita Atelier Tekuto

Cell Brick House sits on the corner lot of a tranquil Tokyo residential area. At first glance it appears a structure of piled-up concrete blocks, but on closer inspection one sees that these blocks are in fact steel boxes. The skin layering helps create a unique dwelling that applies a new form of masonry. The boxes do not serve just to make structure, but also become storage units in the house’s interior. They also work to create a brise-soleil light control, and allowing the building to respond to the heat of the environment.

Cell Brick House Tokyo, Japan

The steel boxes used here measure 900x450x300mm, and the thickness of the portion facing outside stands at 9mm. The rest of the boxes’ sides have a uniform width of 6mm. Actually, the boxes come in units of five or six, fused together with high-tension bolts at the construction site. By piling them up in units rather than individually architect succeeded in creating a modern design. Since the box units were assembled not to fit together perfectly it has a lot of openings, and light can enter the interior. The building takes up three levels from the first floor basement to the above ground second floor. The building area stretches 32.93m² with a total floor area of 85.05m², and the building reaches up 6,685mm high.


256


257


258


259


260


/ Yasuhiro Yamashita Atelier Tekuto

Twin-Bricks consists of two wings - the five rental dwelling units and the owner’s two-family house. It is located in a quiet residential area, just 15 minute-walking distance from the JR Urawa station. In order to secure some space for the owner’s car collections, the Owner wing (RC Wing) stands nearer to the road than the Rental wing (S Wing).

Twin-Bricks Saitama, Japan The Rental wing partly has ALC panels as well as glass blocks. This building, based on the “Crystal Brick” completed previously, enables these ALC panels, not only glass blocks, as aseismatic elements in order to improve cost-effectiveness. The physical similarity of glass blocks and ALC panels was focused and this structure was realized after a series of experiments. As a result of these experiments, it is concluded that the safety of the building is advanced because ALC panels are destroyed before glass blocks. With ALC panels randomly located, walls, columns and beams cannot be clearly distinguished; therefore, an intriguing spatial composition is materialized. The RC wing adopted the “RC structure + exterior thermal insulation” construction method developed at the Atelier Tekuto Co., Ltd., with the purpose of alleviating working noise at the garage and securing privacy and performance of the Owner wing. A huge cost reduction was attempted by using enhanced high-pressure woodwool cement boards and integrating the boards as formworks. Also, original tiles were developed after careful consideration. The contrast between heavy RC wing and light S wing and between glass blocks and ALC panels, both of which show similar physicality while different materials. The spatial contrast generated here is making the space more exciting.


South Elevation

North Elevation

262


263


264


The site is located in a quiet residential area surrounded by nature. 6m in width and 27m in length, it is a long and narrow site, which has been constructed 3m above road-level so that on clear days, it enjoys views of Mount Fuji. As the client’s family spends the most part of the day in the living room, this room has been situated on the top floor, which benefits from scenic views. In order to fully exploit the length of the site, a cantilever has been constructed on to the front of the building. Minimal design and a parabolic ceiling on the top floor are the building’s distinctive features. Splashes of colour provide a contrast to the undulating white surroundings, giving rhythm to the space. The flowing ‘three dimensional’ ceiling, which dips and rises to varying levels of height, arouses contrasting feelings of ‘tension’ and ‘release’ and gives the room a sense of boundlessness. Thus, even when observing the room from a fixed position, the fluctuating density invokes a sense of movement, which unconsciously guides the observer right through and beyond the room’s boundaries, as if following the flow of air, giving the impression of endless space. It is normally the floor and the walls that delineate the boundaries of an interior space but in this case, it is the parabolic ceiling that defines its essence.

/ Yasuhiro Yamashita Atelier Tekuto

Parabola Tokyo, Japan


266


267


268


Atsushi Kitagawara Architects

Nakamura Keith Haring Collection Art Museum

Kobuchizawa, Yamanashi, Japan

This project is located at the foot of the Southern Japanese Alps in Kobuchizawa, Yamanashi prefecture. The site is in a rich environment of wild trees such as Oak, Mountain Cherry, Larch and Red Pine. The scheme is divided into a museum block and a spa block; care has been taken to respect the natural environment. Each block consists of single storey buildings carefully positioned to preserve the existing trees. The project aims to contribute to the local culture and create a new environment in a unique marriage of the museum, the spa and the forest. The museum is designed for the works of the American artist Keith Haring. The rooms, ‘shadow’, ‘giant frame’ and ‘hope’ are arranged sequentially to guide visitors through an appreciation and experience of the life and works of Keith Haring. Next to the museum, is an outdoor Japanese Onsen style spa 'Rela Pool KUROTEL'. This spa is located in a deep forest, taking advantage of a natural hot spring that spouts within the premises. The thin concrete roof supported by irregularly positioned steel posts, floats within an open-air bath space, protected by minimalist black wooden walls. The partition that defines the inner space has an innovative construction – filled with AirCap polyethylene (usually used as a cushion material for packing) in between transparent plastic sheets. The partition was designed for this building in order to maintain the multiple functions of insulation, lighting and screening. It performs not only as a division between inside and outside but also provides unique lighting conditions through the lightwell within the wall. The open-air bath space is minimal. It directly opens you up to nature. The Keith Haring Art Museum project is full of allegorical metaphors and the spa would create one of the most dramatic experiences. Looking at the stars through the clear sky of Kobuchizawa, the guests will have a remarkable experience in the hot spring. Nakamura Keith Haring received one of the most authorized Prizes in Japan, named Murano-Togo Prize.


270


271


272


273


274


Atsushi Kitagawara Architects

C'BON Headquarters

Kawasaki, Kanagawa, Japan

C'BON headquarters is an office building of a cosmetic company at Kawasaki city in Kanagawa. It is intended to unify landscape and architecture as one under the theme of ‘rebirth of the forest’. The main office and training center are recessed into the landscape on the slope. To explore the rational and economical execution, the renovation and building construction were done simultaneously. After one volume was constructed at the upper point to reduce the earth pressure, the construction of the lower volume was started. As a result, the building became interwoven into the green hill.

The main office has two entrance halls at different points of heights along the hill: the lower one is for the visitors’ main entrance and the upper one as a staff entry, called ‘sky entrance’. The building also supplies other comfortable working environments, such as relaxing room and sky terrace where some house events are held. This office building might be one of good examples of suburban resort office. The electro-polished stainless steel panels, richly undulated polygons with sharp edges, display the fine texture of the chromic acid oxidation coating. They provide weatherproofing and a dramatic and beautiful effect by the changing of light and reflections conditioned by climate, season and time.


276


277


278


Atsushi Kitagawara Architects

ARIA

Kofu, Yamanashi, Japan

Aria, a building complex located at Kofu city, Yamanashi, accommodates 13 local industry head offices, a factory, gallery community hall, and also Santaria Church, a guesthouse, wedding hall and Villa Esterio, that forms a unique and elegant urban scenery of 70,000 square meter site area. Atsushi Kitagawara was commissioned to design urban planning, building, and landscaping.

The intention of this project is to create a new ‘city’, not to produce an industrial town that we could find elsewhere in Japan. The client, the consortium of the local industrial companies shared the intrinsic idea of ‘city’ as an agent for creative minds. In fact, political issues are very much involved in the project and Kitagawara kept seeking for a new dimension that might define the new city. The force of politics in the project needed to be transformed into another language in a poetic and an artistic sense. Besides exploring the functional urban planning, the poetry of Stéphane Mallarmé and the work of Marcel Duchamp are referred to in this project. Kitagawara attempted to combine the quality of the literature with the architectural space.

Vila Esterio & Santaria Church

The theme of Villa Esterio is "The Maze and the Sky." The Concept of this space is, in one hand, shiny sky filled with diffused reflection of midday sunlight which tempts us to squint at and, on the other, white space for prayer to the sky which amplifies skylights. The city of Kofu marks the highest number of clear days in Japan and dry air does not disturb beautiful starry sky. Therefore the color of "white" shines clearly here. While the villa is arranged with courtyard and paths enclosed by white wall, long intricate circulation sometimes makes visitors stray away. Floor plan seems to be an irrational maze in view of standard planning. Visitors feel like being in another world. Exceptionally, service circulation takes the simplest and shortest track.

The sky cut out by the white wall can be only seen from courtyard and paths. After wandering the space, we finally find ourselves to be destined to the sky. In other words, Villa Esterio has the vertical directivity to the sky. The origin of this architecture is, therefore, the white sunlight and the marine-blue sky of this region.


280


281


282


283


284


This is a 100% rentable housing units without common entrance or corridor. This economically allowed making void space and living room has more than 6 meters of ceiling height. Each housing unit is three stories and from the top floor, it commands the view of Mt. Hiei, Mt. Daimonji and Tadasu-no-mori. Two housing units are connected by first and second floor, which enables to be used as one dwelling space. The curved shed roof characterizing its exterior was designed to clear a unique yet severe northside height regulation in Kyoto. The curved roof for these two housing units yields deep and peaceful atmosphere.

r-session Inc.

East Cottage Sakyo-ku, Kyoto, Japan


286


287


288


2F

3F

North Cottage Kyoto, Japan This is a housing consists of four residences located in Kitayama. Due to a courtyard and a large void space covered by full-sized glass, a lot of natural light shines from the south side into the huge open space, giving people a dynamic space structure. Also, by connecting each residence with a bridge and eliminating the wall in between, the four residences could transform into three, two, or even one residence, depending on the residents and their corresponding life style.

r-session Inc.

Site and 1F


290

Ground Floor Plan

First Floor Plan


A-A Section

Ryuichi Ashizawa Architects & associates

B-B Section

SETRE Chapel Kobe, Japan

Located on a dramatic site along Kobe’s Seto Inland Sea coast, this small chapel has a fantastic view of both Akashi Bridge and Awajishima. The main goal was to unite the beauty of these spectacular surroundings with the architecture and make them one and the same. The chapel rises slightly towards the sky from ground level so that it is more connected with sea and sky rather than just the ground plane. The raised volume is supported and connected with grade through translucent glass walls, which contain all service rooms. The exterior concrete facade is a mottled paint finish, which gives the impression of clouds and further joins the structure with its surroundings. In order to focus the visitor’s view on the sea and sky vista, the western elevation is fully glazed. The interior floors, walls, and ceiling are all highly reflective white surfaces, which catch the natural light. Moreover, the volume’s slope adds to the room’s reflectivity. The quality of light within the space is intimately linked with the exterior environment, and changes throughout the day before climaxing with the spectacular sunsets. This chapel has no religious icons to mark occasions but rather uses the natural phenomena of the site to imbue the space with a sense of the sacred and the wonder of nature.


292


293


294


RYUICHI ASHIZAWA ARCHITECTS & associates

Ground Floor Plan

First Floor Plan

Second Floor Plan

SETRE Residence Kobe, Japan The residence for a newlywed couple was planned in the site of hotel "SETRE" which faced the Seto Inland Sea in Kobe. Only one couple can stay at this residence. This project’s concept is a ‘home’. They who are main persons of the day can open a house wedding and can invite friends. As functions for that, Spaces, such as Entrance, Hole, Living, Dining, and Private room, have been arranged. Moreover, in order to change the character of space for each place, different boxes, which consist structures and materials of steel, concrete, wood, glass, etc has been arranged. It is for psychological changes, which occur by change of space. Various different materials will change in the flow of the time, and will adapt themselves to the place gradually.


296


297


298


A-A'section

Function Daiagram

299

B-B'section

Material Daiagram

Structure Daiagram


300

First Floor Plan

Ground Floor Plan


Ryuichi Ashizawa Architects & associates

The site for this house is a densely built-up residential neighborhood outside of Osaka.

The home is designed for a couple with two children - intended to be housed adjacent to the main building.

The typical composition of house and garden was unsuitable due to the crowded nature of the surroundings, so it was decided to create an irregular footprint that was as large as legally possible. A central garden is carved out of the main volume, cutting the house into a U-shape. This new garden void serves as an extension to the interior spaces and can be used as the children’s playground and place for communication with neighbors and friends.

Io Osaka, Japan

The first floor contains the private spaces - master bedroom and children’s suite - areas that are not used extensively during the day. Public spaces, flooded with natural light from the three corner exposure, are located on the second level. The design provides compartmentalized spaces for each family member that are connected through the central garden space. As the children grow in the future, each person can choose the style of communication suitable to their lifestyle. However, this private nature is kept sociable with the use of doors made from translucent polycarbonate. It is architect's hope that this residence will foster sociable and effortless relationships between each family member, with friends, and with neighbors.

A-A Section

B-B Section

C-C section


302


RYUICHI ASHIZAWA ARCHITECTS & associates

The site is located in a quiet residential area in Senboku New-Town, Osaka, which has been developed in the 1970's. The owner, who is a sculptor, requested three primary functions for the new building: residential space for the family of three, studio for his wife and daughter who both are potters and gallery to exhibit artworks made by the three, as well as other artists' artworks they possess.

Re Osaka, Japan

In this project, it was examined how to give a residence more flexibility. As a result, several intermediate territories were set under given conditions. First, DOMA, mortar-finished floor space, was provided in the center of the building as a connecting node for the three functions of the house, studio and gallery. It not only has the conventional residential functions such as an entrance hall, but also plays a role to connect the inside and outside including the courtyard and an alleyway on the east side of the site. Second, the courtyard, divided from the road on the west with a louvered gate, it was planned to be one of the intermediate territories between public and private spaces. At the same time, the void of the courtyard brings in the house light and view through the large opening when it is wide open, and also brings in the studio on the south-east indirect light through slits so it won't disturb the work to be done inside. Furthermore, the courtyard also can be an activity intermediate territory, which transforms depending on the purpose of utilization in accordance with the will of residents. It can be an outdoor living room or exhibition space protruding from the gallery, or sometimes a party room. "Living," "Creating," "Exhibiting," "Gathering," such multi-dimensional activities are to be performed at this building, and its flexibility allows each zone to adapt its function for a required purpose. In everyday life, it is leniently separated according to the fundamental functions. But, sometimes the entire site can be one continuous space to become a gallery, by combining the alleyway, the house, the studio and/or the courtyard in a flexible manner. Thus, using various tools such as storm doors, fittings, hanging walls, Tatami mat chairs, and/or storage partitions, this building gives the residents more freedom to determine the relationship or distance in several ways: between the outside and inside, between human beings, and between functions. .

