architecture highlight vol.4

Shanglin Edition

Architecture Highlights Vol.4ISBN: 978-988-15648-1-8

Editor:Hu Yanli He Jiaxin

Publisher:Shanglin A&C LimitedRoom 1806, Workingport Commercial Building, No. 3 Hau Fook Street, Tsim Sha Tsui, Kowloon, HongKongTe l : 00852-23682122 Fax: 00852-23673126

Copyright © 2011 Shanglin A&C LimitedAll 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 any information storage and retrieval system without written permission from the publisher.

Printed in China

Shanglin Edition

What an architectural work may tell you? When you watch it from a distance, then you walk close to it, step into and wander…

You may tell something tangible, its figure and volume, its wall and window, its color and texture; a sofa, a table, white curtain and colorful drawing, random shadow and cool breeze; the swinging trees around court and the movement of the people make it livable, the light through the glass give the night a warm hug…

All these speak architecture as would tell you a story, with their unique word and phrase, order and construction. The story is not unchangeable. Sometimes, you may create your own episode when you have been involved in it, be a passerby, a user, or the owner and live your own life in it.

Here come the tellers with their exciting stories of architecture: Alex Anmahian, Nick Winton, Steven Ehrlich, Margaret Griffin, John Enright, Mark Lee, Sharon Johnston, Rodolfo Machado, Jorge Silvetti, Juan Miró, Miguel Rivera, Lionel Morrison, Jasmit Singh Rangr, Mary Griffin, Eric Haesloop, Stefan Hastrup, Yo-ichiro Hakomori, Kulapat Yantrasast, Jason Zerafa, Sylvain Allaire, Guy Courchesne, Maxime-Alexis Frappier, George Baird, Barry Sampson, Jon Neuert, Martin Briere, Clinton Cuddington, Bruce Kuwabara, Thomas Payne, Marianne McKenna, Shirley Blumberg, Daniel Bonilla, Alejandro Aravena, Gonzalo Mardones Viviani, Luis Izquierdo Wachholtz, Antonia Lehmann Scassi-Buffa, Nicolas Loi, Angel López, Carlos Ortiz, Federico Gómez Crespo, Michel Rojkind Halpert, Parque Humano, Gonzalo Carro, Javier Pérez Uribarri, Xabier Aparicio Ortega, Jesús Armendáriz Eguillor, Amaia Los Arcos Larumbe, David Resano Resano, Alejandro Muñoz Miranda, Alberto Campo Baeza, Fermín Vázquez, José Antonio Carbajal Navarro, Nicolás Carbajal Ballell, Rodrigo Carbajal Ballell, José Juan Barba, Roberto Santatecla Fayos, José María Torres Nadal, Yves Arnod, Isabel Hérault, Henning Larsen, Dietmar Feichtinger, Andrew Gutteridge, Liam Proberts, Carol Marra, Kenneth Yeh, Max Pritchard, Peter Elliott, Tim Wright, Rachel Feldhusen, Kazuhiko Kishimoto, Akihisa Hirata, Akira Sakamoto, Kentaro Takeguchi, Asako Yamamoto, Kotaro Ide, Kouichi Kimura, Masahiro Harada, MAO, Kenichiro Niizeki, Shin Ohori, Makoto Tanijiri, Chirag Jain, Shona Jain, Ary Indra, Rafael David, Johansen Yap, Ir. Tonny Wirawan Suriadjaja.

CONTENTS

Ehrlich Architects

Epstein | Metter Studio Architects

Griffin Enright Architects

JOHNSTON MARKLEE / DIEGO ARRAIGADA ARQUITECTO

Machado and Silvetti Associates

Miró Rivera Architects

Morrison Dilworth + Walls

Rangr Studio

Turnbull Griffin Haesloop Architects

wHY Architecture

ZERAFA ARCHITECTURE STUDIO

Anmahian Winton Architects

acdf* architecture

Baird Sampson Neuert Architects

Brière, Gilbert + associés architectes

Measured Architecture

Kuwabara Payne McKenna Blumberg

Daniel Bonilla Arquitectos

Alejandro Aravena

Gonzalo Mardones Arquitecto

Izquierdo Lehmann Arquitectos

Nicolas Loi

7XA Arquitectura

GOMEZ CRESPO ARQUITECTOS

Rojkind Arquitectos

Parque Humano

ACXT Architects

Alejandro Muñoz Miranda

Alberto Campo Baeza

b720 Fermín Vázquez Arquitectos

Zeidler House

Serta International Center

Hollywood Hills ResidenceSt. Thomas the Apostle School

View House

Hassayampa Academic Village, Arizona State University

Residence 1414 Renovation

Vanguard Way

Casa Kimball

Sebastopol Residence

Grand Rapids Art Museum

Riverhouse Niagara

Community Rowing’s Harry Parker Boathouse

Centre des Métiers de la Cité Collégiale, OrléansLiving Quarters of the Sisters of Charity of the Sacred Heart of Jesus, SherbrookeSt-Germain Égouts et Aqueducs

French River Visitor Centre

Montarville - Boucher - de la Bruère Public Library

1098 Wolfe Avenue Residence

Gardiner MuseumSugar CubeCharles R. Walgreen Jr. Drama Center and Arthur Miller Theatre

Julio Mario Santodomingo Building – Los Andes UniversityOmega Block Building – Anglo Colombiano School

St.Edward's University Residence and Dining Hall

Police Museum and Cultural CentreParque Neighborhood

2 Houses at Punta Pite3 Houses at CachaguaCruz del Sur Building

Rodríguez-Harvey House

Linda Vista HouseMs Borbon House

AT HouseBA House

Nestlé Chocolate Museum (phase 1)PR34 House

Casa Club Bosque AltozanoCasa SA

BTEK – Interpretation Centre of Technology AIC – Automotive Intelligence Center Ibaiondo Civic Center

Syndicate Headquarters in Granada

Andalucia’s Museum of Memory Moliner HouseRufo House

La Mola Hotel and Conference Centre

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Aeropolis Enterprises Center

CCMI Minimally Invasive Surgery Centre

Centre for the Research and Interpretation of the Rivers:Tera, Esla and Orbigo

Education Center – Botánico CavanillesEducation Center – San Antoni de Padua Sport Center – Ciutat de la Pilota

Auditorium Theater of La Vila Joiosa

The Bicycle BuildingCultural, Sports and Congress Centre at Les 2 AlpesResearchers and Student HousingRossignol Global HeadquartersScenographic Huts

The OperaSpiegel Group’s New HeadquartersUppsala Concert & Congress Hall

The Bilger Breustedt Elementary and Secondary School

Balaam House

The Bay HouseTugun Residence

Kubik House

Emu Bay HouseSouthern Ocean Lodge

Deer Park BypassGrimwade House Upper Primary Precinct Xavier College Science & Performing Arts Centre

Mt. Pleasant Residence

House in KitakamakuraHouse in Yugawara

Showroom H

House in FukasawaHouse in Shizuoka

Hall House 1House TwistedW-Window House

SHELL

House of Vision

In FlakesPLUSTree House

OYM

Photographer's Weekend House

House in BuzenHouse in FukuyamaHouse in HidakaT Clinic

Aga Khan SchoolJawaharlal Darda Institute for Engineering & Technology

Women & Children Clinic, Ampera Raya, Jakarta Selatan

N House

Estudio Carbajal

Estudio Carbajal / Solinas + Verd Arquitectos

José Juan Barba Arquitectos

Santatecla Arquitectos

ARQUITECTURAS TORRES NADAL / ANTONIO MARQUERIE TAMAYO

Hérault Arnod Architectes

Henning Larsen Architects

Dietmar Feichtinger Architectes

Arkhefield

bureau^proberts

Marra + Yeh Architects

Max Pritchard Architect

Peter Elliott Architecture + Urban Design

Wright Feldhusen Architects

acaa

Akihisa Hirata Architecture Office

Akira Sakamoto Architect & Associates, CASA

ALPHAVILLE

ARTechnic architects

FORM / Kouichi Kimura Architects

MOUNT FUJI ARCHITECTS STUDIO / Masahiro Harada + MAO

NIIZEKI STUDIO

Shin Ohori / General Design

Suppose Design Office

UCJ architecture & environment

Aboday Architect

TWS & Partners

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Ehrlich Architects Zeidler House Epstein | Metter Studio Architects Serta International Center Griffin Enright Architects Hollywood Hills Residence St. Thomas the Apostle School JOHNSTON MARKLEE / DIEGO ARRAIGADA ARQUITECTO View House Machado and Silvetti Associates Hassayampa Academic Village, Arizona State University Miró Rivera Architects Residence 1414

Renovation Morrison Dilworth + Walls Vanguard Way Rangr Studio Casa Kimball Turnbull Griffin Haesloop Architects Sebastopol Residence wHY Architecture Grand Rapids Art Museum ZERAFA ARCHITECTURE STUDIO Riverhouse Niagara Anmahian Winton Architects Community Rowing’s Harry Parker Boathouse acdf* architecture Centre des Métiers de la Cité Collégiale, Orléans Living Quarters of the Sisters of Charity of the Sacred Heart of Jesus, Sherbrooke St-Germain Égouts et Aqueducs Baird Sampson Neuert Architects French River Visitor Centre Brière, Gilbert + associés architectes

Montarville – Boucher – de la Bruère Public Library Measured Architecture 1098 Wolfe Avenue Residence Kuwabara Payne McKenna Blumberg Gardiner Museum Sugar Cube Charles R. Walgreen Jr. Drama Center and Arthur Miller Theatre Daniel Bonilla Arquitectos Julio Mario Santodomingo Building – Los Andes University Omega Block Building – Anglo Colombiano School Alejandro Aravena

St. Edward's University Residence and Dining Hall Gonzalo Mardones Arquitecto Police Museum and Cultural Centre Parque Neighborhood Izquierdo Lehmann Arquitectos 2 Houses at Punta Pite 3 Houses at Cachagua Cruz del Sur Building Nicolas Loi Rodríguez-Harvey House 7XA Arquitectura Linda Vista House Ms Borbon House GOMEZ CRESPO ARQUITECTOS AT House BA House

Rojkind Arquitectos Nestlé Chocolate Museum (phase 1) PR34 House Parque Humano Casa Club Bosque Altozano Casa SA

10Zeidler House Aptos, California, USA 10

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Located on the bluffs overlooking the Pacific Ocean, the 3,500-square-foot Zeidler Residence arranges interior and exterior living spaces to maximize views, natural light, and ocean breezes within a subtle, sophisticated material palette.

Designed for a retired couple with grown children, the house sits on a relatively flat corner lot with expansive views of the Pacific and vegetated cliff that leads from the site, down to the beach. The parti divides the program into two main structures connected by a sheltered courtyard. On the ocean side, the two-and-a-half-storey main house features a double-height living space, with full-height glass doors that open the interior onto the exterior spaces. A mezzanine is oriented towards the view. At the end of the stair tower, a full-sized roof deck accommodates various entertaining configurations and provides strong connections to the landscape and views beyond. The front yard even incorporates a petanque court, a favorite pastime of the client.

The rear structure accommodates separate living quarters for friends and family in three oversized bedrooms. The second level studio has a full kitchen and expansive deck with views towards the ocean. The two primary structures frame a landscaped courtyard with lap pool and built-in barbecue, and when opened to the elements form a complex of open air pavilions connected through the landscape. A trellis with overhead panels covers a walkway from the main house to the guest house.

A minimal palette ties the entire composition together and includes steel-troweled stucco, exposed concrete block, and Rheinzink.

Photographs: Matthew Millman

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Serta International Center Illinois, USA 14

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Designed by Andrew Metter, FAIA and DaeSun Park, this project is a 90,000-square-foot Corporate Headquarters for Serta International Mattress Co. located in the Prairie Stone Development of Hoffman Estates. The program includes 65,000 square feet of office, wholesale showroom, and presentation areas plus a 25,000-square-foot research & development center.

Serta’s priorities have resulted in a design which respects and promotes an employee’s right to work in an environment enriched by a connection to the natural world, through the extensive use of natural light, natural ventilation, outdoor work spaces and terraces. Serta has blazed a trail which redefines the nature of “work” for employees in the 21st century by commissioning a work of architecture which is not only functional, but also considers the mental and physical health of their workers as a main design priority. The building is located on a 20-acre parcel, situated on the edge of a natural wetlands system. Serta has developed the site to include natural prairie landscaping, overland drainage bioswales, pervious paving, and other features which reinforce Serta’s deep commitment to preserving and protecting the site’s natural features. In fact, Serta chose to build less than 10% of the area allowed on the site and less than 50% of the required parking, in order to minimize the building’s impact on the surrounding landscape.

The architectural composition of the building has been developed to express the two main programmatic functions: research & development and office work space. Each of these functions is distinctly articulated in the building massing. Located at the heart of the building are the public spaces such as showrooms, lunchroom, and training auditorium.

The building (700’ long x 67’ wide) has been designed to facilitate equal access to natural light, ventilation, and views of the wetlands for all employees. As a result, the building is expressed as a horizontal bar, generating a strong horizontal datum line.

To maintain this strong horizontal line, while accommodating excess program, finely detailed, projecting cantilevered bays have been developed which hover over the prairie landscape. The structural and architectural detailing has been designed to allow each bay to slide into the building, incorporating reveals between multiple wall layers, and sandwiched between the upper and lower concrete brows. This allows the program to grow organically, while reflecting the natural contours of the site.

In addition, the floor plan has been designed to facilitate natural light penetration. The plan has been layered from a glass edged public circulation path on the east, defined by a translucent core zone, to an open office area on the west toward the wetlands. All private offices and conference rooms are clear or translucent glass to preserve the views, with a second level glass pavilion lunchroom, outdoor wood deck, and terrace with trellis.

Serta expressed an interest in creating a work of architecture which would exhibit their unique approach to their business and craft. Textiles, fabrics and textures are a critical and integral part of the “craft” aspect of the products Serta produces. Toward that end, the design takes advantage of the variations in the topography of the site, to weave together the building and landscape into a strong holistic composition. The design intent of the building is to float lightly on the landscape, reinforcing the notion of environmental sustainability and echoing the lines of the prairie landscape.

Photographs: Andrew Metter

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Hollywood Hills Residence Los Angeles, California, USA 18

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This 2,000-square-foot residence is located in a densely populated urban neighborhood above Sunset Boulevard, where residents enjoy walking to local entertainment venues. The residence has views over Hollywood and out to the Pacific Ocean. The design challenge was to cost-effectively add 2 rooms (bedroom and library) to a tract home and transform it into a contemporary home that maximizes the entertainment space of a small building footprint on a hillside site. Through relatively simple interventions, we were able to effect a complete transformation of the existing house. By removing only four interior walls at the ground floor, relocating a stair, and adding 2 rooms stacked on top of each other; we extended the interiors and created an open living space. Additionally, natural light and views were enhanced to maximize the apparent volume of space, blurring the relationship between interior and exterior and connecting the front and rear yards. The intervention of two oversized window boxes which are large enough to stand in, create a new front façade, while providing a dramatic extension of the master bedroom suite and views to the city and ocean beyond. The intentionally asymmetric window boxes are clad with white concrete board to enhance their abstract presence as they provide a diversion by camouflaging the existing residence. The window boxes cantilever over a new front courtyard behind an existing garden wall and create an overhang for the new entry.

An existing stair was relocated from the center of the house to the area of the new two-storey addition, allowing new visual connections among living, dining, kitchen and the library spaces on the ground floor. The stair ascends a half-flight through the stepped-up library to a landing connected to the backyard, and then switches back to arrive at an upper, sky-lit landing at the bedrooms above. The stair becomes a new central element connecting the stepped spatial volumes of the residence to the site, while simultaneously acting as an internal vertical courtyard, that brings natural light and ventilation into the open center of the house. The vertical movement of the residence culminates at the roof via a submarine-like ladder through a skylight to provide the owner with a secret rooftop deck where views of Hollywood and the Pacific Ocean beyond are afforded.

The library is stepped up from the living area and into the hillside and it contains an eye-level, corner window that is at the ground level of the backyard and provides a new visual extension to the rear of the site. An elegant palette of minimal, black and white materials serves to enhance the illusion of open and expansive space. The library is a room within a room - an effect that is enhanced by a material inversion; the living room has an ebony, fired oak floor and a white ceiling, while the stepped up library has a white epoxy resin floor with an ebony oak ceiling. The contrasting palette creates an interlocking condition which yields an apparent expansion of the space.

Photographs: Benny Chan / fotoworks

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St. Thomas the Apostle School Los Angeles, California, USA 24

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St. Thomas is a K-8 catholic grade school in a densely populated part of the city on an extremely small site. The basic strategy is to accomplish maximum effect with resourceful design strategies. The project is extremely cost effective and employed strategies of economy of means by making every constraint on the project into an architectural opportunity. The new playground is stacked over parking and a new driveway is wrapped around the perimeter of the site, simultaneously providing a fire lane, a buffer for school community, and diffusing local traffic congestion by providing a new on-site drop-off. The new gym/multipurpose room, Library and art room are located on the west side of the site to both provide shade for the aftercare program on the playground in the afternoon and to connect via a bridge to the renovated existing 3-storey school building. The driveway moves around the site, connects down to the parking below, and then rises up to a new, on-site student drop-off location in front of the new porch. Off-the-shelf Vulcraft trusses are cantilevered from the span of the gym/multipurpose room to create shaded outdoor gathering space in this hot part of the city.