A-A Section


Section2

304


305


306


C-C' Section

RYUICHI ASHIZAWA ARCHITECTS & associates

Kobe PortIsland Factory is a new metalworking factory constructed on the industrial area of Kobe Port Island. Ryuichi Ashizawa challenged to create newly and architecturally unique building with common materials for industrial buildings. The client requested to create spatially flexible, functionally easy space for both office work and operations, and response to ground subsidence. While all the requirements have to satisfy the client, Ryuichi Ashizawa expressed the potential that the client has for its new business to run the top of the metalworking industry. As the result, a new way was developed structurally to create huge space without wasting expenses; “X bracing columns� assembled on reinforced slab. The metal X bracing columns, aseismatic structure, are placed at periphery of the building. Combining this structural element with visual design, the expressive form and flexible and open spaces are successfully created. By assembling this form on the reinforced slab on grade, the building is like a floating ship. Even if the ground subsidence occurs, the structural columns have adjustable jack-up system. Two largely separated spaces are connected by the stairs through the atrium. These spaces, offices and workrooms are separated functionally, but still connected smoothly. The atrium has important connection between the factory and the community around the area. It is thought as the entrance of the factory while it is also considered as activity space of people. This project suggests advanced industrial architecture as integrating new structural system and design form with the common materials for factory buildings.

Kobe PortIsland Factory Kobe, Japan


308


A-A' Section

B-B' Section

309


■ Xaveer De Geyter Architects  Economics Building  Bezalel Academy for Arts and Design  Rogier Square  European Patent Office  ■ 3XN A/S  Ørestad College  Tivoli Concert Hall   Danish University South, Science Park South and Concert Hall Sønderborg Symphonics  ■  Architects NRT Ltd  Hollola Library  Katajanokka Housing  ■ Manuelle Gautrand Architect  Apsys Headquarters  Helianthe Apartment Building  ■ Studio Granda  Hof Residence   Vogaskoli secondary school extension   ■ Boyd Cody Architects  Alma Lane House  Richmond Place House  ■ OFIS arhitekti  Shopping Roof Apartments  Tetris Apartments  “Hayrack” Apartments  Extension of the football stadium  ■ AMP arquitectos,S.L.  Insular Athletics Stadium  ■ Camenzind Evolution  Cocoon – Exclusive Office Headquarter  ■ e2a  eckert eckert architekten ag  Center for Language and Hearing   Sports Facilities Juchhof  Terrace Housing  ■ Wilkinson Eyre Architects  Liverpool Arena and Convention Centre  John Madejski Academy  House of Human Rights


312 168


Stephane Beel Architects & Xaveer De Geyter Architects

Economics Building Ghent, Belgium

The central university campus site stretches over 800 meters along the Schelde river on its lower side and along a higher situated, sloping street on the other side. It is situated inside the city and it profits from a dazzling topography.

The campus path that crosses the building, the topography, the nearby existing economics building, and the new program together generate the form of the building. The path leads down from the street towards the roof of the existing building. On one side are organized all the vertical circulation shafts of the new building, on the other side a double height foyer is accessed from the path. The auditorium is situated above it and accessed through a main stair. Behind is a meeting room of the faculty. On the top level a library is organized around a patio, combined with offices. The front and back facade are in glass and cantilever outwards; two lateral facades are in concrete, one of them being a screen made out of 20-meter high concrete fins.


315


316


XaveerArchitects De Geyter

Bezalel Academy for Arts and Design Jerusalem, Israel

0 Grade Level Plan

First Floor Plan

-1 Mezzanin Level Plan

Second Floor Plan

-2 Garden Level Plan (Lobby, Library, Canteen, Workshops)

Third Floor Plan

The new school campus is conceived as an urban area without borders with the existing city. A series of public spaces structure a campus territory that seamlessly merges into the city. Each of them has its own spatial condition introducing singular activities and attracting different users, increasing the liveliness of this part of the city center. Two similar, perforated and square buildings, one raised and one sunken, stand on top of a new mineral landscape. One contains all the workshops and studios of the different departments organized as a spiral ziggurat of workspaces around an open courtyard. The other collects the classes, computer rooms and administration. Below the mineral surface all the main collective functions are organized with a view onto the garden. The mineral landscape mediates between the existing topography of the surrounding streets and the newly shaped outdoor spaces. The mineral landscape is a formal reference to the stone roof of the museum, while the two square buildings are formally free-standing objects as is the church. The exchange between the school and the surrounding public space happens through three specific spatial elements; a glass box gallery space under the elevated building functioning as a light-well in the middle of the shaded place and providing visual contact between the exhibition, exhibition visitors, visitors of the library and people walking in the shade of the elevated building. A second is the inverted ziggurat shaped courtyard inside the studio building, accessible from the main entrance and widening towards the top. The space functions as a mix of gallery, circulation and workspace provoking the exchange between the different departments. The third one is the lowered carved-out outdoor workspace of the glass and ceramics department where people passing by in the street can see the students crafting and blowing glass and ceramics.


section gg’

Facade Details

section ff’

section b b’ Section aa’

East Elevation

South Elevation

West Elevation North Elevation

318


Fourth, Fifth, Sixth Floor Plan

319


320


XaveerArchitects De Geyter The beauty of Brussels often exists in the reckless juxtaposition of different types of urbanity. The Rogier Square is such a point of friction where the North-quarter, the Sint-Joost neighborhood and the center area of Brussels unwillingly collide. The location is nowadays used in an intensive but chaotic way by different kind of passers –by, shoppers, commuters, hotel guests and local residents. Everybody carefully avoids one another and disappears as fast as one arrives on the square. Today the square lacks the specificity to generate a hotspot in the city.

Rogier Square Brussels, Belgium

This project proposes a spatial strategy. Horizontal and vertical connections are reorganized by concentrating the several kinds of uses of the public space. Simultaneously the square itself becomes a fluid open space again. Finally a special articulation is proposed that clearly differentiates the square from the boulevard, and accentuates the square as a new reference point on the axis Koekelberg-Botanique. The project has three main elements: the strip : A car free zone, a green walking area with urban recreation activities. the canopy : An enormous glass and steel roof that partly covers the boulevard and clearly marks the place. Almost all public transport transfers are gathered under it. the square : By concentrating all activities along the two previous elements the later could be conceived as an open more representative space that can easily be appropriated by the surrounding hotels and the Dexia Tower.


322


XaveerArchitects De Geyter

European Patent Office Hague, The Netherlands

The conception and planning of this important new office building on the EPO site is the ideal opportunity to reconsider both the internal coherence of the complex and the relation between the site and its surroundings. Today this relationship is characterized by an anonymous and rather banal urban fabric and architecture. The south side of the EPO site recently became a valuable green area on top of a parking garage, and in terms of cost-efficiency the EPOII building should keep on functioning during the construction of the new building. Above all, EPO needs a stronger image, towards the highway, towards the neighborhood and towards its own site.

The proposal is to locate a new building in front of EPO Plaza. The new building manifests itself as a hybrid that consists of a very large vertical part with tall cutouts opening onto the Veraartlaan, and a horizontal element that runs along and under a new terraced Plaza. The vertical building contains the offices; the horizontal one houses a meeting centre and a multipurpose room, and it deals with all the connections, parking and storage. The main access in the existing “Hinge”-building remains and is accessed from the elevated and terraced Plaza through the gates of the new office building. The 97-meter high building is conceived as a Janus-faced object. The front towards the Veraartlaan presents itself as a series of towers connected at the upper part: this side with ramps and stairs at its bottom has a very deep profile and a series of ‘common’ office facades which are variations of one and the same facade system. These variations are obtained through using a combination of different glass colors, varied degrees of transparencies and changing gridlines. The Plaza facade presents itself as one surface with three significant openings in it. Depth is created within the facade by the superposition of different layers: a series of vertical glass fins on the outside that will be visible from the highway, create solar shading and light reflection. Behind, a double climatic glass wall is introduced as an environmental moderator. This layer provides sun protection and an acoustic barrier while allowing individual natural ventilation. The third layer consists of the regular office cell division interrupted by a series of threedimensional meeting zones. Almost the entire office space consists of individual cellular offices, grouped in office-modules. Each of these modules gets an informal meeting space that spatially interrupts the repetition of the cells. The meeting spaces stretch over several floors and from one facade to the other. They provide informal communication zones with a strong spatial identity and flexibility for expansion or contraction of the modules.


324 168


3XN A/S Ørestad College

Copenhagen, Denmark

The Ørestad College will be the first in Denmark to fulfill new educational visions regarding subjects, organization and teaching systems. Communication, interaction and synergy have been key issues. The project displays a visionary interpretation of openness and flexibility regarding team sizes, varying from the individual over groups to classes and assemblies, and reflects international tendencies aiming at achieving a more dynamic and life-like studying environment and introducing IT as a main tool. The intention is also to enforce the students’ abilities gradually to take responsibility for own learning, being able to work in teams as well as working individually. The college is interconnected vertically and horizontally. Four boomerang shaped floor plans are rotated to create the powerful super structure, which forms the overall frame of the building simple and highly flexible. Four study zones occupy one floor plan each. Avoiding level changes makes the organizational flexibility as high as possible, and enables the different teaching and learning spaces to overlap and interact with no distinct borders. The rotation opens a part of each floor to the vertical tall central atrium and forms a zone that provides community and expresses the college’s ambition for interdisciplinary education.


326


327


328


The venerable hall has been renovated in respect of its historical surroundings; the building has been gently modernized and improved with regards to the modern, second millennium requirements for a concert hall. The scene and the orchestra pit have been expanded, the acoustics and seating comfort considerably improved. And the Tivoli spirit remains intact. Moreover, a new extension has been realized in a light, transparent and modern expression in keeping with the existing Tivoli pavilion architecture. The extension measures 700 square meters and contains the new main entrance with a lounge area, intermission cafe and outdoor catering.

Tivoli Concert Hall Copenhagen, Denmark

The so called Rainbow Hall in the basement under the concert hall has been changed into a cloakroom with a lobby area and restrooms, and has - as its most spectacular feature a beautiful 30-metre long shark tank covering one wall of the lobby. The task also entailed a completely new building with rehearsal facilities for the Tivoli Symphony Orchestra and guest musicians. Moreover, the added feature comprises improved staff facilities, a family restaurant, and a conference centre. The new building replaces the former“Winter Entrance�, which in turn has been demolished.

3XN A/S

In 2004, 3XN was awarded the prestigious task of performing the renovation and extensions of the Concert Hall in Tivoli, the famous old Copenhagen amusement park.


330


3XN A/S Danish University South, Science Park South and Concert Hall SØnderborg Symphonics SØnderborg, Denmark

A unique combination of culture, education and private research companies is to be united in a building complex at a beautifully situated area right by Als Sund in SØnderborg, southern Denmark. The aim of the project is to establish a much more frequent collaboration and knowledge sharing between the public educational sector and the private research sector. Outside working hours, the building complex should be offering a broad variety of cultural events using the auditoria, libraries, meeting rooms etc. in the building. The cultural offers, however, will be centred on a new concert hall - the new home of SØnderborg Symphonics. The building complex has been broken down into an appropriate scale in accordance with the idyllic surroundings. Building volumes with short gable ends alternate with atria buildings, in order to provide sufficient transparency and daylight. An important issue has been to establish a lot of casual meeting points, so that students and scientists will get together and exchange knowledge and become personally acquainted. The entire ground floor is therefore open to everyone, and here you’ll find all common facilities like meeting rooms, libraries, auditoria etc. Security is established as a horizontal division - the ascent to the higher levels require key cards. This way, it has also been possible to open the building in the evenings, and to integrate the concert hall as part of the total building concept.


332


333


334 168


Hollola, Finland

The library building is situated in the centre of Hollola and encloses the northern edge of Market Square. The building is organized on a single floor, but on the side of the square the eave height reaches nine meters. This helps provide enclosure for the square and to give the library a status of a public building. The main entrance is at the centre of the square-facing side, below a great clock. The newspaper reading room and children’s story-telling room have large windows, which direct their orientation towards the Market Square. The red curtain of the storytelling room, hung from an undulating rail, adds colour and an element of change to the silver and black facades. The rectangular plan of the library is subdivided into an open lending library-reading room space and a work and staff zone, with services at the interface of the two. Public facilities that can be closed off include the children’s fairytale room, the reference reading room, the exhibition and conference space and the music room. On Sundays only the newspaper reading room is open to the public, while the other spaces are shut off with sliding partitions. The design of the lending library is airy and light. Sufficient height, skylights, large window surfaces directing the orientation of the space towards the park and the light colour of the floor are the means used to achieve this effect. By a combination of direct and indirect lighting this atmosphere can also be achieved in the evening with artificial lighting. Fixtures, designed by the office, placed on the bookshelves provide the indirect lighting in the space. In order to define distinctive fields of space for different functions in the main hall and to provide spatial variety, architects have given its ceiling an undulating profile. The height of the interior space varies, being the greatest in the area of the central functions and then descending to more intimate level above the smaller departments. The form of the ceiling is a ruled surface, which in addition to the undulating profile also has a variable lateral angle.

Architects NRT Ltd

Hollola Library


336


337


338


Architects NRT Ltd Katajanokka Housing Helsinki, Finland

Housing area is situated in Katajanokka, Helsinki next to the sea. Residence floor plans are straightforward and systematic, thus making serial customizing easy. Large windows and views across residence make them lightful and open up good views. Bay windows provide glazing also on the sides, thus widening views. Window layout is flexible in design phase and allows changes in inner wall positioned later. Glazed bay windows are multipurpose. By adding an extra glass wall separating from the living room, one can use it as a glass-house for plants year round. In the summertime large windows can be opened thus making the bay-space a protected balcony. Penthouse flats provide spatial quality and exceptionally good views. Fireplace can be built in most residences. Wood-heated saunas can be built on penthouse flats. Garden has been designed as an urban oasis. It is outlined by street line as well as by grid of lampposts along with four free-form vegetation islands. Additional elements include movable play-carriages and “docks� connected to first floor apartments. Street elevations are red bricks layed out in-situ. Courtyard elevations are of light plaster. Top-floor elevations are colourful steel and wood panels. Large punched canopy is of steel.


340


341


342


Manuelle Gautrand Architect

Apsys Headquarters

Paris, France

The Front de Seine area in Paris 15, redeveloped in the late 1960s, is unique in the city’s heritage of modern architecture by the formal inventiveness of its high-rise buildings. This office block re-vamp draws inspiration from the aesthetics inherent to the site, and also attempts to address functioning problems that plague urban projects built over slabs. It aims at lighting a little lantern for the neighbourhood, at bringing new life and user rhythms. The project wraps around the Avant-Seine tower, extending the strict 9.45 x 9.45-meter grid pattern that governs the site. Like a ‘layer cake’, it builds up in horizontals from the slab base yet asserts presence at street level. The volume of the lobby opens a triple-height vertical link, animated by mezzanines, tiers and footbridges.

‘Mushroom’ posts mark out the grid, while transparent fronts create continuity between outside and inside spaces. At each level, indents form small balconies serviced by sliding glazed bays, which enable tables and chairs to be installed there in fine weather. The roof is a carpet of greenery, with an ‘optical art’ effect that reproduces the pattern of the ‘mushroom’ posts below.


344


Manuelle Gautrand Architect

Helianthe Apartment Building Boulogne, France

This set of home units in the west of Paris stands on a block that offers fine views without face-offs. The architects wanted to make the most of the exceptional location to design a building open to the exterior. From level one to the top floor, wide terraces give each apartment a broad running outdoor complement. The composition ascends in successive volumes, each level adding external areas that run on into shared parts.

At ground level, the concept takes advantage of a constraint in urban regulations that stipulated the need for a spacious pedestrian passage running from the street to the park, since one of the open flights of stairs gives on to this passage. The itinerary from public space to apartment is thus all external, residents negotiate stairs and footbridge landings to get to their front doors. This creates the impression of living in a freestanding house, surrounded by approach terraces. To play up the project’s exceptional location at the entrance to a city park, facades are printed with a stylized leaf motif that remains discreet while adding a precious note. This pattern runs over most of the elevations, in some places irregularly, and suggests the movement of a climbing plant.


346 168


The existing assemblage of buildings on the estate included a house, church, barn and cowshed clustered on a riverbank. Further inland are recently constructed horse stables. The wide fjörd has a mountainous rim punctuated with long valleys embracing the cliff islands of Drangey, Málmey and the graphic foreland Þórðarhöfði. The new residence is slightly removed from the old cluster on raised ground, with each room and space orientated to capture this magnificent panorama.

Hof Residence Iceland

Externally the house rises from the tufted site as a series of sheer cedar and concrete walls that will weather according to the vagaries of the elements. The displaced grass of the field is reinstated on the roof and the surrounding meadow is cut and folded in earthworks of turf and stone that open ways to the entrance and terraces. Hexagonal basalt pillars were excavated from the site during the preparations for the foundations and the external surfaces are paved in this material. Internally the same stone is used throughout the living and circulation areas. Most internal walls are of raw or painted concrete and the ceilings, doors and other carpentry are predominately of oiled sawn oak with steel details; a rustic palette offset by smooth painted planes. In a gesture of refinement and escape the kitchen and bathrooms enjoy marble surfaces suggestive of more habitable latitudes whereas the larder’s glazed white tiles and basalt shelves remind of the need to stash food for harsh winters. Although dramatic views fill the interior the ambience is augmented by a secondary system of clearstory lights and other roof penetrations that orchestrate daylight throughout the house. The exception is the dogleg route between the living and bedroom wings where lighting is reduced to a few pinpricks.

Studio Granda

Hof is a new country residence in the Skakafjörður fjord, less than 100km from the Arctic Circle. The spectacle of the location, its remoteness and special program fuelled a unique rapport between the client, contractor and architect resulting in a building that is in every respect a direct consequence of that collaboration.


348


South Elevation

Section A

East Elevation

Section D

349


350


The new extension is founded on the principles of open schooling. The building is centered on a double-height hall surrounded on the lower floor by library, music, kitchen and administration areas and teaching zones for the youngest and middle age groups on the upper. Divisions between areas are minimized and if necessary are of glass or movable partitions. A grand stair connects the hall to the upper level and this can be used either as an audience platform or a stage.

Vogaskoli secondary school extension Iceland

As a consequence of the deep plan the periphery is predominately glazed with full height windows interspersed with attenuated grilles. The exception is the more massive, fair-faced concrete, north facade due to the proximity of the noisy Skeidavogs road. The heart of the building receives additional daylight through the clearstory windows in the hall. The main entrance is located at the junction of the existing building and the new extension. Students may be dropped-off securely in the entrance court and the same route serves the basement staff car park. The entrance also connects to the school grounds on the south side of the buildings where the land has been lowered to create an external space for teaching and play sheltered from the inclement weather. On fine days teaching on the upper levels can be extended outside on the east-facing balcony that also doubles as a secure fire escape route. The structure is of two-way hollow deck ‘bubbledeck’ plates with a minimum of columns to maximize flexibility. The roof uses the same structure and is finished with a layer of turf.

Studio Granda

The Vogaskoli secondary school was first built in 1958. The number of students has varied greatly over the years and during the late sixties it was the largest school in the country. Following this expansion, the school was split with the creation of the new sixth form college Menntaskólans by Sund. In 1975 a new building was added to Vogaskoli. In 2004 as a result of a new increase in the number of students and changes in pedagogical thinking the city decided to demolish the 1975 building and build a new extension.


352


The client was moving from the main house on the site to the mews house. She had two particular requirements, the house must be full of light and main living room should have a dimension that would in someway match the house she was leaving behind. Because of the high walls that surrounded the site, the client had studied carefully the movement of the sun across the site and determined that the main living spaces should be located on the first floor to catch the light throughout the day.

Alma Lane House Dublin, Ireland This cubical form is sleeved in brick. The openings, cut out in glass and lined in satin anodised aluminium, are detailed in the same manner but different in proportion. The house becomes a composition in solid and void. The position and size of windows are determined by function, light or view. At ground floor the rows of brick that are metaphorically cut from the fabric of the building to make these large openings, form terraces in the garden. Internally the Iroko joinery of the windows and doors is expressed. Iroko covers the floors and painted plastered walls provide a neutral lining to the box. One moves through the deepest of the aluminium recesses to enter the house, passing through a generous hall that serves the two bedrooms and ancillary rooms at ground floor, to the stairs then up to the main living platform, the ‘piano nobile’. The rooms on the first floor open into each other. This allows the client the freedom to circumnavigate the plan and move from space to space, as the light changes during the course of the day. A tiled indoor/outdoor room, to be filled with plants, is placed behind internal glass screens and under a sliding glass roof. The adjacent living room is entered through a series of doors; this large space is lit in the main part by a long ribbon window that makes a direct relation to the south boundary wall. The view down Temple Crescent and to the sea beyond is captured by a floor to ceiling window on the West elevation.

Boyd Cody Architects

The Cubical House is situated on a mews lane in a South Dublin suburban seaside location. The site occupied the rear section of the long garden of a large Victorian semi-detached house. A 3.7m high wall ran along the southern boundary and a granite wall faced the lane way.


354


355


356


The house is located in a conservation area close to Dublin’s city centre, on a small but prominent infill corner site at the junction between Mountpleasant Avenue and Richmond Place. A modest dwelling built to replace the existing cottage located on the site. The house has three separate levels. At two stories it remains substantially in character with the nearby terrace of houses and forms a low bookend building to Richmond Place, while making a strong contextual response to both the unusual site configuration and the prevailing architectural context, in particular the gable end of the house immediately opposite on Mountpleasant Square. The ambition is to build the entire site, maximising the footprint of the building and visually extending the living area into the external courtyards formed to each side. The geometry of the existing site is the principal generator of the building form. Approximately triangular in shape and with a pronounced curve along Richmond Place, the house adopts the site boundary line along its north and south elevations and aligns with the adjacent terrace to the east and west. The resultant form is carved twice to make two compressed entrance spaces one to the front and a smaller one at the rear. In order to maintain the lowlying nature of the block fronting to Richmond Place, the living room is sunk 750mm into the ground, following the natural fall across the site. The house exploits its section to create a series of interconnected but separate spaces of varying height and dimension, creating a sequence of compression and release as one circulates through the plan. The main bedroom opens out into the roof-lit stairwell by means of a work desk and folding screen forming a potentially seamless flow of space connecting with the living room and kitchen below. The concrete desk formed by extending the ground surface into the building, faces west into the courtyard and the neighbouring street beyond. Externally the house is faced entirely in brick, directly referencing the neighbouring house. Satin anodised aluminium windows are brought flush to the surface of the outer skin to accentuate the tautness of the form and emphasize the two entry points. Internally a simple palette of materials is deployed, white oak for the service areas, concrete, plaster and rubber to the living areas to give a legible uniform reading to the interior.

Boyd Cody Architects

Richmond Place House Dublin, Ireland


358


The organization of the housing and the envelope of the apartments open towards mountain views and the sun. Therefore the front, wooden facade is mostly transparent with panoramic windows. The side facade is closed - the windows open towards the balcony that is cut into the volume. From side windows also view open to the mountains. The stepped volume of the building follows the silhouette of surrounding landscape. On top of the shopping mall apartments are set in the form of stepped L-volume. From the west strong wind and snow arrives the facade is opened only towards enclosed balconies and its material is gray slate it is designed as a vertical roof. L-shape volume encloses inner communal garden that is the roof of the shopping mall. The front and courtyard facade is warm and opened, made of wooden verticals with different rhythm. Wood - local larch is used and slates in diagonal pattern are traditional materials used for roof and facade. Play of transparency formed by wooden verticals that form balcony fences, facade panels or mask characterizes the north and south part of the building. On the east and west pitched rhomboidtextured roof interpolates into vertical surfaces that protect apartments from snow and wind. Shopping mall facade is combination of steel and glass panels. The structure is made as combination of columns in the shopping mall area and structural walls in the area of shopping storages and services. The same structure is adapted towards the cellar, where parking is located and towards the upper floors where apartments are. The slabs are of reinforced concrete, the rest of walls are brick. Pitched roof is made as combination of flat roof at the top of the building. The purpose is to hide all installations such as chimneys, ventilation and external air-conditioning.

Shopping Roof Apartments Bohinjska Bistrica, Slovenia

OFIS arhitekti

The wooden mass is located centrally in the village of Bohinjska Bistrica in the alpine area of Lake Bohinj. The village has beautiful views towards the mountains but unfortunately it was architecturally damaged in the 60s with a textile factory and housing blocks that were built around them. The textile factory was later closed down and the plot later occupied the old shopping mall and today the new one. The side views therefore are not very nice.


360


361


362 168


OFIS arhitekti Tetris Apartments Ljubljana, Slovenia

This apartment block is social type and was sold to Slovenian Housing Fund. The given urban plot of the building was 4 floors high, 58 meters long and 15 in width. Since the orientation of the building is towards the busy highway the apartment opening together with balconies are shifted as 30 degrees window-wings towards the quieter and south orientated side. In the future also 2 more blocks are planned on both longitudinal sides; therefore there are no direct windows towards east and west. Each apartment has view towards its own balcony; sometimes there is also a glazed loggia. On this way intimacy is created and there will be no direct views from ones apartment directly to the others in the opposite block. Apartments are of different sizes – from 30 square meters studio flats up to 3 room apartment of 70 square meters. Bigger apartments are developed on the front facades and have nicer views and corner orientation. They are made of economic but quality materials such as wooden oak floors, granite tiled bathrooms and have large windows with external metal blinds. The concept of structure is that floor plans are flexible, since only structural walls are those, that separate apartment shell from the rest of the building. All other inner walls are non-structural. Long after the elevations were planned many people associated them to Tetris game. And so the building got its name. The facade was developed simply – just tracing the floor plan organization. The inner – structural facade wall has plaster; the external wall that embraces the loggia is glazed or wrapped into precast panel. These panels are wooden of three colors that are tracing the vertical zigzag pattern. Balcony fences are either perforated precast panel or transparent metal fence.


364


Cerklje, Slovenia

The site is the edge of alpine town Cerklje (near the Ljubljana Airport) with beautiful views to surrounding fields and mountains. On the site there is beautiful protected 300-year-old lime tree. The plan of the building therefore is L-shaped and embraces a green area around the tree. Mountain views are opening from this courtyard and most of apartments have beautiful views. Apartments are social – they were sold to Slovenian Housing Fund for young families at low price. Therefore the budget had to be very limited and materials are simple and economic. The landscape and villages in the area remained unspoiled with many examples of traditional architecture such as old farms, barns and hayracks. The concept of the facade is taken from the hayrack system – wooden beams follow traditional details and patterns. Traditionally farmers store grass and corn on beams, on the housing one can store flowers or other balcony decoration. Apartments are of different sizes - from 30 square meters studio flats up to four-room apartment of 80 square meters. Bigger apartments are developed on the corners of the building and have corner opened and nicer views. They are made of economic but quality materials such as wooden oak floors, granite tiled bathrooms and have large windows with external metal blinds. The concept of structure is made in a way, that floor plans are flexible, since only structural walls are those, that separate apartment shell from the rest of the building. All other inner walls are non-structural. Roof tiling is made of grey eternite tiles in caro – texture that copy traditional slate roof. The roof is pitched roof but cut on the ridge – there flat roof appears. The pitched roof partly functions as blind covering all the installation hidden behind – chimneys, external air conditioning, kitchen ventilation etc. Facade is plaster of tree with different colors, windows are PVC but colored from outside and wooden elements are of spruce-wood that is cut and glued for better resistance.

OFIS arhitekti

“Hayrack” Apartments


366


OFIS arhitekti Extension of the football stadium Maribor, Slovenia

The plot that was used as a multi-functional sport field is located in the centre of the city. In the sixties a small tribune was build along one site of the field that was covered with huge concrete arched roof. The brief was to convert the field into a football stadium and extend the existing building with covered tribunes and additional public programme such as 4 big gymnasiums, fitness-club with swimming pools, shops and restaurants. The project proposed a ring of tribunes weaving above enclosed base with public programs. The lowest and the highest point of the tribunes are defined by the quality of the view of the spectator. In the corners of the field, where the views are restricted, the entrances to the tribunes are displaced. The ring is pulled down here to the level of the entry plateau. Then it rises gently and it reaches the highest points in the middle of the field. There the maximum number of the seats is provided, offering the best views to the field. The corridor of the ring has double skin and is providing rooms for VIP, Press and refreshments. In the base sport halls and shops are displaced. The roof of the base forms an entry plateau to the tribunes and also offers views to the smaller sport field at the side of the stadium.