A new pedestrian entry for students and families occurs along a ramp (an over-scaled, required handicap ramp) that rises up to the middle of the site and arrives in a large urban porch. This space will become a new nexus for the school, functioning in a variety of different ways, including accommodating an outdoor lunchroom; entry to the school; entry to the library; a second storey balcony accessed from the new art room; and existing classrooms above. The balcony will also become a pulpit / lectern for the larger religious occasions such as Easter.

The new building is separated from the existing one to accommodate a phased construction and to allow light to reach the former basement of the existing building. The basement of the existing building was excavated providing new outdoor play areas for K, 1st, 2nd graders that is buffered from the older kids. Bridges, a stair and a new elevator (which upgrades ADA for the existing building) connect the existing building with the new building and engage with the covered outdoor space. During weekday school use, a large landscaped forecourt fronts the street and extends the playground, while on the weekends it also accommodates additional parking. A simple palette of cost effective materials includes galvanized metal mesh guardrails and ceiling panels, corrugated metal siding, cement plaster and exposed concrete. The urban porch provides a new identity for the school and St. Thomas parish within the city and it is linked back to the parish public street via the large ramp.

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View House Rosario, Argentina 28

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The View House is designed under conditions generated by both the potential and limitations of large suburban developments. Situated on the vast landscape of the Argentine plains, the 3,200-square-foot house occupies a 22,750-square-foot parcel. The design is driven by two conflicting desires: engaging the living experience of the house with the views of the landscape and preserving privacy from neighbors.

Planning demands and the unique position of the peripheral lot resulted in a compact massing strategy with a minimal footprint that liberates and preserves the ground. By denying the traditional front, side, and rear yard designations, the perception of the house unfolds in a continuous sequence of surfaces where every façade becomes primary.

The formal and tectonic complexity of the house results from four basic geometric subtractions at the corners of a primitive mass that create an exterior shape perceived simultaneously as embedded and lofted, cantilevered and slumped. In the interior, these operations define a continuous space that spirals upwards from the ground level to the roof terrace in a sequence of living areas. The four subtractions have differentiated volumetric impressions, each of which, together with the contiguous aperture, results in an interior landscape of paired surfaces and lighting effects.

The strategy for the apertures is derived from the framing of desirable landscape features, the anticipation of neighboring developments and the choreography of internal circulation. Varying in height, orientation, and depth, each framed opening captures a distinct view, providing alternating relationships between interior and exterior.

The rough concrete shell of the house was built using traditional local techniques, and its finish retains the impression of its construction. In contrast, the interior of the house is smooth and polished in nature.

As a culmination of the internal circulation along a path of 360º, a flight of steps leads up to a panoramic roof deck, from which the expansive surrounding landscape can be perceived from a new height.

Photographs: Gustavo Frittegotto

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Hassayampa Academic Village, Arizona State University 32

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Located at the southeast corner of Arizona State University’s Tempe campus, the Hassayampa Academic Village interlaces 1,900 beds with classroom, computing, dining and retail components. The buildings are organized as a series of 4-storey courtyard buildings sharing a public gallery space with a 7-storey tower. The towers flank the primary east-west and north-south connections to campus and serve as thresholds to the gallery spaces with their entries to the residential buildings. Each of these buildings is comprised of 4 floors of 40 student communities sharing a social lounge with the adjoining floor. Together, the 4 floors of student suites gain a shared identity through the color of their respective courtyard elevations, thereby promoting an individual identity for each building within the life of the academic village. The project is designed to respect the demands of the climate and environment through its orientation, building envelope, mechanical systems, and harnessing of breezes. Devices such as canopies will shade outdoor public spaces, which in turn temper the environment around the buildings. Coupled with material selection and efficiencies of the building, these strategies to reduce heat gain are expected to achieve a silver LEED rating for the complex.

Photographs: Farshid Assassi, Anton Grassl / Esto, Gould Evans Associates, Machado and Silvetti Associates

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Residence 1414 Renovation Austin, Texas, USA 38

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This project is the renovation of a home which was originally built in the 1940’s and which had an addition built in the 1980’s.

The scope of the project included a complete renovation of the interior of the original house and reconstructing most of the original garage. In addition the landscape was completely made-over, including the removal of the existing pool and the addition of a new lap pool.

Upon first impression the original house felt very confined and dark inside, so an important factor in the re-design was to open up the house to let in more light. Being located in a historic neighborhood, the front facade of the house had to remain unchanged for the most part which left the rear elevation of the house open to change. Floor-to-ceiling windows replaced a fireplace and French doors in the rear-facing family room, operable windows opened up the kitchen to the backyard, and a large three-panel sliding glass door transformed the den into an extension of the pool terrace.

Providing entertainment areas in a private backyard was another important factor for the clients. The installation of three different patio spaces addresses this concern. The back yard patio immediately off of the main house provides a space for lounging by the pool and sunbathing, a side patio off the living room offers a fountain and a place for quiet reflection, while a covered patio behind the garage features an outdoor cooking area, fireplace and projection screen. The installation of a magnolia “hedge” in a bed of Mexican river rock lends privacy to the entire area.

It was important to maintain a balance between the traditional aspects of the original house design and the modern updates that the clients desired, and provide a clean backdrop for the clients’ extensive art collection. This was accomplished through choosing a simple material palette and by uncluttering the spaces within the house.

White painted gypsum board walls are combined with several carefully selected materials used repeatedly throughout the house to achieve a clean and balanced space that is not distracting. Ipe wood is used extensively on the interior and the exterior of the house. Stainless steel is the primary metal finish on the interior of the house. It can be seen in most of the appliances. For stone finishes soapstone and carrera marble were selected.

The material palette for the exterior of the house is simple as well. White painted wood lap siding is the main material on the exterior of the house. The grey Kynar metal roof sets the standard for all other metal on exterior of the house. Any exposed metal structure is painted to match, while the Kynar metal is used to wrap the chimney, the master bedroom window protrusion at the back of the house, the two sidewalls at the entry to the house and the garage doors. Meanwhile, Pennsylvania bluestone is used extensively as the exterior paving material at the patios and for the pool coping.

Photographs: Paul Finkel

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Vanguard Way Urban Reserve, Dallas, Texas, USA 42

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Vanguard Way, designed by Lionel Morrison, FAIA, of Morrison Dilworth + Walls, was the first house completed in a new Dallas neighborhood devoted entirely to modernism. As our clients were the first they were able to select a premier albeit irregularly-shaped site that overlooks a public park and waterway.

The program is accommodated in a compact, two-storey structure that essentially extends to the buildable limits of the property but reserves some space for private outdoor uses. The garage, accessed via an open motor court, can double as a photographic studio.

Guests enter from the street under a covered porch that leads to a double- height entry that is illuminated from above. The space compresses just before entering the next double-height volume of the living room. This space is adjoined by the dining space and kitchen. The master bath, dining space and living space are arranged along a centerline that leads through a double-height window wall to a sculpture garden and the park beyond. The guest suite above dining space is organized about this same axis and has its own view to the park and waterway.

The master suite adjoins a walled terrace containing a spa and fireplace. With the sliding panels open these spaces can be used as one. The powder bath is an exquisite space best explained by the images contained herein. Suffice to say that due to its unique plan and dramatic presence the owners have made it a part of the entry experience.

The entire house is rendered in hard-troweled, white stucco with sealed concrete floors throughout the ground level.

Photographs: courtesy of Charles Davis Smith

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Casa Kimball Cabrera, Dominican Republic 4848

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A New York based client commissioned Rangr Studio to design a Caribbean get-away large enough to accommodate his family and groups of friends, and to function as a luxury rental villa. Located on the rural north coast of the Dominican Republic, the design sought to create a contemporary house within the basic construction means and materials locally available. The structures are reinforced concrete, clad with a local coral stone. The windows are made by local carpenters with a dense hardwood, pivot on automobile wheel bearings.

The buildings are designed to protect from views of neighboring lots, heightening the experience of the vast horizon beyond. The interior spaces merge with exterior, and allow cool ocean breezes under shade from the sun, eliminating the need for air conditioning. A 45 m long infinity edge pool creates a seamless edge of water in front of the ocean, hiding terraces at cliff edge that allow the experience of the ocean’s roar as waves break on the cliff face below.

Photographs: Paul Warchol

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Sebastopol Residence California, USA 56

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Situated at the edge of a sloping site in Northern California, this house captures an expansive view by bridging a swale between two stands of redwood trees. The simple rectangular form floats across the landscape with a large window wall facing toward the scenic vista. The house engages the land at either end, where decks connect to pathways leading to a separate studio and pool. A folded dormer rises above the entry to accentuate the view, while the southern façade screens the interior from the driveway and road above. The house is arranged in an open plan along the east-west axis in order to maximize daylighting and views while minimizing solar gain. Operable windows on both the northern and southern elevations allow for natural cross-ventilation throughout the entire house. Generous openings connect the spaces and a bookcase arrayed along the southern wall houses the clients’ wonderful art collection. The interior is finished with a Douglas Fir ceiling and paneling, sheetrock walls and Ipe flooring. The exterior, clad in cedar siding with a metal roof, quietly blends with the surrounding landscape.

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Grand Rapids Art Museum Michigan, USA 60

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The new Grand Rapids Art Museum occupies one city block in the heart of Grand Rapids; a city well known for its legacy and influence on commerce, craft and modern design. Together with the sculpture “Ecliptic” by Maya Lin, located in the adjacent park, the site is an urban oasis surrounded by tall buildings.

The design stresses both the symbolic need of a museum to be a civic icon within the city, and the humanistic needs for people to have their own experience with art. It is grand in its presence, and intimate in the experience.

The projecting canopies, like large canopies of trees extend up and reach out to frame the park and the city, similar to the Japanese concept of “borrowed scenery”. The sheltering canopy defines a place for multiple urban activities, as a gathering place for people.

The front of the building is formed like fingers extending into the green of the park. Museum lobby, restaurant, education center are projecting pavilions towards the park with pockets of nature between them that slow people down from the hectic pace of urban life.

The presence of nature within allows visitors to reach a state of repose, adjust their eyes and conscience state for the art to come. Layers of screening – louvers, glass and shades soften the light and calm the mind.

The inner sanctum is the 3-level gallery tower where top floor galleries are lit with lantern skylights serving as light sources to the galleries, as well as illuminating “beacons” in the urban night sky. The changing of time is sensed in the changing light in the galleries.

Being one of the very first art museums in the USA designed with the goal for LEED certification, the use of natural light in the building was carefully planned. Most public areas have natural light. Galleries receive light from top lantern skylights as well as large windows, connecting art to surrounding urban life.

The design emphasizes the important balance of both the exterior openness and the interior calmness. Visitors can enjoy the uplifting quality of light in the galleries as well as the outdoors under the canopy.

Photographs: Hedrich Blessing

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Riverhouse Niagara Niagara Falls, Ontario, Canada 66

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The principal feature of the 1.85-acre site fronting the Niagara River just upstream from the Horseshoe Falls is the long unobstructed river views across the full 164 ft width of the property. The 4,700 sq ft of interior living space and 1,200 sq ft of covered terrace were crafted to embrace this feature and find a balance between the relative transparency encouraged by the views and the privacy concerns of the owners.

The house is comprised of three distinct horizontal volumes, each with a specific material quality. The building’s north south massing is defined by 2 overlaid rectangular shells within which the glass, cedar and granite clad volumes for the interior living spaces are placed and a series of remaining voids create covered exterior spaces. The shell exteriors are clad in silver metal panel and are mostly opaque to provide privacy from adjacent properties to the north and south. The long open east and west ends of the shells reveal the River and garden views through expansive glazed walls. The exposed return surfaces of the shells are lined with western red cedar to provide a calm transitional space between the interior and exterior. The cedar deck surface within this space, an extension of the interior floor wraps up onto the wall in the form of T&G siding and returns onto the soffit to define a large exterior wood-clad room open to the surrounding landscape and views. Within this room, the river, house interior and surrounding landscape come together to tell the story of this site.

The ground floor shell projects out to provide a 5 ft overhang and floats 3 ft above the ground elevation to accommodate the long horizontal views to the River across the primarily flat site and give the building a delicate footprint in the landscape. The upper level shell is offset from the one below to create an exposed roof terrace to the north and a dramatic 17 ft cantilever to the south. The large cantilevered volume creates a covered entry to the garage area. The third volume clad in charcoal quartzite is a single storey shell that slips under to support the cantilever and extends west into the rear garden.

The ground floor is comprised of two primary program groups separated by an east-west glazed circulation space that bisects the house and extends the river views through to the rear garden.

The primary living spaces are distributed in a linear bar across the width of the site to maximize exposure to river views. The home office, kitchen/dining room and double height living room extend the full width of the north south bar to mediate the front and rear gardens and establish a strong visual connection to the outdoors.

The more private spaces including an expansive master suite, two additional bedrooms with en-suite bath and laundry facilities are distributed in a parallel bar on the second floor accessible by a dramatic sculptural stair. The master suite extends the length of the River view façade bridging across the circulation space below and extending out to a large covered terrace.

The service and ancillary spaces, garage, storage, guest suite and access to the basement level are contained within a single-storey bar that runs east to west to minimize the obstruction of views.

Photographs: Tom Arban

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Community Rowing’s Harry Parker Boathouse 70

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Community Rowing is a non-profit, volunteer-driven club and is the only public-access rowing club on the Charles River. CRI is dedicated to bringing the discipline of rowing to all levels of the socioeconomic spectrum. It provides instruction and equipment for rowers of all skill levels.

The new 30,000-square-foot boathouse will permanently house the 170+ boats and program support spaces. A central goal of the new boathouse is to construct a sustainable project that conserves energy and natural resources, reduces operating costs and enhances the functionality and comfort of the new facility.

The river, an urban park system, bike paths, pedestrian routes, and local roads converge to create an ideal urban site for a building to house much needed community assets. For years the site was used as a staging site for heavy equipment in support of local infrastructure construction. As part of the site improvements, the damage of the previous use has been mitigated; this design reduces impervious cover, increases on-site infiltration and manages storm water run off. A new storm water management plan reduces water pollution from the existing parking lot and will drain to bio-retention swales that recharge the ground water on site. Inherent natural qualities of the site, along with the restoration of its use and habitat have positioned the boathouse to become an activity center for an underserved urban neighborhood.

The design of the CRI boathouse seeks to expand the vocabulary of rowing facilities on the Charles by exploring abstract commonalities between rowing and architecture, and by engaging relevant regional precedents outside the realm of boathouse antecedents, such as tobacco barns and covered bridges.

The unconventional organization of the boats, parallel to the river, is necessary to accommodate the 170+ boats within the constraints of the triangular site. As a site strategy, the long narrow footprint is divided to engender a public court that establishes both a visual connection to the riverfront, as well as a functional connection to the boathouse: a public invitation to the Charles River and CRI.

Driven timber piles and concrete pile caps support an elemental steel moment frame, clad with various configurations of composite assemblies: eighteen-foot tall bi-folding operable vents clad in high-density composite panels with natural wood veneer provide natural light and ventilation to stored boats. This cladding, a product of sustainable forests, is also used as patterned louvers to mask locker room windows and mechanical vents, and provide shading to the south face of the building. Glass shingles, held in custom fabricated aluminum clips at the sculling pavilion protect, ventilate, and display the smaller boats.

While each type of cladding satisfies functional needs, their experiential effects are more varied: The surface of the building is intended to transform with one’s movement around the building, not unlike the rhythmic punctuations in the fluid medium of the river.

Photographs: Jane Messinger, Anmahian Winton Architects

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Centre des Métiers de la Cité Collégiale, OrléansOrléans, Ontario, Canada 74

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The richness of the different agricultural landscape strata and the richness of the topography of the site are the starting points of our conceptual approach. The analysis of the features of the site can see the richness of the dialogue between the topography of the area and the new building and the contrast between the peaceful and contemplative character of the landscape and the dynamic movement of the cars.

Like a vegetal plate that rises above the ground, the concept proposes the development of a sculptural planted roof, a kind of reconstituted topography who engaged a dialogue with the horizontal natural landscape while generating a strong sculptural presence on Route 174.

To highlight the horizontal nature and topography of the project, a land form is proposed along Route 174. The land form, planted with reflectors, will identify the project on Route 174 and mark the specific topography, landscape and ecological aspects of the project.

The sculptural and aerial character of the concept can generate a multitude of programmatic arrangements that give the project a perfect flexibility in the process of establishing a school through an architectural competition. This will make it possible and easy to adapt the planning of program functions, to project future expansions while retaining the basic concept: a vegetal and topographical plate in dialogue with the site, the landscape, the ecology and allows to define a separate image on Route 174.