368


Insular Athletics Stadium Tenerife, Spain

The EPC will have natural ventilation and lighting through patios and skylights. The metal roof will reach very high temperatures, moving the air like a vast chimney with a renewal every thirty minutes. The athletics track meets the dimensions and guidelines required by the National Sports Council, with perimeter training belts. The inner track will have flexible usage, including partial usage for gymnastics. A linear network of services and dressing rooms separates the athletics field from the EPC, permitting alternate usage by both. An amenities block and a small canteen with independent access are placed in line in the top section of the tiers. The living quarters set in the SE part of the allotment make the most of the slopes, aspects and views. There are four distinct entrances: the main public entrance, the athletes’ entrance, the direct entrance for marathons and external events and the service entrance. The first stage tiers for 4,000 spectators are located between the track entrances.

AMP arquitectos,S.L.

The fundamental premises of proposal are a fusion with the urban fabric, the demand for the best N-NW orientation for the athletics track, the monumental, unitary scale of this type of space and the importance of the visual field for spectators, concentrated on the athletes’ struggle to win. On the basis of site topography, the tiers are extended in a natural embankment that surrounds and shelters the athletics track. Embankment and excavation are compensated in the proposal, economizing the earth movements, the result of which is used to form the exterior rockwork embankment. The sports building location produces a large entrance square under which the indoor facilities are housed. The Elite Performance Centre (EPC) is placed beneath a large horizontal platform set midway up the slope, using the existing incline. A repetitive construction system of concrete screens reduces the budget for a project in which the structural component is extremely important. High resistance materials will permit intense public usage of the facilities with minimal upkeep.


370


371


372


373


374


375


376 168


-1st Floor

Cocoon – Exclusive Office Headquarter Zurich, Switzerland

Cocoon is located in Zurich's Seefeld district on a beautiful hillside, which enjoys excellent lake and mountain views. The location's distinctive flair stems from the exceptional park-like setting – a green oasis into which Cocoon snugly nestles. Flanked on three sides by mighty, age-old trees the elliptical structure reads as a freestanding sculptural volume that gracefully spirals up from the park. The stainless steel mesh enveloping the building combines visual privacy with restrained elegance, while establishing a strong and unmistakable presence. The bold stand-alone building embodies an innovative conception of interior spatial organization and interaction with the surrounding environment. In doing so, it caters for a wide variety of workplace and occupancy concepts. With its spiral massing, Cocoon may be conceived as a sort of "communication landscape" that creates a unique spatial configuration and working environment in a matchless setting. The stepped, upward-winding sequence of segments also shapes the character of the building interior. All spaces are arranged along a gently rising ramp, which wraps around a central, light-flooded atrium. The space planning concept dispenses with the traditional division into horizontal storeys in favour of a seemingly endless sequence of elliptical floor segments. By eliminating the usual barriers to communication, this generates a unique spatial experience and working environment that unlocks a host of intriguing possibilities for interaction and co-operation. The floorspace design is occupancy-neutral and provides for fully flexible partitioning together with the adaptability necessary to meet the shifting needs of future users. Together, the various elements – lift, spiral ramp, segments and stairwell – constitute a clearly structured, versatile circulation system that provides for both the desired interaction and the necessary flexibility to accommodate alternative uses. Internally, a light-flooded, upwardly widening atrium forms the centrepiece of Cocoon. Around this, the circulation and communication ramp winds its way upwards in gently curving contours, to provide a fluid link between all the internal spaces. Internally, as the ellipses expand with each turn of the spiral, the skylight void opens up in a stunning spectacle. Externally, the building adopts the guise of a dynamic, upward-reaching sculpture. The dramatic atrium, with its wealth of internal visual links, generates a natural ambience conducive to communication and a sense of community. The facade assembly consciously adds a note of subtlety and sophistication to the overall composition. The building is wrapped in a fine, almost scaly veil of stainless steel wire mesh. This curtain curls elegantly upwards in soft lines along the expanding spiral, its junction with the roof terrace accentuated by an open facade frame. The shrouded, sculptural stand-alone building, introverted during the daytime as it looks inwards towards the atrium, is recast in the evening hours as a transparent shining beacon.

Camenzind Evolution

Ground Floor


Section A-A

Section B-B

378


379


380


1st Spiral

3rd Spiral

2nd Spiral

4th Spiral

381


382


383


384


Center for Language and Hearing

School for aurally handicapped and deaf children Zurich, Switzerland

2a eckert eckert e architekten ag

The park-like site is dominated by an authoritative old school building from the early twentieth century that has had many extensions added. The original competition design focuses on a tower-like volume culminating with a bizarre studio rooftop, a crown like expression to form an emblematic expression that could resist the dominance of the old school.

In 2005 the project was lost due to a radical reduction of the educational budget of the city. A year later the existing temporary pavilions started to leak. We were asked us to replace the provisional pavilions with a new school building. The budget was a third of the former one, and the competition design could not be adapted. The new design focused on an extremely economical approach and stacks three identical floors. Only the ground level received the additional program of a gymnasium resulting in a one storey extension reminding the character of a pavilion. An undulated faรงade of untreated aluminium glades the building.


386


387


388


389


390


Sports Facilities Juchhof Zurich, Switzerland

Thirteen football fields over 1500 meters in length are set alongside the motorway and the railway tracks. The extensiveness of the evenly set fields defines the context of Zurich’s west periphery. Small buildings and vertical ball fences portion and control the landscape and urbanize the former agricultural area. The Sports Facilities Juchhof was originally built between 1965 and 1974 and is one of the biggest of its kind in Switzerland. Yearly, they are visited by between 50’000 and 65’000 non-professional footballers. It is site that facilitates a large space dedicated to sports and forecasts the upcoming city.

2a eckert eckert e architekten ag

For the sports facilities we realized two nearly identical buildings, three synthetic turf football grounds, a workshop and a parking. During the European Football Championship in Summer 2008, the new infrastructure served as a training facility. For the next decades, it will raise the standards for Corinthian football.

The building structure is a modular and repetitive order to layout structure and rooms. The supporting walls on the main level are prefabricated concrete elements. The insulation is covered with corrugated metal sheets and an additional layer of metal mesh. The light elements of the outer facade, which surrounds the buildings and the training grounds, are standard meshes and allowed a short construction time. The pragmatic construction and the use of extremely endurable materials formed the concept to protect the building from any vandalism by its users. The utilitarian usage and the highly economical budget target left nothing in place without an absolute and necessary need. The architecture of the two buildings purely reflects these requirements. The metal meshes were used both as a building material and signage. The colored vertical mesh-elements create a pattern reminding us of football shirts and give the site an orientation, a geography of football.

Juchhof 1, Juchhof 2; Ground Floor


392


Terrace housing is a dangerous type. It has become the most frequent developer building type of multifamily, upper class slope housing. The shifted slab, the quasi modern railing, the curved terrace, the slider and the sun marquises became the undoubted ideal model of a broader accepted modern style of housing in Switzerland; the ultimate modern invention to cope with the Swiss slopes. Terrace housing is efficient. The record holding ratio of minimal volume vs. maximal living surface is its true secret of success. To dig the house into the hill is the key operation. Terrace housing operates like inverted tribunes. The first, hence the lowest is the cheapest, the middle is the compromise and the top is tough to get. This house is a building that speaks of the same roughness as the rock we cut out: A topographic fill. A framed view as if we painted the picturesque background. The arrival, just a carport, opens a drive in and spreads across the width of the lot. One lives where the building is. The residual land next to it becomes a distinguished holder of distance that cannot be accessed: In a suburban condition, where one eagerly fights for every centimeter of a territory, a final recovery. A phenomenal view is organized on six rough steps down the hill. Housing with just one orientation; the south with no distractions. Access cuts deep into the rock. A canyon like outdoor stair connection frames the view out of the rock.

2a eckert eckert e architekten ag

Terrace Housing Meilen, Switzerland


394


395


396 168


Wilkinson Eyre Architects

Liverpool Arena and Convention Centre Liverpool, UK

Wilkinson Eyre was chosen by Liverpool City Council to transform Liverpool’s King’s Waterfront after winning an international design competition. Forming a focal point for the city’s European Capital of Culture celebrations in 2008, these new civic buildings will provide a 10,000 seat multipurpose arena, a conference centre incorporating a 1,350 seat auditorium, and an 7,500m2 exhibition facility, supported by a major new public piazza, a 1600 space multi-storey car park and 96 residential units.

The brief for this high profile project demands architectural design of the highest quality, due to its historic setting next to Albert Dock and adjacent to the World Heritage Site on the Mersey riverfront. The development will have an iconic status, defining Liverpool’s regenerated waterfront with a landmark structure. The team has therefore created an architecture that will express the development’s varied functions as a series of visually unified forms, relating to a series of exciting new public spaces rich in art and activity.


398


399


400


401


402 168

Cluster A Ground Floor Plan

Cluster A First Floor Plan

Cluster C Ground Floor Plan

Cluster C First Floor Plan


Wilkinson Eyre Architects Ground Floor Plan

John Madejski Academy Reading, UK

Wilkinson Eyre, together with educational consultant Graham Parker, were selected by the DfES to develop an exemplary secondary school design in 2003. The same team has now been appointed to apply this exemplar scheme to the design of the new John Madejski Academy in South Reading. The objective of the exemplar design exercise was to offer an architecture that supports innovative learning and teaching methods as well as providing a stimulating and fun built environment, adopting best practice from schools and other building types. At Reading, as in the exemplar design, the team has taken a kit-of-parts approach, separating generic teaching spaces from areas with more specialist technical requirements. These have been modified to suit the specific curriculum demands of the new Academy, which has a sports specialism, as well as the site context.


404


Roof Plan

First Floor Plan

405


406 168


Wilkinson Eyre Architects

House of Human Rights Milan, Italy

Designed for exhibition at the 2007 FuoriSalone (a week of design events which form part of Milan’s annual Furniture Fair) this conceptual scheme proposes a new House of Human Rights within the city. The ideas have been developed in collaboration with Amnesty International, who will take space in the new cultural centre alongside a series of nongovernmental organizations and other groups working in the field of human rights. The design looks critically at the ideas of boundaries, blurring these to allow public and private spaces to fuse and intersect, and applying the idea of inclusion throughout. The building accommodates a range of spaces including offices, an auditorium, gallery areas and a cafÊ. The communication of information is a central theme, and LED technologies have been integrated into the building envelope to transform the building into a powerful medium for transmitting information.


408


409


Busby Perkins + Will Architects Established in 1984 in Vancouver, British Columbia, Busby Perkins + Will is an integrated architecture, interiors, and planning firm recognized for its leadership with clients in corporate + commercial + civic, health care, higher education, K-12 education and science + technology. With more than 70 staff in the Vancouver office and the bench strength of 1,400 personnel in 22 offices worldwide, Busby Perkins + Will possesses a diverse range of skills and talents — from industrial design to large-scale master-planning — enabling the firm to take on a wide variety of project types. Busby Perkins + Will is considered as one of North America’s leading green practices with the largest portfolio of built green projects in Canada. The firm also researches, educates, and is heavily involved in the development of public policy and sustainability guidelines. With almost 25 years of successful projects completed across market sectors, the firm has received more than 100 design honours. These include 6 Governor General’s Medals in Architecture, 10 Lieutenant Governor of British Columbia Awards in Architecture, and the coveted Royal Architectural Institute of Canada Firm of the Year Award.

Agraz Arquitectos Agraz Arquitectos means thought and designed spaces for the

dweller’s personality, where light and transparency allow them to carry on with the day to day, in an adequate life scenery. The aesthetical proposal searches on a first basis, a subtle geometry and an artistic deepness as well; whereas on a most studied basis, the eternal highlighting of the human being, far upon matter and object, never escaping in each case it’s main sense of shelter. Established by Ricardo Agraz in Guadalajara, Mexico (1996), it’s work carries a language in which beauty, well being, love, sensuality and comfort can be obligatory or not, as thus is the fact of the imperfect quest for an unreachable perfection.

Ricardo Agraz Orozco 1985 Architectural Degree from University of Guadalajara 1988 Postgraduate studies at the International Academy of Architecture’s School of Advanced Architectural Studies in St. Kiriko, Bulgaria 1988-1990 Masters in Bioclimate Design, University of Colima 1986-1995 Professor of the Architectural Degree at University of Guadalajara 1995-1997 Alternative Architecture Workshop professor, Western Mexico Institute of Technology and Advanced Studies (ITESO)

1996-1998/2002-  Founding Professor of the Architectural Degree at Monterrey Institute of Technology and Advanced Studies (ITESM) 1991- Charter Member of the National Academy of Architecture and the Society of Mexican Architects; 1998- active member 2000 Award for Architectural Design, 11th Jalisco Award of the Jalisco College of Architects, for his work “Bugambilias Service Station” 2001 Silver Medal, Second Architectural Biennial of the National Academy of Architecture, Guadalajara Chapter, for the Casa Espinosa Viramontes Project 2001 Silver Medal, Second Architectural Biennial of the National Academy of Architecture, Guadalajara Chapter, for his Homes for Sale project 2001 Awarded at the Second Architectural Biennial of the National Academy of Architecture, Guadalajara Chapter, for his Casa Los Arrayanes Project 2001 Awarded at the Second Architectural Biennial of the National Academy of Architecture, Guadalajara Chapter, for his Remodeling of PATMOL Headquarters 2005 Silver Medal, Fourth Architectural Biennial of the National Academy of Architecture, Guadalajara Chapter, for his CASA I 2006 Award for Architectural Design, 13th Jalisco Award of the Jalisco College of Architects, for his work Puerto Vallarta Boardwalk Selected work: Casa los Arrayanes. Fraccionamiento Santa Anita, Tlajomulco, Jalisco. Casa T Fraccionamiento Valle Real. Zapopan, Jalisco. Casa I Fraccionamiento El Secreto Guadalajara, Jalisco. Casa Niño de Guzman. Fraccionamiento Valle Real. Zapopan, Jalisco. Casa Solbes Fraccionamiento Lomas del Valle. Guadalajara, Jalisco. Refurbishing of Puerto Vallarta Boardwalk. Refurbishing of Calle Hidalgo. Mazamitla, Jalisco. Homes for sale for La Cima development in Guadalajara, Jalisco.

Duarte Aznar Arquitectos In Duarte Aznar Arquitectos, the architects focus on the human being, with aspirations and needs, feelings and justifications, dreams and will to be happy. It’s not enough to build spaces but create atmospheres where the users could have the possibility to satisfy their physical and spiritual demands. They focus on the site where the projects will be built, because the relation between humans and nature is made of respect and harmony. They talk about domestication instead of domination or depredation. They focus on the Time, because Architecture must belong to present and project itself to future, never be blocked into the past denying its own time. The

410

architects’ responsibility is to read and interpret these parameters in order to propose a personal response for each case.

Enrique Duarte Aznar Born in the city of Mérida, Yucatán, in 1957. Graduated from the Iberoamericana University in 1980. Academic Dean of the Marista University, Mérida, from 2002 to 2003. Merida’s Urban Development Assistant Director from 1985 to 1987. Partner of Duarte, Navarrete and Associates from 1980 to 1986. Director of Duarte Aznar Arquitectos S.C.P from 1986 to now. Partner Director of 4A Arquitectos S.C.P from 2005 to now. President of the Yucatecan Architects Committee from 1990 to 1992, Vicepresident of the Mexican Republic’s Architects Committees Federation from 1993 to 1995. He lectures and Conferences in Mexico and other countries. His works are published in many publications and expositions, in Mexico and other countries and won many awards nationally and internationally. Selected awards: Medal of the Artistic Merit in 1999, from the Cultural Institute of Yucatán. Silver Medal and Mention of Honor in the 6th Biennial of Mexican Architecture, 2000, for the Inalámbrica Sports Unit and Shotokan Karate School, both in Mérida. 1st Prize in the 4th Biennial of Yucatecan Architecture, 2001, for Walmart Exterior Design, Mérida. Great Prize in the 5th Biennial of Yucatecan Architecture for the Santa Ana Market, in Mérida, and 1st Prize of its category for Kin-Ha residential complex, in Ciudad del Carmen, Campeche. Introduction to the Best Work Prize in the 4th Biennial of Iberoamerican Architecture in Lima, Perú, 2004 with the Santa Ana Market, this work also get Mentions of Honor in the 14th Biennial of Panamerican Architecture in Quito, Equator, and in the 8th Biennial of Mexican Architecture in Acapulco, Guerrero. Great Prize in the 6th Biennial of Yucatecan Architecture with “The Wedge” beach house and 1st place in the Education Category for Playa Norte Complex.

JCName Arquitectos With a strong goal for design excellence and the legacy of Mexican tradition and contemporary architecture, JCName Arquitectos takes a disciplinary approach to its different array of projects. Based in Guadalajara Jalisco, the company was founded in 1975 by architect

Juan Carlos Name Sierra, who has been recognized as a

leading professional in Mexico and whose work has been widely


published in various national and international architectural books and magazines. The practice takes on the risk of crafting a unique composition of forms, colors and materials; creating a special language for a constantly changing region and within a growing economy. The prevalence of the firm’s architecture relies on the use of forms, contents and concepts. The recognition of projects includes a wide arrangement of narratives that commonly share a language under the special attention on innovation, detailing, crafting and technology. With a team of people that ranges in ages, experiences and world travelers the office shares a common thought, the look for style and the passion for design and architecture.

JCName Arquitectos promotes the quality of the design and the contemporary architecture in all its projects. With the search of innovative functional plans, the firm generates concepts and unique lifestyles. More than 30 years of experience in the construction business vouch for the quality of the work carried out by the firm. The relation of the project and its constructive process permits a narrow coordination of details, solution to problems and an intrinsic supervision during the advances of the work. One of the constant references of the firm is the interpretation of the needs of our clients and the functionality of the spaces designed in search for exclusive contemporaneousness of the lifestyle declared by the firm as by the client. Vanguard, technology and special attention to detail are the goals and core values that characterize the company, but above all, a passion for art, architecture and the exquisite design of

Republica de Brasil 44, which won the golden lion award of the Venice Architecture Biennale, and the project to finish the Centro Cultural de España, in the historic center of Mexico City. In 2007, they moved to new offices, where the Higuera + Sánchez evolved into a new organization called Jsa and have chosen to focus on strengthening their most important asset, creating designdevelopment, in collaboration with the top construction companies, nationally and internationally, to build projects with the highest quality. The new partnership is a 90 person large multidisciplinary team that includes architects, developers, engineers, financiers, designers, commercial advisors and administrators.

each printed detail in the work of JCName Arquitectos.

Selected awards: 2008 Javier Sanchez elected Honorary Fellow of the American Institute of Architects 2007 International Architecture Awards for the best new global design organized by el Chicago Athenaeum: Museum of Architecture and Design and the Metropolitan Arts Press Ltd, for the Hotel Condesa df (in collaboration with India Mahdavi Hudson, IMH) and for the housing project Amsterdam 315 2006 Golden Lion for Urban Project at the Biennale of Architecture of Venice for the project Republica de Brasil 44; First Prize at the Hospitality Design Awards for best hotel in all categories, Best of Show, for the Hotel Condesa df (in collaboration with India Mahdavi Hudson, IMH) awarded by the New Yorker Magazine Hospitality Design Magazine

Jsª (formerly Higuera + Sánchez)

Pascal Arquitectos

The firm began as Higuera + Sánchez with 4 members in 1992. In 1994, they began to promote architecture and build their own projects. In 1996 their first project began with a synthesis of architecture, construction and real-estate development. The first projects on this stage were in the Colonia Condesa, in Mexico City. They were small buildings, inserted into the urban fabric of this residential area, focusing on vacant lots unused by the city. From this time, the project Privada Veracruz stands out. Here, they began to develop a process of microurbanism, with a project to which several buildings were added in a period of 8 years. The firm grew from 1996 to 2000, both in number of projects and in number of members. Starting in 2000, their work took off with a subtle difference when began to build projects other than housing and to work in other areas of Mexico City. Also, they received their first traditional architectural commissions. From 2002 they began to work on commissions for housing projects and to recycle existing buildings, giving them a new use. In 2004, the firm began the project of the Hotel Condesa df, which opened a whole new perspective for the firm, in view of the success it had in Mexico and abroad. Starting in 2005, the firm opened the interior design area, which has flourished undertaking major projects. From 2006, the firm began to receive commissions outside of Mexico City and in other countries for different projects. They undertook projects like the interior design of the Museo del Estanquillo, the social housing

Pascal Arquitectos was founded in 1979 by Carlos and Gerard Pascal with the main purpose of achieving ultimate and integral development in architecture, interior, landscape, lighting and furniture design. The practice’s production ranges from luxurious residential projects, residential complexes, institutional and religious buildings, restaurants, to corporate and offices buildings and hotels.

Gerard Pascal Wolf -1954 Architect - Universidad Iberoamericana.1973 - 1978 Several conferences in México, United States and Southamerica. Member of IIDA (International Interior Design Association) Member of AMDI (Mexican Association of Interior Designers)

Carlos Pascal Wolf -1956 Architect - Universidad Iberoamericana. 1974 - 79 Senior Management Program - IPADE. 1998 Master in Semiotics - Universidad Anáhuac. 1999 Professor - Instituto Tecnológico de Monterrey. Professor in Master of Interior Design - Universidad Anáhuac. Guest Professor in Interior Design Diploma, Universidad Iberoamericana. Guest Teacher in Universidad ORT, Uruguay. Several conferences in México, United States and Southamerica. Speaker at the SAL (X Architecture Seminar in Latinamerica) Montevideo, Uruguay. September, 2003. Speaker at “Primer Coloquio Nacional de Teoría de la Arquitectura”,

411

Facultad de Arquitectura de la UNAM, August 2004. Member of the National Association of Architects (México) Member of IIDA (International Interior Design Association) Member of AMDI (Mexican Association of Interior Designers) Selected awards: 2008 Marble Architecture Awards 2008 First Prize, Section I (External facings) with Casa de Meditación (Mourning House). 2007 Best of the Year Awards, Interior Design Magazine. Institutional Projects category winners: Mourning House; Bienal Miami+Beach 2007. Architecture, Landscape Architecture, Interior Design. Silver Medal Winner, Public Buildings below 10,000 sq.feet, Meditation Chapel; AMDI – NATIONAL INTERIOR DESIGN AWARD WINNER 2007, Hospitality Category, Bar Lounge Nisha. Mexico; PROFESSIONAL AWARD, SMI - Sociedad Mexicana de Interioristas. “Habitat Expo 2007”. Mexico. 2006 SMI/ SOCIEDAD MEXICANA DE INTERIORISTAS - Profesional Associated Member of IFI (International Federation of Interior Architects/Designers) - Recognition for Company’s 30 years of distinguished trajectory. México City; AMDI - NATIONAL INTERIOR DESIGN AWARD WINNER 2006, Hospitality Category, Restaurante Guria. Mexico; AMDI - NATIONAL INTERIOR DESIGN AWARD WINNER - 2006 Hospitality Category, Hotel Sheraton Centro Histórico. Mexico.

DesignARC DesignARC is an innovative design firm comprised of progressive,

like-minded thinkers who share a genuine desire to research, learn, and apply newfound knowledge to the project at hand. Specializing in custom residential, commercial, hospitality and institutional design, with thriving studios in both Los Angeles and Santa Barbara, the company culture stresses collaboration among colleagues, in the search for creative architectural solutions for its clients.

DesignARC has designed and seen through construction a decidedly diverse portfolio of architectural projects during the past thirty-five years, and has received over thirty design awards for Excellence in Architecture. The honored work includes many restaurant and hospitality projects in New York, San Francisco, Los Angeles and Santa Barbara, as well as numerous multi - family residential projects in Palm Springs, California. DesignARC is committed to solving each architectural problem creatively and effectively, while delivering the highest standards of architectural service to the client. The firm assembles each project team with the architects, consultants and specialists who are the best suited, and most experienced for the project. Client satisfaction is DesignARC’s most important goal, and the commitment of each member of the firm.

DesignARC’s highly collaborative approach to projects is the core of this commitment: a central belief is that the most successful projects celebrate the goals and ambitions of the client, rather than the signature

of the architect. Essential to this approach is DesignARC’s ability to establish a close working partnership with every client; developing goals, program parameters, building solutions and management


strategies, within a framework which assigns the highest priority to communication and the collaborative process.

HanrahanMeyers Architects Established in 1987, HanrahanMeyers Architects is internationally recognized for distinctive design. hMa’s institutional and residential projects are direct responses to place. Their work integrates architecture, interiors, lighting and landscape through a friendly and collaborative process involving artisans, design engineers, and the construction team. hMa’s work has received wide critical acclaim. The AIA NY Chapter has given hMa twenty-two design awards. hMa has also been honored with six PA Design Awards, as well as MIT’s McDermitt Award for Design Excellence, and an Award for Design Excellence for Hunts Point Community Center. hMa are committed to Green Design. In 1987 hMa came to national recognition with their winning design for the Chattanooga Nature Interpretive Center. hMa’s Interpretive Center was a forward thinking Green building featuring a solar panel array as the building entrance canopy, in addition to other sustainable features. hMa gives 2% of the firm’s profits to Nature Conservation groups as an offset to the firm’s construction projects. hMa is currently architect for a Platinum LEED Community Center at Battery Park City, with construction planned for 2008. Current projects hMa has in construction include: Tenth Church of Christ, Scientist in Manhattan, the Chapel of the Light in Queens, New York, and See-Thru House in Dallas, Texas. Projects in Design and Production include Battery Park City Community Center, a Platinum LEED certified building; Dune House, a Platinum LEED certified house in Amagansett, New York; and the Won Buddhist Retreat in Claverack, New York, a sustainable community on a 700 acre wooded site, applying design standards for a Gold LEED rating. See-Thru House is part of a Green Development, Urban Reserve, applying principals of Green design to a large-scale housing development. See-Thru house will feature a green roof.

hanrahanMeyers’ portfolio of recently completed award-winning public projects includes WaveLine, a small multi-purpose performance pavilion in Queens, New York and Pratt Pavilion, a new campus center for Pratt Institute’s main campus in Brooklyn, New York. WaveLine was recognized for design excellence with an AIA NY Chapter Design Award. Pratt Pavilion received a Design Award from the NY Architectural League, and was featured in the League’s ‘New York Designs’ lecture series in 2007.

Jones Studio, Inc. Founded in 1979, Jones Studio, Inc. practices on the cutting edge of contemporary architecture. Led by principal designer, Eddie Jones, the firm is recognized as one of the most innovative, creative, and respected architectural firms practicing in the Western United States today. It is specifically known for its expertise in designing for the Sonoran desert environment. With over 30 years experience in the design and production of large and small building types both in the public and private sectors,

Eddie is widely recognized as one of Arizona’s most respected and talented architects. His work represents some of the most positive and influential directions in American architecture today. The recipient of numerous local, national, and international design commendations, he is responsible for all functional and aesthetic design elements of each project. Eddie focuses his experience as a design professional on establishing methodologies, setting design direction, and reviewing for quality assurance. He is also responsible for the detailed architectural design aspects of all of

Jones Studio, Inc. endeavors.

As President of the firm, Neal has over 20 years of experience in the design, production, and management of various building types. In addition to handling all the administrative, financial and marketing affairs of the firm, Neal is also responsible for directing the Project Team in the overall design and management of each project. He deals with the individual client on matters pertaining to overall objectives, planning the delivery of services, and monitoring the results as they relate to meeting the clients needs in a consistent way. In addition, he assists in the coordination of appropriate staffing, monitoring and approving contract amounts and time commitments, and overall project control.

Machado and Silvetti Associates Machado and Silvetti Associates is an architecture and

urban design firm known for distinctive spaces and unique works of architecture in the United States and abroad. Their designs are the result of careful integration of the client’s aspirations, the project’s programmatic requirements, and the nature and character of the place for which a proposal is designed. The work does not espouse any signature style, but strives to find that which is unique and important within a given project, and to express that urbanistically and architecturally. The projects are distinctive for their conceptual clarity and visual intensity.

Machado and Silvetti Associates became incorporated in 1985, although principals Rodolfo Machado and Jorge Silvetti have been in association since 1974. The firm’s projects have been

of diverse size and nature, having developed special expertise in Art Museums, educational institutions, and urban design and planning for Berlin, Frankfurt, Singapore, Venice, Vienna, Dallas, New York, and so on. In 1991, the firm was given the first ever Award in Architecture by the American Academy of Arts and Letters for twenty years of “boldly conceived and brilliantly executed urban projects” and the designs were commended for being “uncompromisingly dedicated to envisioning a meaningful architecture of the public realm.” Since that time, the office has received three National Honor Awards from the American Institute of Architects as well as the AIA Brick in Architecture Award, ten Progressive Architecture awards and citations, eleven design awards from the New England AIA chapter, sixteen Boston Society of Architects awards, including the 2003 Harleston Parker Medal, and the prestigious International Award for Architecture in Stone. In addition to their architectural practice, principals Rodolfo Machado and Jorge Silvetti both teach at Harvard University’s Graduate School of Design, where Mr. Silvetti chaired the Department of Architecture from 1995 to 2002 and Mr. Machado currently chairs the department of Urban Planning and Design. Additionally, Mr. Silvetti

412

served as a juror for the Pritzker Prize from 1997 to 2004.