Photographs: Marc Cramer

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Living Quarters of the Sisters of Charity of the Sacred Heart of Jesus, SherbrookeSherbrooke, Quebec, Canada 76

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This 56,680-square-foot extension includes a 54-room health care unit with all the attached services, a kitchen to serve 200 people, a physiotherapy room, a library, maintenance workshops and an inner courtyard designed with a garden.

The extension project of the Mother house of the Sisters of Charity of the Sacred Heart of Jesus in Sherbrooke is based on the impor tance of providing a capacity of narrative. Besides the scale addressed, built or landscape, the proposal is thought as a “living together” and a form of exchange, by multiplying the paths, the freedom of the place, the possible uses, and the atmospheres. The project pays particular attention to the connection to the site with its context while ensuring a harmonious integration with the existing building.

The site’s topographical situation, with its strong slope downhill towards the St. Francis River, is one of the generating elements of the architectural concept. In response to this site’s condition, several stone and gabion walls have been placed to establish a viable settle ment area between the existing building and the river. These stone walls are placed in extension to the stone foundations of the existing heritage buildings.

Imitating the simple gestures of a child immersed in a wooden block game, inventing worlds at different scales, the two volumes of bricks of the project are simply laid on the stone walls. These brick volumes contain the main function of the program: the bedrooms and the health care rooms. Either overhanging or flush mounted with stone walls, these pure volumes generate a dialogue between the river and the existing building. The integration is also made by contrast in terms of volumes. The extension of the stone walls of the chapel and the colour of the brick siding are in connection with the slate roof of the building, also contribute to this harmonious integra tion. Inserts of roasted wood create a dynamic rhythm on the longitudinal facades of the brick volumes.

Positioned at the centre of the brick volumes and in extension of the existing chapel, the common areas (living rooms and dining rooms) overlook on an outdoor garden. This garden is raised one floor higher allowing users to enjoy a safe outdoor promenade (prosthetic) while contemplating the St. Francis River and the surrounding landscape. All architectural and landscape attributes help to create a quiet place ideal for introspection and in dialogue with the church and its spiritual character.


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12 Covered balconies

13 Patients room

14 whirlpools

15 lounge / dinning room

16 Entry/ guardhouse

17 Chapel

18 Conférence room

19 Administration

20 Main entrance Motherhouse

21 Patient room «Motherhouse»

1ST FLOOR plan

01 Covered balconies

02 Garden

03 Patient room

04 Whirlpool

05 lounge / dinning room

06 Entry / Guardhouse

07 Infirmerie entry

08 Kitchen

09 Food service

10 Refectory

11 Saint-Joseph room

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St-Germain Égouts et Aqueducs Saint-Hubert, Quebec, Canada 82

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Experts in the manufacture of sanitary pipes and guttering since 1953, the family business handed down through generations sees the organization in constant growth. The company intends to equip itself with the latest installations to compensate for its lack of space and will be obliged to find new grounds in order to increase productivity and quality of service. In June 2007, St-Germain Égouts et Aqueducs decided to take action with the construction of its new head office in St-Hubert. With premises the young and dynamic management team predicts an opportunity to maintain competitive pricing while establishing itself as a force in facing the key issues of today.

The choice of site, for a business deeply rooted in the region since its inception, was obvious. The building is situated in an industrial quarter between the Highway 116 to the north and railway to the south, next to fallow farmland and adjacent to a residential zone. The proximity to the highway facilitates the handling of products and increases visibility to the public at large.

The plan as per St-Germain Égouts et Aqueducs enables the company to manage four key areas: administration, internal warehousing, external storage and manufacturing. Given the scale of the organization’s production program, taking charge of all its components proved crucial to proposing a consolidated and independent project. Bringing about this new phase in a harmonious manner af fects the project as a whole and is at the very core of the concept itself.

Building an industrial site that co-exists with the surrounding area, for a use in which architectural excellence is often replaced by low-cost banality requires a reevaluation of the topographical constraints of the location. Contemporary creativity, technology and in novative materials are available to respond to the desire to be distinct yet involved in the different issues of our time. It is important to ensure that these innovations generate neither cultural nor visual conflict but rather contrasting dialogues between the site, building and area.


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French River Visitor Centre Ontario, Canada 86

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The project establishes architecture of the River, defining and invoking its physical qualities and cultural legacy through an integrated approach to architecture, landscape and exhibit environments. Moving beyond the role of container, visitor experience is organized to flow across an archetypal landscape of rock and water, along a continuously inclined topography of found and constructed elements. Extending from the parking arrival area, through the building to the water’s edge, these elements establish an armature for interpreting the River’s descent from its headwaters into Georgian Bay.

Areas of bedrock and expansive walls of exposed concrete merge with the surrounding landscape, establishing the “ground” and terrain of the project, connecting indoor/outdoor events and vistas. Hovering above this terrain, the building’s wooden enclosure establishes a cultural layer that shelters and provides an immersive experience for visitors. Within the exhibition, cultural history themes organized as temporal layers float above its timeless landscape terrain. Along this route a series of terraces provide extension between interior and exterior landscapes and accommodate a wide range of community and parks programming events including “town hall” meetings and Pow-Wows.

Responsible stewardship extends the interpretive experience of the project. Starting within the parking area, a series of constructed “islands”contain water and sewage infrastructure which are located “above grade” to minimize disturbance of the rock landscape. Rainwater, and its passage across the site, have been legibly managed through a cistern system that regulates outfall and eliminates erosion of the site’s thin soils. Exterior terraces are oriented to promote favorable microclimate and enable to extend seasonal use. Constructed upon an outcrop of exposed granite, the building utilizes the bedrock as an insulated thermal mass, which is partially exposed on the interior and forms part of the building’s geology exhibit. Energy consumption and CO2 emissions are 40% below permitted standards.

Photographs: Tom Arban, Dieter Jansen & BSN

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Montarville - Boucher - de la Bruère Public Library 92

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The Library is located in the downtown core of Boucherville. Built more than 25 years ago, the municipal library needs to expand and reconfigure its existing facilities.

This project consists of a three-storey expansion plus an interior renovation and refit of the existing structure. It includes an atrium, a new entrance hall, a new library promenade, a new loans counter and a complete reorganization of all the library collections.

In contrast to the existing building, whose introverted geometry suggests only the slightest relationship with its immediate social and natural environment, our approach adopts an open, barrier-free design that will convey the very essence of a centre whose essential function is discovery, as well as openness to knowledge and to the world.

Inspired by the formal logic of the existing building (four similar squares that revolve around a central core), the expansion suggests the shift of one of these squares to emphasize an opening up to the nearby woods. This establishes a new, open-ended connection between the building and its surrounding environment, redefining the heart of the library and ensuring a comprehensive unity, integrating the existing building with both the new addition and the adjacent woods.

The woods are an identifying element visible from the street and the surrounding area, heralding the presence of a cultural institution in an urban landscape. The three floors of the new extension preserve as much as possible the trees adjacent to the building. The three storeys are home to the library’s three general collections – books for children, adolescents and adults.

Taking advantage of the natural topography of the site and of the proximity of the trees, a large three-storey glass wall allows for diverse visual links between the interior spaces and the woods. Consequently, each clientele (children, adolescents, adults and senior citizens) benefits from a distinct relationship with the vegetation, the trees and the foliage, which inspire calmness, silence and rejuvenation.

In response to the introverted organization and the constrictions of the existing interior space, an open spatial organization is centered on the new lobby. With its loans counter and its atrium, it is the veritable heart of the project. Positioned between the old and the new and extended vertically via the atrium, the lobby is a central locus that allows for quick, clear identification of the main sectors of the library.

Photographs: Guy Tessier, Christian Perreault

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1098 Wolfe Avenue Residence Vancouver, Canada 96

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The single family house at 1098 Wolfe Avenue is Measured Architecture Inc.’s first major project to be completed in Vancouver. Located in the First Shaughnessey district, a neighbourhood traditionally associated with arts and crafts style mansions; it is an undeniably modern house. The success of the project lies with the support it received from the City and the First Shaughnessey Advisory Panel, the local design watchdog. Although the subject of an eight-month approval process, it was regarded as an exemplary project from the start by city officials. After final approval was granted, Clinton was invited to sit on the First Shaughnessey Design panel. Clinton also acted as director of SHPOA (the Shaughnessey Heights Property Owners Association), a sure sign that the community has accepted the project.

The Wolfe house has many sustainable design features, and is an excellent example of the firm’s commitment to high performance building. A green roof, permeable site paving and native landscaping result in less than a 1% increase in storm-water runoff from the site. There is extensive use of daylight in the project, and natural materials are used throughout. A geo-exchange system with a ground source heat pump dramatically reduces the energy required for heating and cooling by using the latent energy stored below the earth’s surface to treat the air.

Photographs: Martin Tessler

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Gardiner Museum Toronto, Canada 102

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As one of the projects in Toronto’s Cultural Renaissance, the Gardiner renewal, together with the Royal Ontario Museum across the street and the Royal Conservatory of Music around the corner on Bloor Street West, participates in the reinvention of one of the city’s major cultural precincts. The renewal in essence creates a series of platforms – for appreciating the art of ceramics past and present, for social gathering, for education, and for viewing the heritage context. It is ultimately an agent for our affair with the culture of the city.

The museum sits within a tight niche bounded by a Beaux-Arts style building to the north (1908-12), and an eclectic Jacobean style women’s residence to the south (1901-03). The renewal strategy amplifies the original planning principles and builds on the existing structure which was designed to anticipate vertical expansion. The third floor addition is conceived as a steel and concrete block infill “building” and accommodates a flexible exhibit gallery, destination restaurant, and a multipurpose space. The front of the museum is revitalized with a terraced landscape of low plantings and generous platforms.

The original pink granite cladding was stripped and the structure was re-wrapped in polished buff Indiana limestone and black granite. Limestone louvers control solar exposure from the west; the exposed ends evoke the carved volutes that grace the neo-classical capitals of the adjacent building.

The clarification of the plan order began by removing the stair in the lobby. Like a chess game this first move set other solutions in motion. It allowed the retail shop to be relocated at the front of the museum to make it more accessible and inviting to the public. Vertical circulation was consolidated in an elevator/stair tower off the original footprint at the northeast edge. The second floor was pushed forward two metres to provide additional space for administrative functions; its flat rooftop was in turn adapted as an outdoor terrace for the third floor pavilion. The underground parking garage was excavated by 1 metre and adapted for ceramic studios, storage and conservation space. In the spaces of movement between galleries a series of floor-to-ceiling windows frame previously unimagined views of the façades and pediments of the adjacent heritage architecture, and the city beyond.

Photographs: Eduard Hueber, Shai Gil, Tom Arban

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Sugar Cube Denver, USA 106

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This mixed-use development introduces a new model for contemporary development in Denver’s historic Lower Downtown District (LODO). The design balances contextual references with a contemporary expression that simultaneously relate to and set it apart from its context. At the same time, the architectural solution was informed by specific performance goals: to build for longevity as a form of sustainability and to create an active street-base to participate in revitalizing urban life in downtown Denver.

The overall goals inspired a massing strategy in three parts. Retail uses are allocated to the ground level with offices in the middle-zone and residential in the upper storeys to take advantage of views of the Rocky Mountain range and clear blue Colorado skies. Located adjacent to the heritage-designated Sugar Building (1904), this 10-storey development establishes alignments, registrations and material and tectonic relationships with its neighbor, while injecting a modernist expression through the form of the cubic top clad in black iron spot brick. Its diverse typology of window openings and projecting balconies create a dynamic counterpoint to the regular grid of punched windows that characterize the “walls” below.

The overall design was conceived with the support of the client to mobilize a strategy and vocabulary for future interventions of contemporary design in LODO and to contribute to making a more livable and civil downtown.


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Charles R. Walgreen Jr. Drama Center and Arthur Miller Theatre 110

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Michigan, USACharles R. Walgreen Jr. Drama Center and Arthur Miller Theatre 110 111

The Charles R. Walgreen Jr. Drama Center is the new home for the University of Michigan’s Departments of Theatre & Drama and Musical Theatre. The project comprises the 250-seat Arthur Miller Theatre, named after the esteemed American playwright and University of Michigan alumnus, academic and administrative spaces of the two departments, scene and costume shops that serve the university’s theatre network, and the Penny and Roe Stamps Auditorium, a 450-seat music performance and lecture hall.

The stately cube of the Arthur Miller Theatre represents the most public component of the Walgreen Drama Center and provides a new cultural destination at the University of Michigan. Formally it consists of a concrete block building which houses the theatre and sits on a multi-tone base. It is wrapped in a translucent glass envelope which defines a 40-foot-high space that is visible from the North Campus Quad.

The exterior evokes the transformative and illusory effects of theatre – by day it acts as a dignified elegant volume, by night it becomes an alluring luminous glass beacon. The inside of the Arthur Miller Theatre is designed in the form of a courtyard theatre to maximize flexibility for showcasing both professional and student performances. While the interior of the theatre is deliberately minimal, details such as custom stained white oak leaning rails for seating parterres add tactile and visual warmth.

The Penny and Roe Stamps Auditorium is shared by the five faculties on the North Campus, providing a central lecture and music recital space that addresses the North Campus Quad, the principal urban space of this campus. Rigorous room isolation and a mechanical system that meets a demanding background noise criteria value ensure exceptional hearing conditions for all uses. The design also finds the intersection point between lecture auditorium and recital hall. The highly articulated surfaces of the room and the high ceiling volume address the needs of acoustic music performance while the steeply sloped lecture hall seating is ideal for lectures and multi-media presentations.

The learning loft for the teaching and administrative spaces of the Department of Theatre and Drama stretches eastward from the theatre. It contains three flexible 150-seat performance/teaching studios on the ground level. A glass corridor connects the studios and provides a window through which theatre students can be seen practicing. A custom stained white oak floor in the Towsley Studio for Musical Theatre provides additional acoustical performance.


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Julio Mario Santodomingo Building - Los Andes University 114

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Bogotá, Colombia

The building is conceived as a new element that connects the campus of the University, concentrating uses and flows from these parts to the building. It aims to integrate pedestrian through places like the access plaza and the first floor gallery. The mixed use of parking and postgraduate classrooms is represented in its pure and forceful geometry which clearly expresses this duality through the materials used in the façade, which permits to lower the impact of the building in the area as a transition of uses between housing and mixed uses of the university. The concept of terrace garden is presented on the upper floors of the building in which the interior spaces open to gardens and contemplation areas, which integrating the visual mountains and the city, makes this project a great place to stay.

The essence of the proposed interior architecture is based on highlighting the scales of space, particularly in relation to common meeting areas vs. individual areas.

The Central Court area is proposed as a dynamic relationship of physical and visual connections between four levels. It disposes a sober skin that encloses the void, as a “basket” which gives a unique character to the place. This weave is made of teak wood, supported over metal stud brackets and stainless steel frames in the openings of windows as well as in the top rail. At its center is a bamboo garden that suggests a subtle duality, and which is supposed to have a size, as big as the one it could reach in its natural habitat. The roof uses a similar space strategy, but this time proposing the garden terraces as places to overlook the surroundings. Thus, the top floor becomes a chess- like space made of mass and void, where the inner areas extend to these terraces.

Different colors are present in each floor, contrasting with white and natural wood, and highlighting the circular apertures in the elevators halls, which intends to frame different visual approaches of the city’s downtown. Also, the colors of the interior spaces like offices not only are used to identify them, but also are pretended to lead to gardens at the end of the corridors, which enhance internal spaces lighting.

Photographs: Rodrigo Dávila, Andrés Arenas

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Omega Block Building - Anglo Colombiano School 116

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Bogotá, Colombia 116 117

The Omega Block Building, located in the Anglo Colombiano School, is the summary of three buildings in progression, which are adapted to the morphology of the triangular area disposed for its development.

A grand staircase, or tiered seating, ensures a fluid connection between the base plane (ground floor) and levels above, while offering a congregational space. With this element, the scale of the building changes, and re-interprets the use of the atrium space.

The dominant materiality of the project, large format brick and slender pre-stressed concrete elements (beige in color), binds the outside spaces with that of the large internal atrium space. Further tonal and material compliment is found in the vibrant green special divisions (doors and divisions), with smooth Formica finish.

Photographs: Rodrigo Dávila

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St. Edward’s University Residence and Dining Hall 120

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There were two debates running in parallel in this project: one more explicit, declared in various documents and that were the actual programmatic requirements to be addressed; the other one, even though it was named in some documents as “compliance with master plan” was far less explicit and came out mainly in the meetings, was the question of the language and appearance of the building and its relation to the old buildings of the campus.

The formal assignment was to provide a new dormitory (300 beds), dining facilities and various students’ services for St. Edward’s University in Austin, Texas.

The design began by thinking of a dorm as a monastery: it’s about how to organize a collection of repetitive small cells and how to relate them with larger special pieces. In the case of the monastery, it’s about the monks’ cells and how to relate them with the refectory and chapel. In this case it was about the rooms relating to the dining hall and common facilities. Both of these have to do with old atavist situations: sleeping, studying, and eating.

The architects created an articulated footprint, but instead of making it as a reaction to a geographic event, they did it to increase the perimeter of the building so that every single room could have a view and natural light without having to compromise intimacy. They also wrapped the strip around a void, but instead of doing it to conform to the special pieces; and made it in order to introduce an outdoor space adding one topological dimension to a campus that only has solids displayed on a field. The architects actually placed all the common rooms of the dorm’s program facing this "Cartesian Canyon", so that the entire project can be seen as an order of degrees from public to intermediate, common, and private.

Photographs: Alejandro Aravena, Cristobal Palma, Michael Hsu

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Police Museum and Cultural Centre Providencia, Santiago, Chile 124

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The project for the new museum and the historic museum renovation was an order for the General Director Alejandro Bernales (R.I.P).

The idea of Carabineros de Chile consists in the challenge to get the expansion of the old museum and the new museum highlights the historical value.

A first consideration is to hollow and redesign the interior of the historic building preserving the facades and getting a new spatial interior. Paintings whiten all the facades and interiors and get the connectivity between the new and the renovation and the intervention.

A second action is the architectonic idea to cave and put the buildings in several levels underground. Then we obtain the double purposes not to touch the park and the trees of the site; to highlight the historic building that now reflects the facades in two big water mirrors to Antonio Varas Avenue.

Then it is a building that gets the most spaces underground but gets natural light from interior patios and cracks.

All the facades of the new volumes are resolved with concrete incorporating titanium dioxide and a system of phenolic molds with 5-inch-wide planks.

The white walls are highlighted in the abstract between the intense green of the trees and the green roofs of the buildings.

The program also provides the showrooms of museums, the cultural center's administrative offices; an underground parking building and a theater with capacity for 740 people with boxes allowing the orchestra and the choir of the police to play along.

The theater is resolved entire in cedar wood and the waving roofing permits an acoustic experience and an excellent vision. In the same level are the cafeteria and restaurant with an expansion to exterior terraces that permits good ventilation and natural lighting.

Photographs: Pedro Mutis Johnson

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Santiago, ChileParque Neighborhood 128

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This is a housing development of 34 homes with large square footage, all different, set on the slopes of a hill to the east of Santiago.

The arrangement is developed along 3 parallel streets from which one enters the houses through their upper floors. These are developed over two or three storeys, with the garden remaining on the lower level and one level above the following street.

The plots are contained by stone walls, which combined with the volumes and materiality of the houses (organic texture) give unity to the development.

From the streets and between the houses we discover the impressive view these have, from inside towards the valleys and hills to the east of Santiago.

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2 Houses at Punta Pite Punta Pite, Zapallar, Chile 132

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The project consists of two holiday houses for a three-generation family, located at Punta Pite (“place of wind” in aboriginals’ language), two hours north from Santiago, just in front of the Pacific Ocean.

The lot is in the middle of a rock promontory visible from the beach at the west, and from the houses that follow to the east. The access road is on its south side. To the north – in front of the site – waves crash down on the rocks, while winds lash the place from the southwest.

The 2 buildings are located in the interstices between rocks and vegetation, the parents’ house at the west end of the plot, the sons’ at the east. Their interiors and exteriors are linked by a system of routes riding from roofs to floors, while communicating with the closer landscape. Rooms follow one another in their openness and external exposure, open to the north view and close to the neighbours and the wind.

Carved stone was used for the construction of walls, floors and ceilings, while reinforced concrete for slabs, beams and columns. Like an artificial stone, the project seeks to mediate the relation between the natural surroundings and the built place.

Photographs: Luis Izquierdo

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3 Houses at Cachagua Santiago, Chile 138

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The project consists of three holiday apartments for an extended family formed by parents and already married sons.

The three apartments are located in front of the Pacific Ocean in Cachagua, a village 200 km north from Santiago, Chile.

The 3,000-square-meter lot was virtually divided into two parts. The first one, in a superior plateau with the best view, was used for the fathers’ apartment. The steep and lower part of the lot, near the rocks beside the sea, was used with two apartments for each of both sons, which are connected between them through an interior stairway and a common playroom. Besides they have separated entrances through ramps, stairs and an exterior elevator.

Both parts of the lot are in a little creek in the winding coastal geography. This setting hampered the views over the sea as it was below the neighbour’s constructions. So, the two apartments were built by filling in the creek, forming in its roofs a garden with a pool that extends the natural plateau of the apartment on top. This place allows a forward position, as in a dock, where the three families gather.

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Santiago, ChileCruz del Sur Building 142

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The project consists of an office tower with a commercial complex in the base, located at the intersection of Apoquindo Av, Santiago’s main axis, and Vespucio Av, the capital’s circular beltway. Despite its urban importance this place is poorly laid out as a cloverleaf intersection surrounded by several buildings of varying height and quality. The site has immediate access to a metro station, which has the highest daily traffic flow in the entire subway network. The roughly square site is opened on three fronts. Given its location, the tower faces Apoquindo Av coming east from a mile away, as an iconic mark at its vanishing point.

The regulations allowed a tower of 21 floors; a buildable area of 18,738 m2, with square shaped plants averaging 1,000 m2 each, and a core containing a battery of eight elevators and two enclosed double stairwells; plus 4,000 m2 of built area in a two-storey commercial complex, and 18,000 m2 of five underground floors for 600 parking lots. The volume of the building is quite constrained by the maximization of the built area within these regulations.

Given the high pedestrian density of the area, our first decision was to clear the ground level as much as possible, making the site an extension of the public space. This was made possible by hiding underground a major part of the program’s commercial area and withdrawing the rest of the complex’s structure to the borders at the back of the property, so as to allow an interior corner square. Furthermore, it was possible to structure the tower in such a way that only the shaft core rests on the ground, as it is capable to resist by itself all vertical loads as well as shear stress and flexion at the base, considering the proportion between the height of the building and the width of this base, and that, because it is centered on the square floor plans, torsion of the structure under seismic stress is avoided. Moreover, in this solution, matching tower and underground columns are unnecessary, so an optimum result of 27 m2 per car was achieved on parking floors.

Floor plan surface gradually increases from floors 4 up to 21 to attain the total built area. This section allows: - Reduce the shaded area produced by the bottom floor suspended over the ground.- Reduce the angle of diagonal bracing supporting a series of floors.- Column-free floor plans with increasing sellable area at upper floors, whose prices rise as well. - And finally, to define the outline of a memorable landmark facing the axis of Apoquindo Av.

Continuous floor-to-ceiling windows are shaded by columns and a perimeter eave at all floors, standing upright 90 cm behind the edge of the slabs, thus leaving the supporting structure expressed at the outside of the tower. Glazing setback plus screen printing and differentiated reflectivity according to lighting and thermal requirements for each different area of the facades together resulted in a reduction in energy consumption of up to 25% in comparison to nearby buildings of the same category.

Building costs turned out to be inferior than the initial estimates related to towers of similar characteristics. This is important because we believe that economy in design purifies the rhetoric of architecture; after all, the efficient use of available resources is an infallible condition for achieving beauty.

Towers are seen from below. Their perception varies as one approaches them. In this building, its trapezoidal shape with the distorted structural grid of its facades counteracts the fugue of lines in perspective, rendering an orthogonal volume as one gets closer while still framing the object completely, and as one looks up shifting the visual angle with respect to the vertical direction given by the sense of gravity, an equivocal sensory adjustment is produced. This balance plays with the relativity of the perception of volume and weight, making the quest of stability as a decisive matter of architecture.

Photographs: Cristóbal Palma, Luis Izquierdo

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Rodríguez-Harvey House Tunquén, V Región, Chile 146

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The house is located in Tunquén, a costal area in the central region of Chile. The house is situated ot the upper part of the site, in order to get the best views towards the ocean. The area is a semi-dry region, with native trees and a strong and cold wind from the southeast. The orientation of the site is south, so the main views towards the landscape are to the south. This is the south hemisphere, so the sun always comes from the north. The upper part of the site is opposite to the main views of the site. This geographic situation determines the design, because the house must be open or transparent to the south to get the views, but it must also be open to the north so that light comes from the “rear” part of the house. In order to achieve this, the design is based on three parts:

1. A reticular structure of wood columns and beams as the base for the scheme, which contains the exterior spaces of the house (entrance and terraces).2. Three volumes inside this grid containing the main areas of the house (living space and bedrooms). By being greater in height, these three spaces gain light from the “rear” part of the site.3. Three service volumes (kitchen and bathrooms) linked with each of the three main spaces of the house.

This scheme also solves the client needs: he wanted an integrated living-dinning-kitchen space, an exterior terrace protected from the wind, a main bedroom and a second one separated for acoustic and privacy needs.

This configuration of the main three volumes generates three intermediate semi-interior-exterior spaces: terrace, access and separate space between the two bedrooms.

The terrace is protected from the wind by wooden blinds, by a big laminated glass, and by an existing tree. The protection against the strong summer sun is achieved by inclined beams that only allow winter sunrays to pass.

The living area volume has a complete double height in order to get the sun light, and also protects laterally the terrace from the southeast wind. The dining and kitchen area are located one step above the living area, avoiding its furnishings from blocking the views.

The guest's bedroom takes advantage of its greater height by placing a small attic containing a bed for the children. The interior corridor of the house also gets the north light through the space that separates the two bedrooms.

In addition, a guest's cabin is built completely separated from the main house, connected by a pedestrian path.

Photographs: Marcos Mendizabal

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Linda Vista House Guadalupe, Nuevo Leon, Mexico 150

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The surroundings of the site of this old residential zone of Guadalupe, Mexico provided architect a lot of possibilities to experiment a formal and pragmatic solution for this project.

This area of the city, which began with modern movement architecture, has changed its image to the common pattern of a Mexican city: roof tiles, balustrades, Victorian forge, “warm colors”, fake balconies, graffiti, noise, and a lot of traffic. This project responds to all these surrounding factors.

The Basic idea was to exclude the surroundings; the house is like a shell (shield) that protects the inner life. An “L” shaped plan design that adjusts to the street sides of the site becomes the perfect way to turn the program towards the interior of the site. Facing the street there are few openings that provide little light and a subtle blending with the exterior. Two large steel covers keep the main interior spaces isolated from the street; they are also the expressive elements of the facade. This new form clings with freedom to the urban landscape in purpose of the program and the surroundings.

A classical family program is developed around the patio; all the activities find here a shelter from the chaotic exterior. Each room, with its own privacy, faces the patio where every social activity takes place. This project manages to bring together the interior and exterior, visibly and physically, by means of neutral and flexible spaces that at the same time exclude the street.

A simple system of concrete walls and steel columns is the main house structure; over this structure, steel joists hold the galvanized sheets of the cover. A curved solid concrete wall that at a certain point intersects with a straight white wall, where the first one is in a perfect balance holds the second one, marks the access.

Photographs: Vicente San Martín

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Ms Borbon House Monterrey, Nuevo Leon, Mexico 152

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The site reunited three characteristics: downgrade, view to the “Cerro de la Silla” and a federal green area in the back part that framed better that view. The direction also was very favorable for the requirements of the project.

The design starts from a basic premise: the movement. The house turns around a central axis, where forms and the program look for a spiral to align itself throughout the same one. The location of the spaces is defined according to the views that the land allows to the city and the volumetric configuration emphasizes this idea. The house interprets the formal and chromatic idea of Sebastiáns sculpture that is the landmark of access to the neighborhood.

Once enter it, you will cross a water mirror where a glass volume floating over the lobby. From this one you get low by a ramp more than a half level to arrive at the social area, that surrounds a central space fed by zenithal light, the composition of the house turns on this. The back garden is formed by terraces of steel and wood that allow an open social zone without obstacles to the views of the city. Stairs that start from the lobby also take in spiral to the intimate area where the study and the main bedroom take advantage of the view to the city and at the end of route is the guest bedroom.

There are no windows in the traditional sense; the glass is treated as independent volumes or as transparent extensions of the game of walls that are interlaced in the central space. Each space was thought for a specific aim of contemplation of the landscape where the “Cerro de la Silla” with the city on their feet is the drop curtain for the most important spaces.

Photographs: Vicente San Martín, Francisco Lubbert

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AT House Mexico City, Mexico 158

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Having been entrusted to carry out a residential project on this site, we decided explore the possibility of designing a house that would generate the least impact and could be adapted in the best way to the natural conditions of the site.

This is how the architectural concept of this house was born: a lineal spatial organisation with platforms at different levels and with different angles that allowed GOMEZ CRESPO ARQUITECTOS to integrate architecture with nature.

The architectural design consists of areas built with steel structure and glass. This evokes a sense of lightness, transparency and harmony with the surroundings. Wooden beams were used to give warmth to these open spaces.

The colors chosen played an important role in the design process: the metal structure painted as the color of tree trunks, the concrete sections colored to reflect the earthy shades of the area, the stone walls and flooring chosen in earth tones and glass used to allow total transparency and integration.

Water treatment, solar energy and passive ventilation were considered in the design.

Photographs: Alfonso de Béjar

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BA House Mexico City, Mexico 162

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Situated in Mexico City, GOMEZ CRESPO ARQUITECTOS designed a modern urban house. The dynamic geometry of project responds to the irregular form of the site and the park views obtained at the upper level. A blend of limestone, glass and steel was used to give the house a strong modern personality.

The main level, where social areas are disposed, is completely integrated with the exterior. Residents enjoy the daily contact with the gardens surrounding the building. Private or intimate areas at the first level share the magnificent views of the park tree-tops located across the street.

The architects added a clean and simple functionality to the project by designing an open interior. Neutral coloured materials and wood reinforce sobriety and elegance. Lighting plays an important role for the firm. A special atmosphere is given to each space depending on its use.

Photographs: Alfonso de Béjar

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Nestlé Chocolate Museum (phase 1) Paseo Tollocan, Mexico City, Mexico 166

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Nestlé’s Chocolate Factory in Mexico City (located in Paseo Tollocan near Toluca) was in need of an inner pathway for visitors to witness the production of their favorite chocolates, a group of experts put together by Rojkind Arquitectos and Traqs suggested big plans for the company.

Why not create the first chocolate museum in Mexico and have a 300-meter-long facade along the motorway as the new image of the factory? So the first phase took shape and required a 634 m2 space that could accommodate the main entrance for the children to have the most pleasant experience and to start the voyage into the chocolate factory as soon as they enter this playful yet striking space, the reception area, the theater that would serve as preparation for the Nestle experience, the store or museum shop, and the passage to the tunnel inside the old existing factory.

The building is a playful folding shape that is evocative for kids, of an origami-shaped bird, or maybe a spaceship, or could it be an “alebrije”? What might seem like a capricious form is the fruit of diligent design explorations and an intuition about what the place should express. The spectacular result is as firm as the faceted shapes which sustain it.

Photographs: Paúl Rivera/archphoto.com

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PR34 House Tecamachalco, Estado de Mexico, Mexico 170

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Located in Tecamachalco, Estado de Mexico, on a hillside overlooking Bosques de Reforma, a remodelation and an addition were required to an existing late 1960’s house.

Since the client bought the house for its distribution, the existing house was carefully cleaned leaving bigger and better areas. Then a new part of the program was required, an independent apartment for the client’s daughter.

The garage possesses 2 separate entrances, leaving total independence to the addition which is accessed through spiraling staircase 2 flights up.

Resembling a ballet dance composed of 2 bodies in motion, the looping sensual forms that changed angles coming out of every curve were inspired by the ballet dancer who is going to inhabit it.

Once you arrive at the apartment, it covers 2 half levels, the first containing the kitchen, dining and living area, then half flight down the TV room and the master bedroom. Taking advantage of the existing house´s roof and its skylights this roof becomes a terrace with the remaining of the chipped lava rocks used for the main wall of the house. The skylights become acrylic stools, benches and chaise lounges that change color with a led system inside. A selection of prehispanic organ plants is made to add a touch of vegetation giving this area a lunar feel.

Photographs: Paúl Rivera/archphoto.com, Jaime Navarro

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Casa Club Bosque Altozano Morelia, Mexico 174

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The site is located in the golf course of Bosque Altozano in Morelia. It faces to the south and east the mountain valley of Montaña Monarca, rich in a variety of pine and oak trees.

The building is situated on a soft slope with privileged views to the valley of Montaña Monarca. It houses restaurant, kitchen, open terrace, living space, golf store, bath and dressing room.

The building has been conceived as a homogenous stone mass, hollowing out a huge opening with an inviting forced perspective effect caused by the asymmetric glass walls that frame the natural panorama, meant to evoke renaissance perspective drawings.

The amber atmosphere created by the filtering of the natural light through the stained glass, blends with the colored space, generating a chromatic continuity that during the course of the day moves imperceptibly through an endless scale of oranges, red and yellows. Light also enters through two wooden skylights located in the middle of the room, helping to balance the colored light that comes from the window.

A few rich, tactile materials were used in combination with the light to create the environment. This effect is granted by local stone used on the gabion walls and floors apart from the timber on the roof and other wooden objects.