Mark Dziewulski Architect Mark Dziewulski is a British architect who works internationally.

He has based his practice in the United States since 1986, in New York and California, and has a branch in London. His office has completed projects in the USA, Europe and Asia. Their work has been widely published and has received many design awards.

Mark Dziewulski’s designs combine the use of technological innovation with poetic and sculptural forms to create a strong sense of “place” in the public realm. His work reflects an individual and distinctive design sensibility, while each new commission receives a fresh approach based on its contextual and programmatic influences. He has a considerable number of commissions to his credit, covering a broad range of building types, including cultural, commercial, and residential. He has received three design awards from the American Institute of Architects for “significant works of architecture”. The Polish Government recently presented him with a medal for his services to the nation, the Gold Order of Merit. Other accolades include the International Design and Development Award. He has also received the Pacific Coast Builders Design Award two years in a row. He gained his early experience working with several internationally recognized firms. While at Michael Graves Architects, he was involved with the Whitney Museum extension in New York. Working with SOM, he was a designer for the World Wide Cente. Since 1986 he has been running his own office. In addition to designing buildings, Mark Dziewulski collects art, paints, sculpts and designs furniture and lighting. His sculpture and industrial designs have been exhibited and published in several countries, while his furniture designs are currently being manufactured in Italy and sold internationally. Mark Dziewulski has built up a considerable body of work. In addition

to his many built projects, he is currently working on conceptual designs for public buildings, an art museum and a performing arts centre, as well as large scale commercial projects, such as high-rise towers and full-scale urban planning projects. His goal is to continually evolve and grow as a designer, expanding the range of his portfolio while striving to create an innovative and rigorous architecture.

Steven Ehrlich Architects Steven Ehrlich Architects is internationally recognized for

distinctive design. Their approach to design extends the traditions of architectural innovation and the fusion of technology with cultural and environmental sensitivity. This approach has been recognized by both clients and peers through such prestigious accolades as seven National American Institute of Architects (AIA) awards and recognition as the 2003 Firm of the Year by the American Institute of Architects, California Council. The architecture and planning of SEA is based on an engagement with the group and the society for which the building designs are intended. The vitality of the architectural response draws it energy from the needs, hopes


and aspirations of those who will be using and influenced by the structures. The firm listens, watches, learns, and takes inspiration from the people and forces that have the will to make a project happen. Deeply considering how finished buildings can add meaning to normal interactions, the firm strives to be inclusive in its design input and synthesis. This openness, informed by experience and intuition, allows for a true community of participation, and results in buildings that celebrate people and place. The methodology for the design of all buildings is a straightforward approach to function and an architectural expression concerned with: users and the community; a vernacular response to local climate and culture; the integration of spontaneous social gatherings; the intensity and context of light and shadows; and the power of simple forms and spaces. The firm understands and embraces the importance of people and place and the necessity of expressing the unique characteristics of a community within the context of a functional, well-planned facility.

STUDIOS architecture STUDIOS is an architecture, interiors, planning and strategic

consulting practice with offices in San Francisco, Los Angeles,

Washington, DC, New York and Paris. Founded in 1985, STUDIOS

is active in the programming, master planning, design and construction of corporate, academic and civic buildings. Recipient of the 2002 AIA California Council Firm of the Year Award, the practice has won more than 150 design awards to date and have been featured in numerous architectural magazines, exhibits and publications. STUDIOS is dedicated to creating people-oriented architecture, buildings and interiors that promote collegiality and interaction.

STUDIOS is a client centered practice. Projects are handled by client

studios, dedicated teams that follow a project through to completion. The practice is well known for creating innovative designs within limited budgets. STUDIOS has a comprehensive approach to architecture that embraces pragmatics – real estate asset management, life cycle costs, organizational churn and workplace behavior, budget and schedule - as essential components of design. Selected awards: 2007 Architectural Record/BusinessWeek Award of Excellence IAC Headquarters, New York, NY Society for College and University Planning (SCUP)/AIACAE, Honor Award for Excellence in Architecture for Renovation or Adaptive Reuse University of California, Santa Barbara, De La Guerra Dining Commons, Santa Barbara, CA AIA Institute National Honor Award for Interior Architecture, Bloomberg LP Headquarters Office, New York, NY 2006 Architectural Record/BusinessWeek Merit Award State of California, Dept. of Health Services, Laboratory Campus Phase III Office Building, Richmond, CA Architectural Record/BusinessWeek Award Bloomberg Headquarters Offices, New York, NY The Chicago Athenaeum, American Architecture Award State of California, Dept. of Health Services, Laboratory Campus Phase III

Office Building, Richmond, CA Gold Nugget Merit Award, State of California, Dept. of Health Services, Laboratory Campus Phase III Office Building, Richmond, CA 2005 AIA East Bay Awards, Architecture Merit Award, State of California, Dept. of Health Services, Laboratory Campus Phase III Office Buidling, Richmond, CA AIA San Francisco Design Awards Excellence in Interior Architecture Citation, Orrick Herrington, and Sutcliffe, LLP, San Francisco, CA AIA New York Design Awards, Interior Architecture, Merit Award, Bloomberg LP Headquarters Office, New York, NY 2004 AIA District of Columbia Historic Resources Award for Excellence Christ Church of Georgetown, Washington, DC The Chicago Athenaeum, American Architecture Award Milpitas City Hall, Milpitas, CA

Swatt Architects Swatt Architects is an award-winning San Francisco Bay Area

remodels and adaptive re-use projects, the architects develop strong sculptural forms and spaces transformed by both direct and indirect connections to nature and the buildings’ immediate environment. In 2004 the firm was recognized as one of twelve Emerging Architects to watch nationally in Architectural Record magazine and in 2006

XTEN was featured in the grand re-opening exhibition at the

Architecture+Design Museum in Los Angeles. In 2006 and 2007

XTEN was awarded honors in Architectural Design from the American

Institute of Architects, winning also a Bienal Architecture Award in international competition at the IV Bienal Miami+Beach in December 2007. The work of XTEN Architecture has been published extensively appearing on the cover of Architectural Digest and in Architectural Record, Interior Design, LA Architect, The Los Angeles Times Magazine, Angeleno, Elle Décor UK, Interni (Russia), Spa-De (Japan), Times Space (China), Belle (Australia), Disenart (Spain) AD Mexico and Deutsche Bauzeitung in addition to numerous architectural design books. Buildings in design and construction include several custom residences, galleries and commercial projects in the US and large-scale buildings and competitions in Switzerland, China and the Middle East.

firm known for fusing a modernist sensibility with the challenges of California landscapes, creating unique spaces for living. The

Yazdani Studio of Cannon Design

firm was founded in 1975 by Robert Swatt, FAIA, and has been recognized with 40 design awards, including the prestigious national Honor Award from the American Institute of Architects for the historical renovation of The Icehouse, San Francisco’s largest pair of masonry buildings and part of the headquarters of Levi Strauss & Co.

The Yazdani Studio of Cannon Design is a laboratory for exploration and excellence in architecture. Estab­lished upon the reputation and leadership of award-winning architect Mehrdad Yazdani, the Yazdani Studio integrates the best attributes of a design studio with the resources and reach of an international practice. From its primary office in Los Angeles, the Yazdani Studio combines the talent of a diverse team of architects, designers, 3D artists, technical specialists and other creative thinkers who share a commitment to pushing the boundaries of design - from refining concepts of sustainability to the application of new technologies and urban initiatives. The Yazdani Studio delivers services in all aspects of architectural design and planning to produce unique environments and products for progressive institutions and individuals throughout the world.

A special focus of Swatt Architects is in the area of single and multi-family residential design. In the tradition of earlier modern masters such as Neutra, Schindler, and Wright, the firm emphasizes the West Coast themes of open planning and design with nature. With new houses throughout California, Swatt Architects has gained international recognition for creating distinctive, modern architecture that features the creative use of structure and materials, elegant detailing, spatial continuity and transparency that dissolves the boundary between indoors and outdoors.

XTEN Architecture XTEN Architecture is an award winning architecture firm located in Los Angeles, California, with satellite offices near Basel, Switzerland.

Founded in 2000 by partners Monika Häfelfinger and Austin Kelly, XTEN Architecture is a full service architecture and design firm specializing in cultural buildings, office and commercial facilities, large-scale residential projects and custom single family residences. Buildings are developed using the most innovative green technologies and materials available and guided efficiently from design through construction.

XTEN has developed a distinctive method to the development of contemporary architecture, with an emphasis on minimalist logic, material transformation and refined detailing and craftsmanship. Underlying themes in the work have focused on the conceptual use of building materials, modified with both traditional and digital techniques. In new buildings,

413

Mehrdad earned his degree from Harvard University in 1987 and his Bachelor of Architecture degree with highest honors in 1983 from the University of Texas at Austin. For most of his design career, Mehrdad Yazdani has practiced at the intersection of the large office and the small studio. Named one of the world’s top emerging architects by Progressive Architecture just three years after graduating from Harvard’s Graduate School of Design, Mehrdad has succeeded in bringing a design sensibility characteristic of boutique firms to a broad portfolio of significant projects for noted firms such as Ellerbe Becket, Dworsky Associates and now Cannon Design and the Yazdani Studio. Noted for award-winning civic commissions such as his widelypublished United States Courthouse in Las Vegas and his memorable Los Angeles metro station on Vermon Avenue at Santa Monica Boulevard, Mehrdad continues to attract critical praise for his latest efforts. A new biomedical research facility for the Hauptman-Woodward Institute in Buffalo, New York has been labeled a symbol of coming economic growth in the Central New York area and recently received that region’s AIA 2005 highest honor award. A student union expansion


recently completed, for the University of California, San Diego, is defined as “groundbreaking” and has already received multiple awards.

Bates Smart Pty Ltd With offices in Melbourne, Sydney and Hong Kong, Bates Smart offers full services in architecture, interior design and urban design. Since 1852, the practice has been continuously involved in major commercial and planning projects that have influenced both urban and regional development. Bates Smart’s commitment to design excellence, environment responsiveness and client service affirms its reputation as one of Australia’s most respected design firms.

Bates Smart offers clients the talent, technical resources and

capacity to meet the most demanding and complex brief. Their defining characteristics are their ability to: Deliver a quality design product, on time Manage budgets, complex briefs and programmes Respond to clients Work within complex contractual arrangements Apply extensive knowledge and expertise effectively The practice combines the strengths of an innovative professional and consultative approach to client service and design with a comprehensive skill base.

Bates Smart strives to provide an excellence in design product

that is modern, enduring and innovative. The clients benefit from their attention to detail and their concerned and rigorous approach to all design issues.

Bates Smart’s buildings and interiors have received critical praise for their technical and design innovation as well as for their subtle and sympathetic relationship to their respective contexts. They provide flexibility at both an organisational level and from a corporate responsibility perspective and allow for environmental responsiveness. The practice pride itself on the capability of Bates Smart designed buildings and interiors to stand not only as icons and representations of the clients brand but also as part of the urban and community context in which they reside.

Harry Seidler & Associates Harry Seidler & Associates is a closely-knit team-a dedicated group of individuals, some of whom have collaborated effectively for more than 30 years. The firm has completed a great variety of buildings, from private residences, industrial buildings, hotels, high-rise offices and apartment buildings to regional developments providing a totally integrated environment. Most of these projects have been in Australia; however, the firm has also undertaken work in South East Asia, Central America and Europe, including a social housing complex consisting of some 850 apartments, 14 cinemas, kindergarten schools and shopping, fronting the Danube in Vienna. For the size of the projects it undertakes, the team of Harry Seidler & Associates is relatively small. This allows its aims and

approach to architecture to remain clear and direct, building upon and extending the tenets of Modern architecture. Experience is carried forward from one project to the next, the team constantly evolving and developing its visual and technological base. Short-lived fashions and regressive stylisms are shunned; the aim of aesthetic and physical longevity predominates. Each project is developed as a totality, a Gesamtkunstwerk, wherein all the parts, down to the smallest detail of interiors and integrated works of art, receive equally dedicated attention. The team has acted as construction managers/builders not only for its own headquarters in Sydney (in its evolution over some 20 years into a cohesive group of buildings), but also for other large commercial buildings.

Tonkin Zulaikha Greer Architects Tonkin Zulaikha Greer has a special interest in public spaces, public buildings and“fringe” architecture, often providing buildings with a new life outside their traditional functions.

well into the process. Their work also exhibits a bold and animated use of form. There are many formal configurations that recur at varying scales between projects that act to tie them together without descending into a signature theme. Many ideas and compositions are not immediately evident, and as such the buildings invite a second glance. Living in an age and facing the detrimental effects wrought upon the environment by previous generations and that are still too prevalent today, it is the responsibility of all architects to respond to this situation by designing in a manner that seeks to help reduce and reverse these impacts. Turner take this responsibility very seriously and have formed a team within the office whose task is to ensure that the practice is abreast of current research as well as consciously advance these principles within the office. The team is called seed>S (social economic environmental design for Sustainability). Turmer’s projects embody these principles at their core. Their work has directly informed the state government legislation in this field and has been held up as case studies expressing the positive benefits of a consideration of social economic environmental design for sustainability.

The directors of

Tonkin Zulaikha Greer Architects are Peter Tonkin, Brian Zulaikha, Tim Greer and Roger O’Sullivan, with a staff of 25 professionals. The practice has

expertise in a wide range of architecture, and a leading reputation for design and constructional excellence, having won over thirty major design awards, at both state and national level, for urban design, new buildings, refurbishment and interior projects.