Photographs: Paúl Rivera/archphoto.com

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Casa SA Leon, Guanajuato, Mexico 178

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The site is a lot located in Leon, Guanajuato, Mexico (Mexico´s seventh populous city), an area characterized by a semi-arid climate (temperature ranges from -2℃ in winter to 36℃ in summer), with cold winter wind from the northeast.

The conception of this project is about finding new relationships between human and nature, a playful project that through its impact and experience will generate respect for our natural world. The mass of the building responds to the movements of the sun and prevalent winds in order to create comfort without the use of mechanical systems. Each space has a proportion and a characteristic relation with the adjacent space, as well as a relation with the existing landscape. Geometry, structure, and landscape were viewed as a single concept.

The main volume of the building contains the studio, the dining room/reflection pool, television room and bedrooms. The intersecting volume holds the living room, the dining room, and the kitchen. A 90 cm moduled structural system consisting of reinforced concrete slabs allowed for quick construction and lower costs.

Photographs: Paúl Rivera / archphoto.com

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ACXT Architects BTEK – Interpretation Centre of Technology AIC – Automotive Intelligence Center Ibaiondo Civic Center Alejandro Muñoz Miranda Syndicate Headquarters in Granada Alberto Campo Baeza Andalucia’s Museum of Memory Moliner House Rufo House b720 Fermín Vázquez Arquitectos La Mola Hotel and Conference Centre Estudio Carbajal

Aeropolis Enterprises Center Estudio Carbajal / Solinas + Verd Arquitectos CCMI Minimally Invasive Surgery Centre José Juan Barba Arquitectos Centre for the Research and Interpretation of the Rivers:Tera, Esla and Orbigo Santatecla Arquitectos Education Center – Botánico Cavanilles Education Center – San Antoni de Padua Sport Center – Ciutat de la Pilota ARQUITECTURAS TORRES NADAL / ANTONIO MARQUERIE TAMAYO Auditorium Theater of La Vila Joiosa Hérault Arnod Architectes The Bicycle Building Cultural, Sports and Congress Centre at Les 2 Alpes Researchers and Student Housing Rossignol Global Headquarters Scenographic Huts Henning Larsen Architects The Opera Spiegel Group’s New Headquarters Uppsala Concert & Congress Hall Dietmar Feichtinger Architectes The Bilger Breustedt Elementary and Secondary School

182BTEK - Interpretation Centre of Technology Derio, Bizkaia, Spain

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BTEK is an interpretation centre for new technologies, aimed at student visitors. The Centre’s promoter, Parque Tecnológico, set out the following as the most important guidelines:

- Create a very flexible and varied exhibition space, able to accommodate all types of exhibitions.

- Installations should be highly energy efficient (geothermal systems for climate control) and that use renewable energy sources (a building-integrated photovoltaic system connected to a 60 kw network).

- The geometry of the covering where the solar panels are integrated should be triangular – similar to the shape of Technology Park’s logo.

The site’s location, on one of the highest points of the Vizcaya Technology Park and close to the Bilbao airport’s flight path for takeoffs and landings, helps with the aim of making the building a landmark in its landscape.

The building consists of two apparently uninterrupted pyramid-shaped volumes that connect below ground level. The first is a heavy, black volume that emerges from the earth; it is enclosed by three metallic facades and completely covered with solar panels that form a patterned network. The second volume, contrasting with the first, is formed by two facades of curtain walling with an artificial grass-covered roof that starts off as an extension of the terrain and continues on to cover the entire site. Artificial grass also covers the below-ground-level connection, allowing it to merge with the site and its surroundings.

The five galleries are designed to be visited sequentially. In order to serve for a wide variety of possible exhibitions and contents, the galleries have been designed with very different characteristics: from those with ceilings at a conventional height to galleries with variable-height ceilings, reaching up to 16 metres of clear height, and with or without natural lighting.

A wide ramp for vehicular traffic has been designed near the pedestrian entrance, allowing access to the car park and installations rooms, as well as allowing for direct access to the exhibition galleries if large pieces need to be placed.

The pedestrian entrance is formed from the first volume, the fold on a corner marking the building entrance and access ramp. As the visitor descends, a metallic projection covers the arrival path and gathers the visitor in.

Called “The Ravine” for its narrow dimensions and 18 metres of clear height, the reception space marks the initial passage into the building. The sense of squeezing through is emphasized by the narrowing of the path and the ceiling heights that become lower as the visitor moves along.

Photographs: Aitor Ortíz

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186AIC - Automotive Intelligence Center Boroa, Amorebieta-Etxano, Biscay, Spain

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A complex of 3 buildings and landscaping is destined for R&D + i in the Automotive Sector. Two of the buildings are intended for use as development units (halls) with laboratories and small-scale production. The third, the main building, houses research units of various companies in the automotive sector, a laboratory and the social block of the complex, comprising: main lobby, auditorium, training classrooms, classrooms for projects in cooperation with universities, and the offices of the centre’s management.

The site was flat when the project was drawn up. The landscaping plan for the industrial estate has strongly altered the original topography. Due to the reduced height limit permitted on the estate, and the elevated ground level of a large part of the site boundaries, the roof of our buildings has a great visual impact. In addition, the presence of a large Combined Cycle Power Station beside the East facade has to be added.

The development units are set in isolation for functional reasons and for future versatility. A triangular landscaped area articulates the space between the development units, the main building and the spaces reserved for future expansion. The complexity of the main building’s facilities is unified under a large silver aerodynamically-shaped roof inspired by the bodywork of prototypes and racing cars. The main building is composed of two fundamental parts: the social area, set around the main lobby; and the area for R&D projects.

The complex is located on an industrial estate away from the urban nucleus. The design strategies have been geared, on the one hand, to make the building visible from the bordering motorway (the aspect of the South facing lobby), and on the other, to avoid the constant view of the Combined Cycle Power Station from the work spaces. This is achieved by orientating them towards the West, where a garden provides a rest for the eyes. The triangular garden articulates the space between the development units, the main building, and the spaces reserved for future expansion.

Special care has been paid so that the outdoor machines and equipment needed, have the least visual and acoustic impact. To that end various patios have been planned, both let into both the facade (“burladeros”) and the roof. The solar panels are installed over the roof patios, contributing to that idea of concealment.

Photographs: Aitor Ortíz

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190Ibaiondo Civic Center Vitoria-Gasteiz, Spain

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Ibaiondo Community Centre has a 14,000 sqm area and is located in Vitoria-Gasteiz (Spain). Sport, leisure and administrative services for neighbours at different parts of the City are joined together in these types of public buildings.

Once all interior functional, spatial and organizational requirements were defined, the project searched for an extroverted look to appeal the citizens, as to get the perception of the whole building to provide enough information of the public services to be provided there: theatre, leisure and sports swimming pool, solarium, café, indoor sports centre, library, workshops, council citizens help points, etc.

The project avoids forms of an elaborate façade composition, and shows itself as irregular and polyhydric, with a leisure personality. Because of such diversity at interior layouts, the exterior catches the citizen’s eye, specially the polymer concrete facades, with a multidirectional groove to create an optical polychromatic illusion.

The building interior layout follows extensive and strict functionality criteria defined by the Council technical team at competition phase. Sport services (swimming pool and Indoor sports centre) are located to the north following a “cartesian” geometry, due to their size and scale. So the rest of services are created to the south, with some sort of volumetric anarchy facing the residential area. Other uses are organised along a corridor separating and linking together different services. From this corridor, through glass enclosures, the visitor can recognise the different activities inside the building, as a suggestive "showroom".

Energy sustainability in the building is ratified by a high energy efficiency qualification, obtained by ensuring good thermal isolation and high equipment performances. Also an approximate 700 sqm area of solar thermal collectors provide energy to heat water for both swimming pool and building hot running water. This dedicated design generates an estimated CO2 emissions saving of up to 1,900 ton.

Photographs: Josema Cutillas

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192Syndicate Headquarters in Granada Calle Ricardo Lopez Jofre s/n, Granada, Spain

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The requirements set down by the management of the labour unions Union General de Trabajadores and Comi-siones Obreras (Syndicate Headquarters) are based on the total independence of the use and layout of the spaces assigned to each one of the unions, the reason why the project features two independent accesses and office spaces that are totally differentiated for each one of them. The unions only share the assembly hall and the installation spaces of a general nature, for obvious reasons of dimensions and technical efficiency. Besides the conditioning factors mentioned above, equality in surface and orientation for each one of the labour unions is a basic requirement. In this way, the ground floor is destined for the general spaces of access, control and reception of users, plus the more generic administrative activities, besides containing the assembly hall that is common to both unions, for evident reasons of ease of access. The first and second floors are fully assigned to the administrative spaces of each one of the unions.

The complexity of both unions running independently, equally separated and joined by the light, has been possible thanks to the orientation, as the situation of the building on the plot coincides with the north/south orientation in its diagonal, a crucial element in the internal order of the spaces in this project.

Photographs: Fernando Alda, Javier Callejas

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196Andalucia's Museum of Memory Avenida de las Ciencias s/n, Granada, Spain

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Alberto Campo Baeza would like to make “the most beautiful building” for the Museo de la Memoria de Andalucía (Andalusia’s Museum of Memory) in Granada. The MA is a museum that would convey the entire history of Andalusia, as early as Roman times. The geographer Strabo described the inhabitants of Andalusia as “the most cultivated of the Iberians, whose laws are written in verse.”

Alberto Campo Baeza’s project for the MA is a building in line with the Central Headquarters of the CAJA GRANADA Savings Bank that Alberto finished in 2001. Alberto proposes a podium building measuring 60 x 120 m and rising three stories, so that its upper floor coincides with the podium of the main CAJA GRANADA building, and its facade as well. Everything is arranged around a central courtyard, an elliptical form, through which circular ramps rise, connecting the three levels and creating interesting spatial tension. The dimensions of the elliptical courtyard have been borrowed from the courtyard of the Palace of Charles the V in the Alhambra.

And to finish the whole, a strong vertical piece emerges, as if it was a gate to the city, the same height and width as the main building of the Caja Granada. From the highway that encircles Granada it appears as a screen-like facade covered with messages writ large plasma screens that entirely cover it, like Piccadilly Circus in London or Times Square in New York.

And to finish the entire operation, a large horizontal platform extends all the way to the River, the MA FIELD, serving as a public space for this new quarter of the city of Granada.

The new building, silent in its forms, is loud in its elements used to communicate the messages of the new millennium in which we are already immersed.

Photographs: Javier Callejas

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200Moliner House Zaragoza, Spain

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To build a house for a poet. To make a house for dreaming, living and dying, a house in which to read, to write and to think.

We raised high walls to create a box open to the sky, like a nude, metaphysical garden, with concrete walls and floor. To create an interior world, we dug into the ground to plant leafy trees.

And floating in the center, a box filled with the translucent light of the north. Three levels were established: the highest for dreaming, the garden level for living, the deepest level for sleeping.

For dreaming, we created a cloud at the highest point. A library constructed with high walls of light diffused through large translucent glass, with northern light for reading and writing, thinking and feeling.

For living, the garden with southern light, sunlight. A space that is all garden, with transparent walls that bring together inside and outside.

And for sleeping, perhaps dying, the deepest level. The bedrooms below, as if in a cave.

Once again, the cave and the cabin.

Dreaming, living, dying. The house of the poet.


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204Rufo House Toledo, Spain

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The brief was to build a house on a hilltop outside of the city of Toledo. The hill faces southwest and offers interesting views of the distant horizon, reaching the Gredos Mountains to the northeast. The site measures 60 x 40 m and has a 10-meter slope.

At the highest point, we established a longitudinal podium, 6 meters wide and 3 meters high, that extends from side to side the entire length of the site. All of the house’s functions are developed inside of this long box, the length of concrete creating a long horizontal platform up high, as if it were a jetty that underlines the landscape with tremendous force.

This long concrete box is perforated and cut into, conveniently creating objects and voids to appropriately accommodate the requested functions (courtyard + covered courtyard, kitchen, living room-dining room-hall, bedroom, courtyard + courtyard, bedroom, garage, swimming pool, bedroom, courtyard).

In this distribution the living-dining room opens to the garden while the bedrooms face onto courtyards open to the sky and garden, affording them the necessary privacy. The stairway connecting the upper floor is situated in the area behind the living-dining room.

On top of the podium and aligned with it, a canopy with ten concrete columns with a square section support a simple flat roof, as if it were a table with ten legs. Under this roof, behind the columns, is a delicate glass box. To protect the views of the house from the back, a simple row of poplars were planted.

Once again, the theme of the Hut on top of the Cave. Once again, the theme of a tectonic architecture over a stereotomic architecture.


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208La Mola Hotel and Conference Centre Terrassa, Barcelona, Spain

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La Mola Hotel and Conference Centre is located on a site adjacent to the new El Prat Golf Club, in the natural reserve of Sant Llorenç de Munt I l'Obac (Terrassa). The project involves the construction of a hotel complex of 186 rooms with complementary services, meeting and convention spaces, auditoriums, multipurpose rooms and other services related to health and wellness (spa area, fitness, etc.).

To avoid the strong visual impact that a complex of such dimensions could cause in this environment, it has been chosen to split the program into four prismatic buildings which don’t exceed in height the surrounding forests, thereby a better implementation and integration is achieved.

Two of the volumes house the rooms settled out longitudinally along a central corridor on three floors above ground. There is also a living room in the entrance and several basements for complementary services (kitchens, spa, etc.). The rooms on the south facade have balconies and a sunscreen formed by some mobile slides of perforated sheet designed as a large coloured curtain. Their tones and volumes are blending with the colour of the existing vegetation in an intentional game from an area located between a forest and the "artificial nature" of the golf course.

A third prismatic volume, similar but of greater height between floors, hosts the conventions centre. Inside there are several auditoriums, multipurpose rooms of varying size and multiple meeting spaces around a large open lobby, also with a ground floor directly communicated with the outside world, projecting uses (as a conference centre) to the outdoors .

In a central position between these three volumes, there is a fourth building housing the common areas that function as an access core and general distributor of the complex. A sunshade formed by corten steel plates provides protection and privacy to its large glass facade at the same time evoking the landscape around it, thus becoming the main reference point for intervention.

Photographs: Adria Goula

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214Aeropolis Enterprises Center La Rinconada, Seville, Spain

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This project is the result of an international ideas competition for the construction of the Andalusian Agency for Aeronautics Headquarters and a business center linked to this industry.

Placed in a technological park of a strong industrial presence, away from urban areas, lacking in open spaces and landscaped areas or buildings of interest, the profitable relation between the architecture and the place has serious limitations. The building is forced to establish new guidelines that seek to improve the environment and in turn create a world for their own development.

From a conventional office program and related services, the project raises a building which nucleus of communication rest along an “interior covered street”, drawn in the manner of some street and passages of the city. Seville historic streets covered with awnings during the summer months, become new spaces, big lounges outdoors protected from the sun.

In essence two parallel wings of building are proposed, with an interior corridor and modules to both sides, formalizing a large lobby street crossed by bridges that placed in different positions and heights contribute to create diverse areas in its tour. These bridges were occupied by multiuse rooms that can serve equally to either side of the building.

The whole offers a clear orientation to the visitor, with easy access both to the nucleus of communication and services placed on the ground floor that give life to this new internal street, commercial, cafeteria, reception, formation rooms or assembly hall. A staircase rises to first floor, where it is the top level of the cafeteria which will draw on. The position of the tangent court to the lobby provides light and natural ventilation to this space, in the way that happens in the narrow street of Seville where courts in the houses transmit freshness and areas of light through the vestibules to the own streets. Under it, taking advantage of the structural light is the assembly hall. The central space turns into the heart of the project acting not only as spatial protagonist but as authentic thermal heart of the building. Controlling the cycles of natural ventilation a thermal ideal yield is obtained easily.

It was a question of achieving definitively a building with comfortable spaces, well-illuminated and taking care of the orientation of its facades, protected by curved vertical slats that introducing alternately concave and convex surfaces offer the image of a unfolded curtain.

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216CCMI Minimally Invasive Surgery Centre Cáceres, Spain

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This project was designed with the intention of a respectful integration with the landscape, at the same time to organize the building according to its ample program of functions. Outline in a natural way on the land a reticule wrapped by a fence of arranged stones, where the placement of fullness and emptiness, spaces of light and shade, broken on the perimeter, will allow for specialization of its parts: animal house, surgical area and laboratories, areas for contact between people and administration, computers and communication techniques.

Although it appears hermetic, its occupation will give rise to diverse situations and scales, always with the aim of incorporating the surrounding landscape into the workplace.

A building that is clear in its internal organization, and clear in routes and paths is easily identified by users and visitors, and which is versatile in its division and comfortable in its working areas.

In broad outline, the animal house is on the east side of this reticulation, the surgical area and the laboratories in the centre, and the spaces for contact between people and administration and the computer area on the west side, the side of entrance and evacuation of the building. The spaces of the animal house are set on pillars of height consistent with the need for unloading vans. The flooring in the surgery area and laboratories, designed as a continuation of the animal house, allows for a semi-basement for parking so as to prevent vehicle occupation of the meagre space in the surrounding area. Common areas, administration, and information technology areas, which were laid out at the two floors, are integrated into the garden areas. Only the residential area breaks the perimeter of the reticule, with the aim of achieving optimal orientation of room and presenting an obligatory arrival space.

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Centre for the Research and Interpretation of the Rivers: Tera, Esla and Orbigo Rivers: Órbigo, Tera, Esla, Spain

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The project is carried out on three levels: in relation to the place, responding to the program and developing the perception of the space. The levels mix and converse and the project emerges from where they cross.

1. In its relationship with the place where it is introduced, the design is outlined following premises such as minimal impact on the surrounding nature and therefore intervening in a semi-natural environment with criteria of passive sustainability, with a cultural program and using materials whose ageing process allows the building to converse with the changes in tone, colour and light of the surroundings. All is done without renouncing the carrying out of an abstract work (not imitative of the context) involving a man-made intervention.

2. Programmatically the project is outlined as the grouping of five modules around a courtyard on two levels. The whole, presented as a single architectural element, develops its five thematic areas as a single room, its routes embracing the two courtyards, which represent two opposites, artificiality and nature, as counterpoints on which life the creation of life is based. Life is represented and interpreted here by the river, the element which waters the terrain in accordance with its natural-geographical conditions but also as a creating process of life through the artificiality imposed by man.

Its condition of a flood plain, situated in a fluvial valley defines the solution proposed from its beginnings. Therefore the building is elevated above the natural terrain by means of a system of piers. Access is gained by means of a ramp, which serves for penetration but also as an element which, on being elevated from the terrain, permits its observation, emulating the feeling of being removed for the land which any river gives us when we try to cross it or navigate it.

3. In the project the creation of places is based on a complete understanding of space and the influence of its different escapes. The vertical component of this interior space is reflected in the domes and its escapes through the skylights. When we are in the exterior, the evidence of the vertical component is intensified by contrast; there is no roof and the sides are almost incorporeal. The material in itself does not limit the lateral views. However when there are two walls, their plays of reflection and reflections limit the lateral views. A new landscape or the extension of the surrounding landscape is contemplated in the interior of the project.

The crosses create intersections and these are read by the visitor by means of routes. All the routes are around the two courtyards which represent artificiality through the Japanese garden which is elevated at the level of the pavement of the rest of the Centre. It reminds the visitor of its artificial existence as it is separated from the land and nature with the presence of a second riverbank garden which grows in direct contact with the land.

The tour of the Centre begins with a projection room where the visitor receives his first immersion in information. The tour is always double or infinite, as there are no doors between the different spaces, and allows both the visitor and the organizer of the Centre to establish infinite routes depending on exhibition needs or the interests of the visitor.

The building is wrapped up in itself to create an abstract idea of the surroundings. The whole project endeavours to make the most symbolic points of the program clear constantly.

The exit after the tour is along a roofless corridor with glass walls. This is the only time one loses the direct views of the courtyards although their presence is still felt. The two glass walls and the absence of a roof attempt to give the visitor the feeling of going along inside a river. The exit, like the arrival, is along a walkway over a garden with native plants.

Photographs: Ignacio Bisbal Grandal

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224Education Center - Botánico Cavanilles Gandía, Valencia, Spain

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It is a neighbourhood located at Gandía city, between Jaume I ronda and residential sector. It was proposed the construction of public school for 450 children between 3 and 12 years old. The building is composed by different blocks so as to separate the young one, the gym and other sport spaces. Being concerned about children requirement, their educational spaces have been designed conscientiously. Besides in bathrooms, it has used soft materials for the floor and other kind of protection at door, etc.

There is an independent access for students between 6 and 12 years old. Their classrooms are classified according to the subjects such as library, laboratories, etc. Plot of land’s center is an open space used for several outdoor activities and it is communicated with the gym and changing rooms through a porch corridor. The kitchen and the canteen are also connected to the porch corridor. At the main block, there is an administrative area.

Building structure is made with concrete, the facade at the ground fool is placated on stone and finally, the upper parts are made with continuous covering.

Light is carefully presented in all spaces, optimizing work conditions. General classrooms are turned towards the south and the specifics ones to the east. In all cases, classrooms are protected from the sun by using different kinds of exterior slats.

Photographs: Santatecla Arquitectos

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228Education Center - San Antoni de Padua Xeresa, Valencia, Spain

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The Xeresa school building was projected from a competition of Generalitat Valenciana (Valencia's Government).

Xeresa is a small village that has grown in the last time because it is near to Gandía city, which is the regional capital, business and trade area. This evolution has led to the expansion of the village with small houses and residential buildings with four floors at most, on the outer periphery of the village.

The program areas of the building include different education spaces to the children between 3-6 years, and children between 6-12 years, with independent access, play courtyards, etc.

The opposite of school's main facade is a public park with old olives and community center.

The building has the main entrance in a corner, near the urban historic center, with a concrete porch to protect all the children's access to the different education spaces.

Between the porch, removing about 5 meters to the facade generates the necessary space to ease and to protect the access and the wait to the parents until the exit time's children.

The complex is built with brickwork and concrete wall mostly. The center is occupied by a courtyard which allows the different relations between the diverse volumes of the building. Other program areas including sports facilities and a concierge house constitute pavilions separated from the primary complex. All the spaces and volumes are connected by various outside porches.

All the classrooms are oriented to the south with exterior slats, which allows optimizing luminosity conditions, ventilation and room temperature in different spaces or time of the day.

Photographs: Santatecla Arquitectos, Diego Opazo

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232Sport Center - Ciutat de la Pilota Moncada, Valencia, Spain

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The main objective of Pilota City Project is to foster traditional sports at Valencia Region, based on “Pilota” (ball).

At Trinquete installations, all details have been taken into account in order to obtain the best conditions for practicing this sport and its disciplines (“Escala y corda” y “Galotxa”).

“Pilota Valenciana” is a traditional handball sport that is deeply rooted in the identity of the region of Valencia. Through the years, this activity has been preserved and played at opened-spaces. A distinctive trait of Valencian pilota is that the spectators are often seated or standing very close to the court which means that they may be hit by the ball and thus become an “unwilling” part of the game.

As a first innovation, there is an enlargement of step section protected by a glass wall and besides, the space has been designed as a TV set by including special corridors and spaces for cameras and other communication services.

At the moment, it has been only built a first phase of this ambitious project which will contain courts for all kinds of handball disciplines and a specialised high-performance center.

Taking into account that the main part of the play develops on the walls, this element is a very significant role in the building design. On one hand, these walls emerge from the ground materialized with white concrete as a heavy construction and, on the other hand, the roof is apparently lightweight and provides natural lighting.

Internal texture, colours and lighting systems are chosen to help to distinguish “La Pilota” from the wall and to guarantee the same traditional game conditions.

Finally, it has to be underlined that building’s external image is based on the contradiction between its slight and heavy weight.

Photographs: Santatecla Arquitectos

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234Auditorium Theater of La Vila Joiosa Villajoyosa, Alicante, Spain

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The importance of the project of La Vila Joiosa is its ability to build itself as a public project generating a public space. Indeed, the volume of construction which requires the program of a large auditorium is huge. It is one of the programs with a greater volume to be inserted in the city. And it is essentially a horizontal volume. And generally, unless it falls into a capricious situation, the ideal is to be blind to avoid any kind of noise pollution.

The auditorium was proposed to be built. It is a main program (hall + foyer) and a series of complementary programs are generally built in order of magnitude. They were combined in a way that the smaller programs surrounded the main program, that they were organized in that "arm". On the other hand they connected the two ends from the hall to the foyer, like a rolled whiting.

This “arm” generates a public space, an uncovered space, a large square that allows the access to the auditorium to be an encounter through that space. It is an area which proposes the celebration of the musical or theatrical activity outdoors and allows to have the feeling of entering to the spatial and public area of the auditorium even before it access to itself.

It is a place that generates a shadow, which casts a circle of shade in both plant and section. In plant this shade builds an area which both separates and unites the project with the city. In section, that shadow interposes as a layer built that cuts the main volume and gives a smaller scale more urban. In this way, a depth is created in principle the auditorium, plan and wall, obviously do not possess.

The geometry reminded us of the mountains, the buildings that do not distinguish between the plans of facades and roof. In an extraordinary way it proposes solutions of continuity between the horizontal or inclined plans of the roof and the vertical or inclined plans of the facades. A single material covers the building walls and ceilings. A piece of sustainable plastic was used in its construction, development and elimination. In this way the project reconstructs the image of the mountain that we saw from the place where now the auditorium is located.

Photographs: Lluís Casals, Juan de la Cruz Megías

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238The Bicycle Building Grenoble, France

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This project is part of an initiative by the city of Grenoble, which had asked a number of architects to propose projects for buildings that would be forward-looking in terms of sustainable development, to complete the construction of the final blocks in a new district in the south of the city.

Our response is based on a dual observation: - 80% of the population would rather live in a detached house than in an apartment block in town. Since the outskirts of Grenoble are layered with districts of detached houses which generate traffic flows that grow more intense and more extensive by the day, it is time to think about urban housing that is more in tune with contemporary aspirations. What does a detached house have that an apartment does not? Amongst other characteristics, we identified the relationship with the exterior, which is more direct and special, the greater privacy, and storage capacity: according to a recent study, 40% of the surface area in detached houses is used to store various objects, food, clothes, tools, bicycles, windsurfers, skis, etc. - To reduce private car use, the city of Grenoble is trying to promote green transport methods, including cycling, which is highly prized by a local population that exhibits a strong “scientific, sporty and green” image. The cycle path network is growing, but the problem lies at the two ends: what do you do with your bike when you get to your destination?

The project is a system which makes it possible to take one’s bike to the door of one’s apartment. The lifts are big enough to carry bikes; the corridors are wide and form a panoramic walkway with views over the mountains. The architecture of the storage and distribution system is situated at the end of the cycle path network.

The facade on the street side is made up of several layers which reveal the building’s unusual design, and make a feature of it through the system of outdoor corridors and the individual storage “boxes” placed in front of each apartment: the image is created by usage. People enter their apartments via a private balcony. Located between the walkway and the building’s main structure are the storerooms and bathrooms, which alternate with empty spaces running the whole height of the building. The “storage units” are clad with perforated corrugated steel sheet in different colours, which individualise the apartments and together create an expansive, dynamic and contrasted facade – an unpatterned and lively composition.

On the garden side, to the west, the volumes of the kitchens alternate with loggias. Each apartment on the standard floors has one. They open onto the living room, a bedroom and kitchen, and are big enough to be used as an outdoor dining room. They are equipped with aluminium blinds with adjustable slats, which in summer transform these spaces into an additional room protected from the sun. On the top floor, the split-level apartments are like detached houses on the roof, with big garden terraces. The irregular roof profile is designed to give the solar panels optimum exposure.

Inside, the partition layout is independent of the structural framework (post and slab system), which means that the spaces can be flexibly adjusted and reconfigured in the medium to long term. The apartments are dual-aspect, simple in shape, easy to organise spatially either along traditional lines (separation of day and night) or more flexibly, with an open-plan layout.

The facades are insulated on the outside and clad with corrugated aluminium sheet (a long-lasting and recyclable material). The sliding glass doors of the loggias have aluminium frames, whilst the window frames are PVC. The objective of the heating system is to minimise consumption and to provide comfortable summer temperatures, which is important in a city with a continental climate, where the heat can be intense: reversible underfloor heating with a plate heat exchanger using groundwater for cooling in the summer.

Photographs: André Morin, Hérault Arnod

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242Cultural, Sports and Congress Centre at Les 2 Alpes

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There was no ambiguity about the client's requirement: the project was to be "traditional" in nature, bearing in mind that what is considered to be traditional Alpine architecture these days is in fact a kitsch mixture of a wide variety of regional styles. We hesitated a long time before accepting the conditions of the commission, which was totally outside our normal fields of interest. Rather than running away, we finally decided to tackle these questions of kitsch and décor head-on. They are the reality of contemporary building in the mountains, to the point that even the modern and functionalist architecture of ski resorts is gradually being dressed with stone and timber cladding.

Like many winter sports resorts built in the 1960's, the Les 2 Alpes ski station has identity problems: large buildings put up with no overall design rationale, chaotic relationship with the landscape... The mountains are now looking for a new image to counter the expressions of a sometimes excessive modernity. They want to return to their roots.

Our project for the cultural and sports centre is an experiment in divergence from the archetypal language of the chalet: because of regulatory requirements, the project is contained within a basic rectangular structure with dual-section roofs, like a barn. The building is a telescopic structure split into 3 nested sections – the sports hall, the hall and communal spaces, the theatre – with both walls and roof entirely faced with wood.

Wood is used here as a cultural referent for the mountains. The timber motif came into traditional regional architecture with the invention of the band saw. It is on the rise again because of the development of automatic cutting systems and computer-controlled cutting. Reflecting the return to popularity of this technique, the whole height of the sports hall is covered with a timber lacework based on a motif copied from the guard rails of an old chalet. The pattern, enlarged and multiplied to form a regular grid, changes its status and becomes a repetitive, abstract composition.

The wall of the performance hall is faced with narrow, unjointed wooden strips, with their edges cut at an angle to prevent water accumulating. The name of the facility is burnt directly onto this cladding – another old technique in fashion today, recruited into the language of modernity.

Inside the sports hall and the communal spaces, the walls and ceilings are faced with boards, some of them in natural wood and others painted in several colours. The gable walls of the gymnasium are made of natural sand concrete, set with multiple climbing holds in the same range of colours as used for the boards.

The performance hall, with its black painted concrete walls and ceilings, is topped with a large red snowflake-shaped chandelier, which provides light both for the audience and acoustic correction.

Photographs: André Morin

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246Researchers and Student Housing Grenoble, France

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La Maison des Etudiants is a student residence built in the 1930's. It is an eight-storey building, sober in style and with a plain facade, part of the skyline of the Grands Boulevard, a distinctive urban feature of the city of Grenoble. Originally, the building had fairly spacious rooms but only basic facilities, with communal showers and bathrooms. On the ground floor, at mezzanine level above the pavement, was the university cafeteria. Completely cut off from the street by its elevated position and its opaque pedestal structure, its rear extended into the kitchens, built on a single floor.

The remit here was to regenerate the structure by remodeling the existing building and constructing Cité Galilée, a residence for young foreign research students. The challenge was to find a solution for the new volume, given that the space available was extremely tight, while also doing as much as possible to protect the views from the rooms in the existing building. The design of the extension was determined by this need for the two parts, old and new, to coexist without adversely affecting each other.

The old kitchens were demolished to create a garden. Modern in its style and distinctive in colour, Cité Galilée has the appearance of a new growth grafted onto the existing structure. It constitutes a single volume, a diagonal mass sculpted to protect the views and to comply with planning requirements. It is detached from the ground, thereby releasing transparent communal spaces on the ground floor and a wide bicycle shelter porch. The first two floors consist of bedrooms arranged in three directions, and form a platform which turns vertically and narrows from the third floor to form a communal terrace. From here on up, the bedrooms are distributed on either side of a glass-enclosed gangway. The eastern facade is folded to provide views over the Bastille, Grenoble’s iconic mountain, from every room, and each room extends into a balcony.

The new building’s architectural style is founded both on differentiation – in order to avoid any confusion between the 1930s building and the contemporary extension – and respect for the pre-existing design. Both parts are single coloured, the original white, the extension orange. This paradoxical assembly generates a new entity, a composition in which each of the elements reinforces the other’s identity.

From the boulevard, Cité Galilée is invisible and the extension very discreet. The major transformation in the lower part: the old mezzanine-level restaurant slab has gone, a new surface has been created at boulevard level, and this space has become a reception hall. The opaque sections have been replaced by a fully glazed facade on either side of the great hall, creating total transparency between street and garden.

Inside, the platforms have been cleared to make way for a new layout for the bedrooms, which have become fully equipped studios. They are arranged on the same principles in Cité Galilée and in the MDE, with a surface area of 18 m² in the Cité and different shapes and sizes on the different floors of the MDE. Each has a bathroom, a separate WC, a kitchen, a built-in bed, a desk and storage space. Their ergonomics have been tailored by the architects down to the smallest details, with the aim of making maximum possible use of the available space within a tight budget. Rooms are subdivided into two areas: a sleeping and studying area to the front, and a lower section consisting of the entrance, kitchen, bathroom and WC. The latter is styled like a large piece of furniture, lined with multiply birchwood panels. This same material is also used for the beds, the desks and the shelving.

Photographs: André Morin, Hérault Arnod248

Rossignol Global Headquarters Saint Jean de Moirans, France

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The plot stands in the middle of a plain surrounded by mountains bounded on the northern side by the Lyon-Grenoble motorway. The architecture has been designed specifically for Rossignol, a historic leader in the world of skiing, a fusion of the company’s functional and fantastic aspects, in a surprising and minimalist form. The roof, which envelops the whole project, is topography in osmosis with nature and the landscape. Its organic, timber-clad shape echoes the profile of the mountains that surround the site.