“Tonkin Zulaikha Greer signify architectural practice in early 21st Century Australia. There is immense respect for and knowledge of Sydney, their city of operation, and a desire and expectation to create a great urban model. They have a reflective, self-critical attitude to their own work and its place in the city; an understanding of the value of working with existing built fabric and the cultural values it embodies; a constant desire to be contemporary in their formal solutions and the issues they embrace; a willingness to be experimental and to take each project on its own merits; and a profound respect for the discipline of architecture.” Geoffrey, London

APOLLO Architects & Associates Satoshi Kurosaki 1970 Born in Kanazawa, Ishikawa Prefecture, Japan 1993 Graduate from Meiji University, Architecture Department 1997-2000 FORME ARCHITECTS 2000 Established APOLLO Architects & Associates

Yasuhiro Yamashita / Atelier Tekuto Yasuhiro Yamashita

Turner + Associates Architects

Born in Kagoshima, 1960 Graduated from Shibaura Institute of Technology (B.Arch.) Received M.Arch.at Shibaura Institute of Technology, 1986 through Yutaka Saito Architect & Associates, PANOM and Shunji Kondo Architects Establish private practice, 1991

Founded in 2001, Turner + Associates Architects is a design led practice of diverse but synergistic people with complimentary skills. The office structure offers a laboratory environment leading to a practice driven design review that supports the pursuit of an individual’s speculation. Well known for their residential work, Turner’s projects also currently include large-scale civic masterplans, mixed-use urban renewal projects, commercial developments and industrial projects, both nationally and internationally. There are many drivers behind the concepts of Turner’s work and these can vary from project to project. Key elements and directions can be found in the ongoing analysis of the program, the site context, technological issues and environmental strategies. They look at these components in a manner that allows for unexpected solutions and continue to test alternatives, often finding new and fresh information

Selected awards: The 28th INAX Design Contest in Japan, Award of Merit, "Reflection of Mineral", 2007 Residential Award, Japan Society For Finishing Technology in Japan, “aluminum House”, 2007 Wallpaper, Best Bolthole Award in UK, “Reflection of Mineral”, 2007 The 27th INAX Design Contest in Japan, A Judge Special Prize, "Layers", 2006 The 9th Nihon Mokuseiren Mokuzai Katsuyo Contest, Wood Architecture Award, “ref-ring”, 2006 2005 Good Design Award in Japan, “Lucky Drops”, 2005.10 Ar+d Awards 1st Prize winner in UK, "Cell Brick" , 2004.12 The 11th Space Design Competition in Japan, First Prize, "Crystal Brick", 2004.9

414

At present, Yasuhiro Yamashita / Atelier Tekuto, Tokyo


The 24th INAX Design Contest in Japan, Third Prize, "Ka-su-ri", 2003.9 Tokyo Society of Architects & Building Engineers, Housing Construction Encouragement Prize in Japan, "Penguin House", 2003 Competitions: International Ideas Competition for the Design of The Seoul Performing Arts Center, 2nd prize, 2005 Mexico Guadalajara University Library Competition, 2005 NY Cony Island Parachute Pavilion, 2005 Iwamizawa Train Station Design Competition, 2004 Busan International Architectural Competition, First Prize, 2004 Onishi-chou Multipurpose Hall International Competition, 2003 Nakasato-mura Public Office Goverment Building Competition, 2000

of buildings by Japanese modern spirit. Recently, he drew up nursing homes for old people and renewal for old buildings. He reorganized his associates as r-session inc. to celebrate 20 years anniversary. His important work includes: Takii Seed Quality Center, northcottage (2005 Good Design Award), House in Korien, Guest House in Sumiyoshi.

RYUICHI ASHIZAWA ARCHITECTS & associates Ryuichi Ashizawa

Atsushi Kitagawara Architects Atsushi Kitagawara was born in 1951. As a twenty-oneyear-old senior student of the Department of Architecture of Tokyo National University of Fine Arts and Music, he won the first prize of an international architectural design competition organized by JA (Shinkenchiku). He came to be involved in the world of architecture and decided to continue to study at the graduate school of architecture. In that period, though, his love for art, literature and philosophy was still more deepened and his interests were expanded into contemporary Japanese novels and study on Japanese classic literature. The influence from literature, music and art can be found in works of Kitagawara. The architect thinks that the architecture should be an incubator with highly creative potential which gives proper solution to requirements, conditions and programs to arouse human imaginations, to generate new meanings and to open our eyes to brand-new functions. In fact, in his position, it is only the sort of architecture that can make value of resources. The architectural aesthetics Kitagawara mentions consists of not only form and volume but also rich creativity within architecture. The architect believes that it is the architecture that makes dreams and hopes for people as other art forms do. In recent years, Kitagawara is motivated at environmental issues and committed in environment-symbiotic architecture, while his design itself has always been based on the belief to poetical aesthetic of architecture.

Kitagawara’s originality of architectural idea and design method is appreciated so highly that he has won many prizes as well as great confidence from his clients. With teaching experiences at Tokyo University, Waseda University, Tokyo Institute of Technology and others, Kitagawara is a professor of Tokyo Univ. of Arts (Tokyo National University of Fine Arts and Music) which he graduated from and, as one of the most remarkable architects, he practices design activities with his associates of Atsushi Kitagawara Architects.

r-session Inc. Masayoshi Setogawa established art-session inc. in 1989 in

Kyoto after leaving NTT Architecture. He has designed many kinds

1971 Born in Yokohama 1994 Graduated from Waseda University, B.Arch in the Department in the Department of Science and Engineering 1994~ 2000 Worked at Tadao Ando Architect & associates 2000 Cofounded URBAN FOREST ARCHITECTS 2001~ RYUICHI ASHIZAWA ARCHITECTS & associates 2006~ lecturer at Osaka City University 2007~ lecturer at Kinki University He works widely in the fields of design from landscape、 architecture、shop interiors to the furniture. Selected awards: 1997 S×L Housing Competition in Japan「Mies Van Der Rohe's House」1st Place 1998 Tokyo Designer's Week Design Premio Checotti Prize 1999 Japan Art Scholarship Prize 2000 Interior Planning Award 2000 2000 JCD 2000 2002 JCD 2002 2004 The 50th Osaka Architecture Award 1st Prize 2004 Interior Planning Award 2004 2004 Good Design Award 2004 Good design place 2004 DYSON DESIGN AWARD 2004 2004 JCD 2004 2004 The 25th INAX Design contest 2005 Journal of Architecture and Building Science Architectural Institute of Japan 2006 Urban Open Design Competition, Chicago, USA 1st Place 2006 Lighting Technology Award 2006. 2006 JCD2006 2nd Place 2006 2006 Religious Art & Architecture Design Award, San Diego, USA 2006 International Competition「TRANSITIONS:LIGHT ON THE MOVE」Mention, Madrid, SPAIN 2006 Good Design Award 2006 Good design place 2006 OUMI Universal Design Award 2006 PRESENT OF FUTURE Space Award, Moscow, Russia 2006 The 40th SDA Award 2007 International Competition "Memorial center Mother Teresa in Macedonia". won the prize ,Macedonia 2007 Best New Architect in Kansai 2007 SD review 2007 SD Award

415

2007 The 8th「DANTO TILE DESGIN CONTEST」1st Place 2007 Light Competition of the architect (house section). won the prize 2007 LEAF AWARD 2007「International building of the year」, England 2007 The Japan Institute of Architects. won the prize 2007 The21th Prize for scenery in Kobe 2008 ENERGY GLOBE AWARD2007「National ENERGY GLOBE AWARD Japan」, Austria 2008 The 42th SDA Award

Xaveer De Geyter Architects Xaveer de Geyter, born in 1957 in Doornik, Belgium, started up

his firm in the early nineties with the construction of two private villas in Belgium. Before this, he had worked for ten years at the OMA with Rem Koolhaas. Early designs such as the ilôt Saint Maurice in Lille and the Chassée apartment towers, breda, exemplify his capacity for innovative architectural design. In 2001, a second office opened in Ghent, in collaboration with Stéphane Beel. Important projects include: -Coovi, planning and building for Elishout Campus, 2003-Monaco, extension of the city in the sea, 2002-Ghent University, two buildings and facility, 2001-Paju Book city, office building with photo studio, Seoul (Korea), 2001-MAS Anvers, historical museum Antwerp, competition, 1999 -ilôt Saint Maurice, urban study with a mixed-program housing-shopoffices in Lille (France) -Pont du Gard in Nîmes, tourist accommodation and public space organization, 1999 -Chassée Park apartments, 5 housing towers with parking, Breda (Netherlands) 1996-2001

3XN A/S 3XN was founded in 1986, and was converted into a limited company in 1995. It is owned by three partners: Kim Herforth Nielsen, Bo Boje Larsen and Kim Christiansen. Architect MAA Kim Herforth Nielsen, member of RIBA, is founder and principal architect of 3XN. He holds full architectural responsibility for all 3XN products from original concept to turnkey building. Kim has been a main driving force in 3XN’s 20 years of

history, with projects like the Royal Danish Embassy in Berlin; the Architects' Building in Copenhagen, the Music Building in Amsterdam and the upcoming Museum of Liverpool in his portfolio. Kim was honored with the Danish Knight's Cross, he is judge in the Danish Architectural Association's competitions, sits in the AR Emerging Architects Award 2006 jury and is a frequent lecturer at architects' schools, universities etc. Architect MAA Kim Christiansen is managing director, and holds responsibility for process, quality assurance, economy and administration.


Architect MAA Bo Boje Larsen is director with main responsibility for strategy, organization and the Copenhagen office.

3XN values curiosity, originality and poetry and has a multi-layered

approach. Building on a Scandinavian tradition of functionality,

clarity and beauty, 3XN translates poetry into reality and aim for its architecture to become the heritage of tomorrow.

3XN works with user-centered methods fitting each project uniquely to

the users and client – with a strong emphasis on designing for human beings. Each project is a research endeavor that adds to its experience and approach. Each new project rests on the shoulders of many others,

yet challenges everything done before. 3XN’s thorough knowledge of materials, engineering and user needs combined with its organizational strengths in economy, project management and implementation set it free to explore new frontiers and to challenge existing frameworks.

Architects NRT Ltd Founded in 2006, Architects NRT Ltd continue the work of Nurmela, Raimoranta, Tasa Architects Ltd, that operated as a Limited Company 1993-2006 and as a Partnership 1979 - 1993. The partners are Matti Nurmela, Architect, SAFA; Kari Raimoranta, Architect, SAFA; Jyrki Tasa, Professor, Architect, SAFA; Teemu Tuomi, Architect, SAFA. Major Built works and works in progress include: Housing - Katajanokka Housing Block, Helsinki 2004 (1st prize in an invited competition under construction) - Pasila Machinery Housing, Helsinki 2004 (1st prize in an invited competition) - Lauttasaari Housing, Helsinki 2002 (1st prize in an invited competition) - House Moby Dick, Espoo 2003 - House Into, Espoo 1998 Business and administrational buildings - Renovation/conversion of Helsinki main railway Station west wing to a business centre for VR Group, Helsinki 2002 - The Regional Co-op Bank of Pori, Business and Shopping Center; “BE-POP”, Pori 1989 - The Regional Co-op Bank of Lapua, Business and Shopping Center, Lapua 1994 Public Buildings - Library of Hollola, Hollola 2004 - Renovation and extension of Tapiola Swimming Hall, 2004-2005 - Office building of the Bank of Finland, Snellmanninkatu 6, Helsinki, 2001 - Restoration and renovation of Tennispalatsi [“The Tennis Palace”]; a 14 screen multiplex movie centre, including retail and museum facilities, Helsinki, 1999 University Buildings (Public) - Restoration and renovation of Tapiola Swimming Hall, 2006 - Restoration and renovation of the University of Helsinki building Porthania, 2006 - Restoration and renovation of the University of Helsinki building, Vuorikatu 3, 2004-2007 - Restoration and renovation of the University of Helsinki building,

Fabianinkatu 24, 2003 - Restoration and renovation of the University of Helsinki building, Unionikatu 38, 1999 - The Axelia II building of the Abo Akademi, Faculty of Chemistry and Technology, 1997 Planning - Turku Machinery, housing area 85 000m2, 2006- Laajasalo centre development, Helsinki 2004-2006

Manuelle Gautrand Architect Born in 1961, Manuelle Gautrand qualified as an architect in 1985 and set up her own office in 1991. Her projects and buildings have often been published and exhibited, and are extremely varied. Her major works include cultural facilities like the Centre Dramatique national at Béthune and a playhouse and cinema auditoria complex at Saint-Louis (France); school and university buildings, like the University Institute at Lieusaint; industrial buildings such as the airport hangar at Nantes or the river-port warehouse at Gennevilliers; civil engineering and infrastructure works, like the footbridge at Lyon. In 2001 she was short-listed in the international competition for design of the Pinault Foundation for Contemporary Art on the Ile Séguin at Boulogne-Billancourt, and in 2002 she won a similar consultation for re-designing the Citroën showroom on the Champs Elysées in Paris. Her works have won many prizes and awards: Nomination for the Moniteur ‘first work’ prize in 1994, for a multiplex cinema at Villefontaine; Nomination for the international Dupont Benedictus Awards in 1999, for the tollgates on the A16 motorway; Winner of the French A.M.O. 2000 prize for ‘Architecture and work places’, awarded by the A.M.O. association and the ministry of Culture for a catering facility at Nantes.

Manuelle Gautrand is also a consultant and teacher. She has

been consultant architect to the Rector (State education head) in Grenoble since 1993, and for the MIQCP (Interministerial Mission for Quality in Public Constructions) since 1998. Her teaching career began at the Ecole Spéciale d’Architecture of Paris (1999-2000) and continues at the Ecole d’Architecture ParisVal-de-Seine (2000-2003). She has been a member of the Board of Administration of the Ecole d’Architecture of Rennes since 2002. This experience has led her to teach occasionally in workshops conducted by European schools of architecture.

Studio Granda Studio Granda was established in Reykjavík by Margrét Hardardóttir and Steve Christer in 1987. Margrét Hardardóttir architect B Soc Sci AA Dip FAÍ Reykjavík, Iceland 1959 Edinburgh University 1978 - 1981 Architectural Association 1982 - 1984 Founding partner Studio Granda 1987 External Examiner Arkitekthøgskolen i Oslo 1991 Vice President Association of Icelandic Architects 1993 - 1995

416

Tutor Architectural Association 1994 - 1995

Steve Christer architect BA (Hons) AA Dip FAÍ Blackfyne, United Kingdom 1960 University of Newcastle upon Tyne 1978 - 1981 H. B. Saint (William Bell) Memorial Scholarship 1981 Architectural Association 1982 - 1984 Founding partner Studio Granda 1987 Codirector ‘Rafha’ Architecture Workshop 1992 Guest Professor Berlage Institute 1994 Tutor Architectural Association 1994 - 1995

Boyd Cody Architects Established in 2000, Boyd Cody Architects are Sinead Bourke, Dermot Boyd, Brenda Carroll, Peter Cody, Fumi Kashimura, John Maguire, Oran O’Siochain and Kevin Walsh. The directors, Dermot Boyd and Peter Cody studied and graduated together from Dublin Institute of Technology (DIT) in 1990. Peter Cody received a master degree from Columbia University in 1996. Both served as Presidents of the Architectural Association of Ireland (AAI) on their return to Ireland. Dermot Boyd teaches at DIT and Peter Cody at University College Dublin.