In order to create the “House of Rossignol”, the Rossignol Group will be assembling on these different entities that are currently spread over several locations, but which all contribute to the company’s identity.

On the motorway side, the facade creates a kinetic and dynamic effect reinforced by the repetition of the logo, which appears gradually. The front of the building rises to form a roof over the workshops and then on to the apex, and descends again on the south-western side to cover the office area. It is then intercut with patios planted with birch trees that seem to grow through the roof: nature and building intertwine. The irregular profile of the roof and office facades leaves the opportunity for future extensions as required. Additions can be built without disrupting the balance and identity of the project. From the start, the architecture embodies its own growth process. The roof ridge, with a glasshouse running along it, is situated above the street, a high-level space giving onto the “high-altitude restaurant”, the highest point of the structure, which refers to ski slope restaurants.

Inside, the building functions like a “hive” in which the different functions come into contact and interact, where people enjoy the experience of working together and meeting each other. The originality of the programme is that it assembles very different functions, from production to services, under a single roof. The aim of this assembly is to create a global synergy which eliminates barriers between design, service and technology. Each person in their own diversity – engineer, designer, technician, secretary, salesman, etc. – meets in a reciprocal encounter. To encourage this internal communication, social spaces are distributed around the building. The restaurant, situated right at the top and at the gravity centre of the street, is designed as the primary locus for the company life: two great glass-roofs divide up the panoramic views to the sky and the mountains, on one side to the Vercors and on the other to the Chartreuse. A large roof terrace is available for Alfresco lunching, protected from the noise of the motorway. Whether on the terrace or around a wooden fire, the restaurant turns the midday break into a special moment.

Only two materials are used for the external envelope: wood (natural larch) and glass. The structure is made of steel, like an organic skeleton that outlines the shape, with its multiple warped surfaces. The roof frame is visible in the workshop and offices. The post and beam frame of the service floors straddles spans of 12 to 15 metres to leave the space as free as possible. The workshop space has a primary horizontal roof overlaid by the timber roof, creating a hidden space between the two which contains all the technical systems and machinery. This means that no technical elements are visible from the outside; therefore the external shape is pure.

The building is designed for minimal environmental impact. The technical choices make it an efficient and energy-saving building, well insulated and protected from the summer sun by the timber roof. The systems are optimised – the heat produced by the workshop machines is recovered and re-injected into the heating network. The offices receive natural ventilation through automatic window opening.

Photographs: André Morin, Christian Rausch, Hérault Arnod

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254Scenographic Huts Briançon, France

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At the request of Isabelle de Beaufort, we have created a stage set for her “Neige de Culture” project on the Serre-Chevalier ski slopes. The aim of “Neige de Culture” is to provide themed cultural itineraries on subjects such as the history of the Romans in the Alps or from Vauban to Briançon. The stories that unfold during these itineraries are underpinned by stage scenery elements such as huts, totem poles and triangulation rocks. These are all unusual objects, and also identical in order to create a specific identity that is easy to pick out in the landscape. They constitute the landmarks that punctuate the different themed stages of the itineraries and create a link between the cultural project and the landscape in which they are embedded and embodied.

The huts are open structures, which suggest interiority whilst remaining outdoor spaces that can be skied into and through. Each of them identifies a stage of discovery and contains 3 totem poles or exhibition boards. The huts are made of a succession of parallel multiply timber arches that generate an organic structure. They all have the same shape, but their appearance varies with their location. They mimic their environment, white at the top of the slope, where snow dominates; untreated larch closer to the forests. The huts are light constructions which etch shadows in the snow. They look opaque or transparent, depending on the angle of view.

Photographs: Hérault Arnod

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256The Opera Copenhagen, Denmark

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The outstanding position of the Opera (41,000 sqm) is one of the absolutely best sites in the Copenhagen Harbour. The Opera is placed in the axis between Frederikskirken and Amalienborg and is visible from the entire inner harbour from Knippelsbro to Kastellet.

The Opera will be filled with activities from early morning till late night all the year round, and it will, together with the other cultural institutions at Holmen, contribute to an active and inspirational urban space.

The design of the Opera welcomes the audience in the foyer facing the harbour to the west with the grand arrival plaza at the end of the most important axis of the old Frederiksstaden (Frederik’s Town). To the east the strict symmetry of the building is broken by the studio stage – Takkelloftet – which meets the offset axis of Holmen in Philip de Langes Allé.

The grand, covered arrival plaza oriented towards the western evening sky welcomes the audience approaching by boat or from the wide harbour promenade at Dokøen.

The concept of the arrival plaza gives the city a new covered space without columns providing a multiplicity of functions. The Royal Theatre now has an option of performing on a floating stage in the harbour with the audience placed on the plaza under the roof.

The opera guests are arriving to and departing from the plaza, which is also used during intervals. Furthermore a café facing southwest provides an experience of not only the Opera, but also the harbour and the view of the city.

The space between the cantilevered roof and the granite surfaced plaza is projected into the harbour with a 180o panoramic view along the harbour from Knippelsbro over the city centre with its towers and spires to the northern harbour entrance towards the Sound.

Together with the big open foyer and the sculptural auditorium the new opera plaza forms a unity in close dialogue with the city, the harbour and across the water to the fountain and the gardens of Amaliehaven continuing the Amalienborg axis.

The importance of the Opera is accentuated by its location on a separate island, as new canals have been established on both sides of the building.

Photographs: Keith Bradshaw

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260Spiegel Group’s New Headquarters Hamburg, Germany

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Henning Larsen Architects has won an international architectural competition for designing the Spiegel Group’s new headquarters in Hamburg. The winning project comprises 50,000 m2 and is located on the inner harbour of Ericusspitze. This will be an outstanding building in Hamburg’s harbour.

Henning Larsen Architects has chosen a two-part composition to create hierarchy and openness on the site and has integrated the complex urban spaces that meet at Ericusspitze in their design. With its clearly readable figure each building has a reserved yet characteristic expression that provides a special significance in relation to creating identity for all the surrounding public spaces.

The Ericus building will be essential for the completion of the large park space. Spiegel will become the gateway to Hafencity seen from the main station and Brooktorkai.

The two buildings are designed as large U-shaped forms that embrace the urban space they are directed towards. The Spiegel building embraces an internal space with a more urban character because of its direction towards the city. The Ericus building embraces an open, green outdoor space as it directed towards the large open Lohsepark.

The two buildings form two plazas: an arrival plaza for pedestrians, cyclists and drivers towards Brooktorkai and an open public plaza, which has a direct connection to the waterfront promenade.

The project is designed with emphasis on creating a sustainable building. Natural ventilation makes it unnecessary most of the year to heat or cool down the rooms. One solar cell facility on the roof covers most of the power need. Together with a number of other environmental initiatives this is the basis for the jury panel’s emphasis of the project’s sustainable character.

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264Uppsala Concert & Congress Hall Uppsala, Sweden

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The competition proposal for Uppsala Concert & Congress Hall received first prize among 134 proposals from all over the world. Uppsala’s new concert and congress hall is designed as an identity creating building in the new part of the city, while interplaying with the historical surroundings of Uppsala.

The concert and congress building consists of a detached, sculpturally designed building that with its reflecting metallic facades appears as a large, split crystal. The slits appear as rays of light opening up and revealing the inner perceptual spatiality of the volume. The vertical slit provides access from two sides – the old historical city and the modern and vibrant Vaksala Square. The horizontal slit at the top of the building offers a magnificent panoramic view of Uppsala, which is dominated by the cathedral, university library and the castle.

Uppsala Concert & Congress Hall is approx. 37 metres tall and comprises 14,600 m2 on eight levels including the basement. The number of visitors in the house will vary depending on the time of day. All public spaces of the building are grouped around the arrival hall’s vertical slit and can all be reached from the centrally located escalators.

The long red escalators connect the various foyer areas leading the visitors from the arrival hall to Level 3, where they are met by a magnificent view of Vaksala Square. In connection to the foyer, Level 3 comprises a hall with room for 350 people for conference and music and a hall for 100 people for larger meetings. Covering the length of three floors the escalators continue from Level 3 to the large hall’s great foyer on Level 6 that offers a unique panoramic view of Uppsala’s rooftops and historical skyline.

The large hall is the most important room in the house. It seats 1,150 people from stalls to balcony. With its sublime acoustics and technical flexibility, the hall is designed for a large and versatile repertoire covering everything from symphonic concerts to modern pop and jazz. The hall’s rows of audience seating reach from the stage level on Level 5 all the way to the rearmost balcony on Level 8.

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The Bilger Breustedt Elementary and Secondary School

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The school is open to nature with bright, sunny and spacious classrooms, and well-defined and readable outdoor function areas.

The parking and transport sector in the north is delimited by the main building. 50 parking and holding areas for school buses are there. The forecourt serves as the central front entrance. From the hall again individual areas inside are developed. On a common two-storey foyer all areas of the new building are connected to the already existing building of the kindergarden. The foyer also serves as a waiting area for students and is located next to the wardrobe.

In the south of the ensemble a large lawn forms an attractive outdoor area and playground bordered by the tree plantings along the Pram. The new with the existing buildings form an ensemble that blends into its surroundings. The buildings define their shape from their position on the site as well as their content. The relation of the interior to the surrounding landscape has become decisive.

In the north a clear front three-storey building closures the school grounds. Situated on the ground floor and directly accessible from outside is the local museum and the music school. The gym is arranged on two floors in the west. The construction of the two upper floors is defined as the longitudinal “aloof” building. It houses the secondary school.

The museum and the school of music form a spatial unit but both areas work independently. They are accessible from outside via the central foyer. The positioning of the museum demonstrates its public role. Show cases, integrated into the outer wall and evident from the outside, already provide the content. The link with the School of Music makes the use of space as a multifunctional event space, possible. The connection to the school kitchen on the first floor via the elevator in the lobby allows simple catering.

From the outside, the secondary school is accessible via the foyer. All classes are orientated to the south and the Pram river. The cantilever of the roof and the presence of continuous balconies on each floor allow the screening of sunlight in summer. The facade can be opened by full-height sliding windows generously, creating a strong sense of communication with the outdoor space. Art rooms and work rooms for physics and the school kitchen are oriented to the north and generously exposed.

A special typology was developed for the elementary school: the extensive ground floor structure is exposed in the center of a transparent roofed atrium, which also serves as a thermal buffer space. In this area there are rooms for teachers and staff. The classes are oriented to the south and to the west. An overhanging canopy shields the sun in summer. A sweeping and extensive terrace allows the use of outdoor classes. The full-height sliding doors of the classes can be generously opened. The terraces are located above the flood area of the Pram river.

Photographs: Josef Kurz, Jo Pesendorfer

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Arkhefield Balaam House bureau^proberts The Bay House Tugun Residence Marra + Yeh Architects Kubik House Max Pritchard Architect Emu Bay House Southern Ocean Lodge Peter Elliott Architecture + Urban Design Deer Park Bypass Grimwade House Upper Primary Precinct Xavier College Science & Performing Arts Centre Wright Feldhusen Architects Mt. Pleasant Residence acaa House in Kitakamakura House in Yugawara Akihisa Hirata Architecture Office Showroom H Akira Sakamoto Architect & Associates, CASA House in Fukasawa House

in Shizuoka ALPHAVILLE Hall House 1 House Twisted W-Window House ARTechnic architects SHELL FORM / Kouichi Kimura Architects House of Vision MOUNT FUJI ARCHITECTS STUDIO / Masahiro Harada + MAO In Flakes PLUS Tree House NIIZEKI STUDIO OYM Shin Ohori / General Design Photographer's Weekend House Suppose Design Office House in Buzen House in Fukuyama House in Hidaka T Clinic UCJ architecture & environment Aga Khan School Jawaharlal Darda Institute for Engineering & Technology Aboday Architect Women & Children

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Balaam House Hamilton, Australia 276

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The house is public on all sides, with apartments on three sides and the Brisbane River and its boardwalk to the south. The house is fortified from the public realm through a series of structures, screens and manipulated sight lines. It is highly permeable from the inside out, but highly protected from the outside in. The one voyeuristic pleasure is the blood red pool perched over the entrance.

The eastern boundary is a party wall to a ten-storey development. The circulation spine for the front half of the house is butted against this wall, skylight and used as a heat stack for passive ventilation.

Bedrooms are positioned over the car park to the northern side of the house. The river side of the house contains formal and informal living spaces that negotiate between the sealed envelope and the screened armature of the building. Views to the river and city are afforded for mornings and evenings; permanent moveable screens temper the afternoon sun. The sealed envelope is clad in white concrete, zinc and glass. The screened armature combines off-form concrete and timber structure and battening systems. Multiple levels accommodate the needs of children and parents and will be able to accommodate a number of generational scenarios over time.

Photographs: Scott Burrows

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The Bay House Lota, Queensland, Australia 284

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The residence is designed for an active, young family and occupies a steeply sloping site facing east over Moreton Bay. The house is derived from simple liveable spaces that tier down the site and are separated to allow maximum views and ventilation. The focus is the large open living space where sliding glass panels slide completely away to allow a seamless connection through the living space to the front yard overlooking the bay and to the courtyard behind. Large insulated louvres at the higher level allow the whole façade to open to the east and complete the connection to the bay aspect and the outdoors.

The house responds to its context by providing a sense of repose within the streetscape and its landscaped bay edge. The placement of the house close to the street allows space and a varied edge to the landscaped rear. At the street the house is nestled into the hill. The forms are articulated and jumbled down the hill to engage with its context at a domestic scale.

The arrangement, and ultimate form, of the house are generated by the movements and activities of the family. Spaces are arranged by the arrival sequence, sleeping, working and activity zones.

The house utilises an honest language in its use of materials that are undisguised with their natural qualities expressed and articulated. The large simple spaces responded to the long term yet casual nature of the relationship that the client has with their location. This approach served to provide relatively simple structural solutions which enabled the clients to achieve a “lot of house” for their large family.

The house has a particular relationship with its environment due to its east- west orientation and bay aspect. In responding to this the house opens to invite the often gentle cool breezes and light in through its bay/eastern aspect to filter through the levels and spaces of the house. The major volumes are single room width to maximise this effect.

Photographs: Jon Linkins

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Tugun Residence Gold Coast, Queensland, Australia 288

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The Tugun Residence provides a living space on the beach edge that allows the beach environment to inhabit the house. Its ground floor plan is elevated providing protection and privacy from the street and neighbouring property.

Its simple lower plan allows the edges to be fully opened when the weather permits to create an “under the house” feel. Robust materials are used in response to its location and these materials are expressed in an honest fashion.

This approach allows the house to capture northeast to southeast breezes and bring them through the living spaces to the rear of the house. The northern side of the house is dedicated to a circulation spine due to the imminent neighbouring development. Openings at the upper level are sparing and protected for privacy. At the lower level these openings are expansive and protected by the external fence. This approach extends the perceived living areas at the lower level. The bedrooms are facetted to the southeast on the upper level where a response over the existing conditions allows privacy and views of the ocean.

A simple steel structural system provided large open spaces and allowed the use of concrete and glass to create the external fabric of the building and for the concrete to become the robust edge of the major living spaces.

Where exposed to the southeast, the concrete is playfully sculpted to create an ambiguous form in the street that responds to its casual beach context. The concrete panels are facetted and varied to achieve the expression. It required a close collaboration of architect, engineer and specialist sub contractor to ensure its shape and balance for lifting along with its resolution at junctions with openings all whilst maintaining the casual and varied form. The glass front is a low maintenance and simple form in deference to the concrete edge.

Photographs: Christopher Frederick Jones

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Kubik House Ipoh, Malaysia 292

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The philosophical framework concerned creating contextual architecture, exploring local materials and craft, building with nature and mitigating the harsh tropical climate, incorporating environmental sustainability strategies and challenging the status quo in general.

The site was a terribly shaped piece of land, eroding fast during the rains and with a steep slope. The client desired to create a house to accommodate family, guests and business activities. Predicated by the topography of the land and the needs of the client, the house is set out over three levels, with the ground level accommodating the entry hall and the owner’s study where he can receive business associates in privacy. Stairs lead up to the bedrooms, or down to the lower level housing living/dining/kitchen, outdoor areas and gardens. Community and privacy both linked and separated by the sectional arrangement.

The house acts primarily as a wind instrument. Located on the slope between a hill and a pond, it catches cool morning breezes falling downhill and evening breezes flowing in the opposite direction, evaporating from the pond and back uphill. Internal thermal mass, marble floors and aerated concrete walls capture the cool breezes, particularly through night flushing when both temperature and humidity drop. The use of large overhangs and shading screens minimize sun penetration, except for very short periods at sunrise and sunset, when its intensity is low or waning. A series of saw tooth roofs capture the reddish hue of the sunset sky onto the ceiling of the main living space, reflecting the day’s end and alerting its occupants to open up the house to the cool evening breezes.

The majority of building materials and labor are sourced locally. During the design process the architects visited a local sawmill and stone quarry and worked closely with the suppliers, for example in searching out recycled timbers. For various aspects of the design the architects had to find crafts that were either dormant or in decline: The last woodworkers trained under a Shanghainese guild system were enlisted to build the timber components; a precision metal machinist fabricated several ironmongery components; one of the few remaining traditional rattan weavers collaborated on the design and fabrication of individual light fittings.