Boyd Cody Architects have received numerous awards since

its foundation, including the AAI Downes Medal in 2005 for excellence in architectural design. The practice won the Monaghan Civic Offices Competition in 2002. The practice have also been short-listed for the Young Architects of the Year Award in Britain and received a honourable mention in the AR Awards for Emerging Architecture in 2006. Their projects have been widely published both at home and abroad. Boyd Cody Architects’ work was featured in the Venice Architectural Biennale in 2006 and the Lisbon Architectural Triennale in 2007.

OFIS arhitekti Based in Ljubljana, OFIS arhitekti was formed by Rok Oman and Spela Videcnik. The work negotiates between architectural projects in different scales (from 30,00-50.000,00 m2), performing arts and global design.

Rok Oman (born 1970) studied architecture at the ljubljana school of architecture (grad.1998) and at the architectural association in london (grad.2000).

Spela videcnik (born 1971) studied architecture at the ljubljana school of architecture (grad.1997) and at the architectural association in london (grad.2000).

AMP arquitectos,S.L. The architecture produced by AMP is the consequence of a detailed observation of the site, conceived as a sedimentation of geological,


climatic, agricultural and urban forces, industrial traces and sociological and cultural components. The object emanates from the site. The starting point of design is a moment of energy, tension, emotion in which all the above parameters move to reach the formal expression of the proposal, determining a moment of synthesis that generates the final idea. The distance factor and the small scale of the islands, where AMP practices its profession, places them in a context with a different, relaxed, contemplative time, giving more time for reflection, with regard to nature. The bond with the environment and the characteristic and available resources of the site enable AMP to investigate and develop in a clearly defined architecture. The scenic variability of the islands, where the light plays a predominant role, is key to its approach. In any event, AMP can never forget that architecture is a trade that serves a given society and culture. The external references that they have listed in the programme of action and all the interactions mentioned generate an uninterrupted process of negotiation, involving a multi-disciplinary team in the final solution. One aspect that interests us in particular is the passage of the years on the works. In this sense, the appearance of the concrete, stone or wood often improves over the years, which is magnificent in our opinion. Not only do the formal and constructive aspects not deteriorate, they are highlighted with the passing of time.

AMP understands that architecture should respond to the parameters

that are established by society at a given moment in time. Nowadays, and more so on islands with a highly limited supply of land, there is a lot of talk of sustainability, which, for us, means understanding nature, using rehabilitation and recycling coherently, placing a building correctly with its infrastructures and getting the most from the natural means, energy, light, temperature, colour, etc., that are deduced from the very territory.

Camenzind Evolution Winners of the Young Architect of the Year Award and the International

1988-93 1994 1995-

Architect RIBA Nicholas Grimshaw & Partners, London Renzo Piano Building Workshop, Paris Camenzind Gräfensteiner

Michael Gräfensteiner (1964) Dipl. Arch. HTL/STV 1980-84 1984-87 1989-92 1992-94 1995-

Building technician Zurcher Hochschule Winterthur, Switzerland Dipl. Architect HTL Atelier Cube Architectes, Lausanne Angélil/Graham Architecture, Zurich/Los Angeles Camenzind Gräfensteiner

e2a eckert eckert architekten ag The brothers Piet and Wim Eckert established their office in 1997 and became e2a eckert eckert architekten in 2001. e2a conceives architectural and urban projects as an interdisciplinary process, as a multiple authorship. The conceptual development is a synthesis of an analytic perception of the context and a hypothetical, programmatic approach - outlining an interpretation of the contemporary living conditions. Since 1997 Piet and Wim Eckert have worked on more than 200 projects, of which 25 projects have been realized. Early key projects were the Pavillon Nouvelle Destination for the Swiss National Exhibition expo.02 (2002), the exhibition project for the Tyrolean National Exhibition (2005), the Housing Complex Broëlberg in Kilchberg (2003), and the Terrace Housing in Feldmeilen near Zurich (2005).

e2a has completed a series of houses and residential buildings around

Zurich. Among these projects are: the Double House in Feldmeilen (2000), the Slope Houses in Rüschlikon (2000) and Herrliberg (2001), the GSC House in Wollerau (2007), the Country House in Zumikon (2007) and the recently completed Triangle House in Winterthur (2008).

Design Awards, Swiss architects Stefan Camenzind and Michael Grafensteiner have placed themselves firmly within the new generation of up-and-coming architects. Fundamental to their very diverse work in progress is the fusion of ingenuity with Swiss quality. Having gained experience in architectural offices in London,

Since 2001, e2a has entered national and international competitions and studies successfully. Subsequently, a number of public projects have been completed: the Center for Hearing and Language 2007, the Sports Facilities Juchhof (2007) and the School Building and Auditorium Obstgarten (March 2008). In September 2008, the Heinrich Boell Foundation in Berlin will be inaugurated, for

Paris and Los Angeles, Stefan Camenzind and Michael Grafensteiener founded their studio in 1995, which has grown

which international competition e2a was awarded the first prize. e2a also received much attention for international competition entries.

to 15 architects today. Already their first building, the Sports Centre Buchholz, has won multiple awards including the Swiss Prix Fédéraux des Beaux-Arts, the German Bauwelt Award and the IAKS Gold Award. Most of their projects have been the result of winning architectural competition and they have just finished a string of projects including the new Communications Centre for Siemens, a Tyre Shop / Art Exchange, in addition to Loft Apartments in Zurich.

Stefan Camenzind (1963) Dipl. Arch. HTL/RIBA/SIA 1980-84 1984-87 1992

Building technician Zurcher Hochschule Winterthur, Switzerland Dipl. Architect HTL University of North London

This includes the projects for the European Patent Office in The Hague (2004), The Residence of the Swiss Embassy in Washington (2001) and the Extension for the World Trade Organization in Geneva (2002). Recent and current projects represent a change to a larger scale. The practice was awarded with the first prize for the Master Plan for the largest industrial area in Zurich (Escher-Wyss). Current projects include: a 60 m high-rise apartment building, which will incorporate apartments and the rehearsal stages of the Zurich Opera House; a housing complex with 150 apartments, a Day School and the New IT-Center for UBS, Zurich. Selected awards: Swiss Solar Award 2008; for Sports Facilities Juchhof, Zurich-Altstetten Best European Architects 08 Award, 2007; for the Terrace Housing,

417

Meilen Flying Fish, award for sustainable construction, 2002; for the pavilion Nouvelle DestiNation, expo.02

Piet Eckert Piet Eckert was born in 1968 in Mumbai (Bombay), India. He

studied architecture at the ETH in Zurich (Diploma 1994, with honorable mention) and at Columbia University Graduate School of Architecture in New York. He worked from 1995 to 1997 at the Office for Metropolitan Architecture (OMA). He has been an independent architect in Zurich since 1997, and in 2001 founded e 2 a / eckert eckert architects with Wim Eckert. Piet Eckert regularly gives lectures and workshops at schools and institutions. He has taught at the Technical University of Delft in the Netherlands and at the ETH in Zurich. He has been a member of several academic juries in Europe and elsewhere.

Wim Eckert Wim Eckert was born in 1969 in Zurich. He studied architecture

at the ETH in Zurich (Diploma 1995, with honorable mention. He worked from 1996 to 1997 at the Office for Metropolitan Architecture (OMA). He has been an independent architect in Zurich since 1997, and in 2001 founded e 2 a / eckert eckert architects with Piet Eckert. Wim Eckert regularly gives lectures and workshops at schools and institutions.

Wilkinson Eyre Architects Wilkinson Eyre Architects is one of the UK’s leading

architectural practices, with a portfolio of national and international award-winning projects. The practice has designed highly successful projects in diverse market sectors including transport, the arts, commercial, infrastructure, large scale master planning, bridge design, industrial, office, retail, leisure, educational, cultural and residential buildings as well as component and systems design. The recent projects vary widely in scope and scale from the Guangzhou West Tower in China – which will become the fourth tallest building in the world on completion – to the tiny Davies Alpine House at the Royal Botanic Gardens Kew – an exemplar of sustainable design within a highly sensitive context.

Wilkinson Eyre Architects’ architecture is based on an

informed use of technology and materials and combines a commitment to the spirit of the new with an awareness of context. The approach to design is based on the establishment of a clear brief and a legible working diagram through close liaison with the client from the earliest stages of a project. The practice’s reputation is founded on a commitment to quality, programme and value for money, which is demonstrated by a number of repeat commissions for leading clients.

The designs of Wilkinson Eyre Architects are widely recognized and have received extensive media, public and professional acclaim and numerous awards including, uniquely, the prestigious RIBA Stirling Prize for Architecture in two consecutive years, for the Magna Project in 2001 and the Gateshead Millennium Bridge in 2002.


The Silver Sea, pp10-13. © Enrico Dagostini, Nic Lehoux, Concord Pacific The Vento, pp14-15. © Windmill Development Group, Justen Lacoursiere, Mikael Kjellström i House, pp16-19. © Mito Covarrubias L House, pp20-21. © Mito Covarrubias ML House, pp22-27. © Mito Covarrubias n House, pp28-29. © Mito Covarrubias PC House, pp30-33. © Mito Covarrubias T House, pp34-35. © Mito Covarrubias “THE WEDGE”,beach house, pp42-43. © Roberto Cárdenas Cabello BS House, pp44-47. © José Martínez Verea Amsterdam Complex, pp48-53. © Luis Gordoa, Paúl Rivera / archphoto, Jair Navarrete Loma Larga House, pp54-57. © Jaime Navarro, Luis Gordoa, Benedikt Fahlbusch Temístocles 12, pp58-59. © Paúl Rivera / archphoto, Mariana Ugalde Da Vinci Residential Tower, pp60-63. © Sófocles Hernández, Jaime Navarro Mourning House, pp64-67. © Víctor Benítez 48@Baristo, pp68-69. © Benny Chan / Fotoworks, Ciro Coelho / Ciro Coelho Photography Falcon House, pp70-73. © Emily Hagopian / Emily Hagopian Photography Mussel Shoals House, pp74-77. © Benny Chan/Fotoworks Holley House: Landscape Walls, pp78-87. © Michael Moran, Paul Warchol The Juliana Curran Terian Pratt Pavilion, pp88-91. © Paul Warchol Waveline, pp92-93. © Michael Moran White Space / Ash 4 Ways, pp94-95. © Michael Moran Bowdoin College Museum of Art, pp100-105. © Facundo de Zuviria Dewey Square Master Plan / South Boston Piers Transitway: MBTA Head Houses, pp106-111. © Anton Grassl/Esto F65 Center Transit Village, pp112-115. © Keith Cronin Lakeside Studio, pp116-119. © Keith Cronin Polish Air Memorial, pp120-123. © Keith Cronin River House, pp124-129. © Keith Cronin Department of Health Services office building,pp140-143. © Tim Griffith Photography Point Reyes Residence, pp144-147. © Michael O'Callahan, Tim

Griffith Photography Sonoma Zen Spa & Observatory, pp148-151. © Michael O’Callahan,Tim Griffith Photography The Openhouse, pp160-165. © Art Gray Hauptman Woodward Research Institute for Structural Biology, pp166-167. © Esto Photographics Price Center Student Union Expansion, pp168-171. © Tom Bonner Photography, Hewitt Garrison Photography Crown 3rd Hotel, pp174-175. © Bates Smart Pty Ltd Freshwater Place, pp176-183. © John Gollings, David Ascoli, Christopher Atkins, Glenn Hester, Shannon McGrath, Liam Handasyde/ Light Space, Emma Cross, Paul Barbera, Trevor Mein Zulaikha Laurence Residence, pp196-199. © Tonkin Zulaikha Greer Architects, Patrick Bingham-Hall Newtown Silos Apartment, pp200-203. © Patrick Bingham-Hall ‘Portico’Scots Church Redevelopment, pp204-207. © Brett Boardman, Michael Nicholson, Patrick Bingham-Hall CarriageWorks At Eveleigh Contemporary Performing Arts Centre, pp208-211. © Michael Nicholson Craigieburn Bypass, pp212-215. © Peter Hyatt Airia Apartments, pp216-221. © Brett Boardman Kangaroo Valley House, pp222-227. © Brett Boardman SILKWOOD, pp228-233. © Shannon McGrath, Brett Boardman Terrace Houses, pp234-237. © Brett Boardman Nakamura Keith Haring Collection Art Museum, pp250-253. © Takumi Ota North Cottage, pp288-289. © Kei Sugino SETRE Chapel, pp290-293. © Kaori Ichikawa SETRE Residence, pp294-299. © Kaori Ichikawa Io, pp300-301. © Kaori Ichikawa Re, pp302-305. © Kaori Ichikawa Economics Building, pp312-315. © Hans Werlemann Ørestad College, pp324-327. © Adam Mørk Tivoli Concert Hall, pp328-329. © Adam Mørk Hollola Library, pp334-337. © Jyrki Tasa, Voitto Niemela Katajanokka Housing, pp338-341. © Jussi Tiainen Helianthe Apartment Building, pp344-345. © Philippe Ruault Alma Lane House, pp352-355. © Paul Tierney Richmond Place House, pp356-357. © Paul Tierney Shopping Roof Apartments, pp358-361. © Tomaz Gregoric Tetris Apartments, pp362-363. © Tomaz Gregoric “Hayrack” Apartments, pp364-365. © Tomaz Gregoric Extension of the football stadium, pp366-367. © Tomaz Gregoric Insular Athletics Stadium, pp368-375. © Hisao Suzuki, AMP

418

arquitectos Center for Language and Hearing, pp384-389. © Dominique Marc Wehrli, Mark Röthlisberger Sports Facilities Juchhof, pp390-391. © Dominique Marc Wehrli Terrace Housing, pp392-395. © Michael Freisager, Christoph Wieser Liverpool Arena and Convention Centre, pp396-401. © ACC Liverpool, Tim Soar, English Partnerships/Mills Media/Ian Lawson, Morley von Sternberg John Madejski Academy, pp402-405. © James Brittain

All drawings and sketches are by architects as credited.


America

Asia / Pacific

Europe

Architecture Highlights vol.2  

The architects featured in this Architecture Highlights volume are characterized in America, Asia/Pacific and Europe chapter, constituting a...

Architecture Highlights vol.2  

The architects featured in this Architecture Highlights volume are characterized in America, Asia/Pacific and Europe chapter, constituting a...

Advertisement