This house is the synthesis of local craft and materials handled with care and innovation, combining sustainable principles, technology and the hand-made.

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Emu Bay House Emu Bay, SA, Australia 296

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With an exposed site of sweeping views, the clients required a relaxing holiday home that maximises views, but provided sheltered outdoor areas.

Panoramic sea views and wind protection were strong design determinants of this spectacular holiday home. Timber decked terraces, either side of the living area, provide outdoor seating options for different wind directions. The sheltered rear courtyard, framed by the building, large water tanks and timber screens focuses on a wood fired pizza oven.

Corrugated colorbond, timber windows, flooring and decking, reinforce the relaxing timeless holiday atmosphere whilst the floating roof form adds drama to the exposed site.

The living area, with its dominant floating “lid” roof, emphasises the drama of the exposed site. Two bedroom wings radiate from this core, and enclose a rear sheltered courtyard focusing on a wood fired pizza oven. Indented timber decks, either side of the living area, provide other options for sheltered outdoor living, with the choice dictated by wind direction.

The building is elevated a metre above the ground to maximise the view and reinforce the dramatic form.

Double glazing and high performance glass, cross ventilation and fans for cooling and a highly efficient combustion heater for heating, minimise energy use.

Hot water is from an efficient electric heat pump.

Photographs: Sam Noonan

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Southern Ocean Lodge Kangaroo Island, SA, Australia 298

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Southern Ocean Lodge is being described as Australia’s first “Super Lodge”; and has already been named by Tatler Magazine following a worldwide survey as Hotel of the Year 2009.

The architecture relates closely with the dramatic site. Tucked back behind forty-metre-high cliffs, large sweeping window walls capturing the expansive views of the wild Southern Ocean and pristine bush. A strong sculptural element is the one hundred metres long wall of Kangaroo Island limestone weaving from a covered entrance, through the largely untouched bush and into the Main Lodge.

Twenty one guest suites cascade down the slope from the Main Lodge, with access from a Breezeway ramp. Roofs follow the slope of the land, but with a gentle upward, wave-like curve every fourth suite.

The Lodge is independent of main services: rainwater is collected, electricity is generated on site and waste water is treated by a unique organic waste treatment system. The guest suites are constructed of light weight materials that could be carried in, minimizing site disturbance. Foundations are steel screw piles, framing is timber, cladding is iron and fibre cement, and flooring is recycled timber and stone.

Photographs: Sam Noonan, George Apostolidis

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Deer Park Bypass Victoria, Australia 302302

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The 9.3 km Deer Park Bypass is a new four-lane freeway which connects the Western Highway at Caroline Springs to the Western Ring Road at Sunshine West. The project was delivered as a design construct contract with VicRoads and Leighton Contractors establishing a ‘one team’ collaborative working relationship.

The Bypass, now known as the M8 Western Freeway is located on the sparse flat volcanic plains of western Melbourne. This is a rapidly changing landscape of new residential and industrial estates which is transforming the ever expanding fringe of Melbourne. A fundamental aim of the design has been to create a distinct visual identity for the Bypass that integrates freeway architecture into the local landscape – a marking of the land. Noise walls have been designed as sculptural elements of ambiguous scale embedded into the landform. The walls have strong shadowed reptilian forms which stretch along road edge. Concrete retaining walls and bridge abutments have been designed as vertical folded planes of strong colour to mark the manmade landscape. The effect is striking as flashes of orange colour highlight the various bridge and wall locations as part of the unfolding road journey.

Photographs: John Gollings, Michael McLeod

Grimwade House Upper Primary Precinct Melbourne, Australia 304

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Grimwade House is the co-educational junior school of Melbourne Grammar catering for the educational needs of some 550 boys and girls from prep to grade 6. Grimwade House was founded in 1917 following the gift of the Harleston property from the Grimwade family. The campus has a village like atmosphere that owes much to the nineteenth and early twentieth century foundation buildings and gardens. Buildings are loosely linked around a network of courtyards, pathways and gardens with easy access to generous and leafy play spaces. The school has been progressively implementing a master plan since 1998 which has seen most buildings renovated with the addition of a number of significant new buildings and open spaces.

The Upper Primary precinct provides the home-base for grades 5 & 6 in three interlinked buildings centred around an outdoor deck and atrium space. The project includes two refurbished 1960’s classroom buildings (the Down and Clayfield Wings) and adds a new infill building and glass roofed atrium with interlinked balconies. The accommodation provides for eight classrooms with staff resource rooms, an art studio, library, IT studio with technicians facilities and 3 music practice rooms.

The project has integrated numerous environmental, energy and sustainability measures based on the “green star”– education pilot rating tool (aspired 4-star). Special attention has been applied to the thermal performance of existing and new structures, controlled use of double glazing with external shading, the provision of roof lanterns for daylight and high level ventilation, all rooms have natural cross ventilation including night purge mode, a thermal labyrinth has been created under the library to temper fresh air, rain water is collected off all roofs including adjoining buildings and stored in tanks, photo voltaic panels have been incorporated into the glass atrium roof and all equipment and materials have been carefully selected. The energy performance of the buildings will be monitored by the students as part of the educational program within the school.

The Upper Primary precinct has a very welcoming atmosphere and identity as the main atrium arrival space becomes the social meeting place before and after classes. The atrium is like a large semi-outdoor room as it is enclosed on three sides by buildings which spill activity out onto a large timber deck and first floor balconies and bridges.

Photographs: John Gollings

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Xavier College Science & Performing Arts Centre 306

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The Science and Performing Arts complex is a major new addition to the Xavier College campus. The commission for the project was to win the competition via a selected architectural design. Founded in the 1870’s, Xavier College occupies a spectacular site on Barkers Road Kew. The school buildings are grouped on the brow of a prominent hill surrounded by an open landscape of sports grounds. The most prominent feature of the School is the copper domed 1930’s Chapel, which can be seen for kilometres across the eastern suburbs. This together with the nineteenth century South and West Wing buildings forms a high quality architectural ensemble that is recognisably Xavier College.

The site for the Science and Performing Arts complex is located on the eastern boundary of the campus parallel with Charles Street and south of the Morris Wing. It is an elevated and prominent site with complex heritage and planning overlays. The site is split into 2 distinct precincts with Science to the north directly adjoining the main school buildings and the Performing Arts to the south. This gives both precincts a clear identity and address off the main arrival driveway serving the Chapel and South Wing.

The Science precinct is organised around a central courtyard as the main circulation and orientation space. The courtyard has an intriguing skewed geometry due to the rhomboidal shape of the site. It provides a sense of place and arrival for the science faculty. The main bank of 11 laboratories is located to the east over 3 levels with direct links back into the Morris Wing and the main school beyond. A smaller Development Office contains the western edge of the courtyard reinforcing the dynamic plan form.

The Performing Arts precinct has been conceived as an inner 550-seat auditorium wrapped on two sides by transparent glazed foyers of a lower scale. These glazed circulation foyers face west and south to address the spectacular views and main arrival space. The auditorium takes advantage of the sloping site to embed the volume of the space into the topography thereby reducing its overall scale impact. This approach allows the building to knit well into the landscape by retaining the surrounding landform of grassy embankments and individual specimen trees.

The Science and Performing Arts building is a complex assemblage of several fractured forms of varying scales. The building has been sited to form an oblique “L” shaped open sided quadrangle with the South Wing and Chapel but of a lower scale. The new building is clearly a separate contemporary structure located in an extraordinary setting.

Photographs: John Gollings

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Mt. Pleasant Residence Mt. Pleasant, Australia 310

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The site has spectacular eastern views across the Canning River to the Darling Escarpment. The existing residence was torn down to facilitate a clean site for a family of 5. The clients are enthusiastic entertainers with three young children so the design had to be accommodating for large gatherings and yet remain functional for the family’s day-to-day activities.

The site slopes roughly three meters to the river side and therefore facilitated the opportunity for a semi-subterranean entertainment area, while maintaining views to the river. The design intent was to provide transparency of the ground floor living spaces. This means that some areas obtain views by looking through other spaces or courtyards.

The more box-like, intimate bedroom areas hover over this glass living zone. The main bedroom projects like a telescope into the view which ensures a dramatic vista, and also provides a shaded eternal entertainment area to the terrace below. All directly exposed windows are protected by operable eternal louver blinds to control solar gain. Passive climate control is the main ESD feature of the house. External walls – especially the west facing bedrooms – are clad in copper which shields the walls in the afternoon and also weather with the classic verdigris. This adds to the natural pallet of materials and compliments the jarrah glue laminated structural columns in the entry and the main stair gallery.

Photographs: Robert Frith / Acorn Photo

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House in Kitakamakura Kitakamakura, Japan 316

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I segmented it with the following three methods for the long and narrow integrated space derived from the site configuration.

1. Create a blind spot in interior space by bending the form of architecture. 2. Shift one’s eye sterically by adding a variation for floor height.3. Create a strong bright contrast by placing an inner garden with white paint to room interior with black paint and then make it difficult to view the other side across the inner garden.

The above-mentioned methods are utilized to aim at creating gradual and ambiguous segmentations in the integrated space. The space that is derived from the segmentation will be a human scale residence by the Japanese unique “Wood allocation” module and it is also an independent residence in where one can recognize the place as a different place while one can feel a sign of life mutually.

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House in Yugawara Yugawara, Kanagawa, Japan 318

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It’s the housing built on the slope which had been a fruit orchard. The problem was constructional interpretation to build housing over soft ground with piled leaf mold. After weighed various basic shapes with structural engineer, we decided to adopt the shape of dispersion on the ground in consideration of the lightness of one-storied wooden house. By doing this, the area of application of piling work and foundation work can be decreased and cost was reduced. The shape of dispersion on the ground will appear above the ground creating box-shaped wall. Additionally, it supports floor and roof considering whole balance carefully. In other words, portion other than the box is the structure using wood and iron and up in the air.

As for the interior of housing, there’re four main spaces in open space separated by constriction and segment created by difference of floor level and box. There’s 800 mm difference between “Upper Space” and “Lower Space”. The height of south-facing opening section is 1,900 mm, so the view from “Upper Space” is overlooking the scenery. The scenery will change along with eye line, so characters of each space will be influenced consequently. Then, inside the building covered with a big roof, the farther from the window, the darker it becomes. I’ve desired to dispose a kitchen lit by top light and build a space filled with refluent light from kitchen. The kitchen is like an illumination. Contrary to indefinite and fluid concept of the space, illumination plan for whole housing is accurate as far as possible. The ceiling is mounted with hooks at 450 mm intervals so that it can be changed to variable position and height.

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Showroom H Nigata, Japan 322

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This is the showroom building for small agricultural machines. Akihisa Hirata has tried to create a place similar to natural environment in artificial way. People are invited to go deep into the continuity without whole view, where they can find different spread of things in every minute.

This architecture is made out of very simple operation arranging a 5 m grid of concrete walls, slicing them diagonally. However, these diagonal openings create completely different order from the “horizontal and vertical”. In a sense, each inclined line contains infinite degree in between the “open” and “close”, so that we can feel complex effects of 3-dimentional combination of these lines, which remind us of the natural environments as forest.

Akihisa Hirata intended to make a continuous space, using the way as clear as possible, where one can feel diverse distances, and a space close to human body with 3-dimentional dynamism.

Photographs: Nacasa & Partners

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House in Fukasawa Fukasawa, Tokyo, Japan 326

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This house is located at a quiet residential neighborhood in Tokyo. It has a parking space created by “floating” concrete massing and a courtyard beyond in order to keep the privacy.

The main entrance through pilotis leads the green courtyard. This courtyard connects each space continuously with spiral circulation, from the entrance and stairs to the second floor living and dining space. The vegetation and the light from outside also tell change of the day and nature. Also circulated planning around the courtyard constructs a continuous seamless space.

In the center of the house there is a roofed terrace facing the courtyard. One can enjoy their personal daily lives with family or private time as well as the nature in a secured space with privacy. This house provides a comfort and a quiet flow of the time although it is located in the middle of the busy city of Tokyo.

Photographs: Shigeo Ogawa, CASA

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House in Shizuoka Shizuoka, Japan 328

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The site of this house is unique with narrow frontage compared to the depth. Its white cube building and walls, together with trees create various expressions towards the neighborhood. Interior configuration of the house responds to the narrow depth of the site, with furniture laid in a low and trees in a courtyard that draw the eye to the other side of the space. Trees and grass guide you to the garden through the big window. The light from skylight directs one towards the upstairs naturally. Walls wrap its space, and the spatial composition widens the sense of direction and dimension resulting in a relaxing and pleasant atmosphere. The perfect balance between natural phenomena and architecture creates a fertile space.

Photographs: Shigeo Ogawa

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Hall House 1 Shiga, Japan 330

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This house involves many urban aspects although it stands in the middle of suburban area. Focused on a couple’s spare time, parking lot, billiard-theater, dining-kitchen and bedroom with bathroom are contained in one hall changing their heights according to the slope of the front road. The inclined hall is bended at an angle of 70 degrees to fit into the irregular shape of the site, and the gaps of the first and the second floor become the terrace letting the light plentifully into the whole house. These differences of heights, not a right-angled overlapping of spaces, overlapping use of places, and indirect lighting make various gradations and deepness inside the one-room, it means that this house is on one hand simple enough to perceive whole space, and on the other hand complex enough to find something unpredictable from each corner, as if you come across fragments of contemporary city.

To realize this formed pentagonal plan, a monocoque structural system was adopted. The folded shape of fare-faced concrete structure with the new type of water repellent, allowed to form the hall of 6 m span with the only thickness of 15-18 cm, to make directly the exterior roof and wall the drainage to let the rainfalls run down to the ground, not using parapet nor gutters, and to envelop the interior space according to each need just like a fabric. And the face of the material makes this house look like a part of the ground, something natural as if it were an open space in the city.

And in this case, as the scale of the building was not huge, the exterior form can directly express the structure, which envelops the interior space, and this monocoque structural system of reinforced concrete allowed us to express the individual need to external circumstances.

Photographs： Kei Sugino

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House Twisted Osaka, Japan 334

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The rectangular site was cut off by an existing house. At first we conceived a linear volume that accentuates the length of the site. This long, linear volume adds a sense of velocity to the activities carried on. Out of the desire to in-troduce a sense of flow – we decided to bend the linear volume twice: As the results, a courtyard was created, and the central volume had a direction along with the north-south axis. At the bending points, the roof was slanted up to cre-ate cracks that provide the natural light into the linear volume.

According to the bent walls, three interfaces were created: the entrance, a sub entrance, and the opening into the courtyard. Three openings that penetrate the bent walls as an interface forward the inside, fixed furniture, bookshelves, and the kitchen booth, all have the same height of 2,000 mm and are finished in white. The floor's finish goes from wood to concrete to suit necessary functions. As the result of the overlapping of two manipulations mentioned above, the in-ner volume is filled with white folds of light and shadow, which are gentle, yet forcefully accentuating at the same time. As if it were a river which makes the flow of water through the rocks we could find appearing out of and disappear-ing into big and small flows in the space. A house is a place where its inhabit-ants spend a lot of time there. But can architecture truly be coexist with the activities of contemporary lives? How can architecture be simple, yet at the same time retain deepness and movement? When some one passes by, when you look out of the windows, or when you want to hide away from the others, in other words when architecture becomes the beautiful yet diversified back-ground? There were some of the concerns we had while designing the house. In terms of structure, we simply supported the volume by many but small col-umns and beams 125-H 2 m apart like birdcage. However these are reinforced by the slanted beam which performs like a 3-dimensional truss system, is rigid and the load on the roof transformed the basin through the twisted balance. The structure allows all posts and beams to be 125 x 125 mm in size, thus re-vealing the thickness of the roof through reasonably thin roofs. The macroscopic function on the scale of architecture, together with the microscopic function of the partitions and furniture, successfully merges the folds created by the structure, walls, and furniture into an overall uniformity.

Photographs： Kei Sugino

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W-Window House Kyoto, Japan 336

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A small house on the small site. Surrounded by the heterogeneous buildings, it was impossible to gain enough open space, and we tried to catch various information from outside, through all border.

We put two triangular yards at north-east and south-west boundary point symmetrically, to make face all the windows onto these yards, and it allows the interior space to have two long vertical openings which can be sensed from everywhere, owing to skipped floors.

Thus we designed the very simple and universal form, which can be put to any other site.

However it does not mean that it is homogeneous. The sunlight shifting from east to west, the wind blowing through from the first floor to the third floor and all the noise from outside, the entire discontinuous context will be transformed by simple architecture into diverse information; we reterritorized universal space for diversification over the context.

Photographs: Kei Sugino

SHELL Karuizawa, Kitasaku, Nagano, Japan 338

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A large shell shaped structure finds itself in the middle of the woods. It is hard to determine what exactly the structure is, and unlike the surrounding caves and rocks, it clearly is not a part of nature – nor is it a ruin. A frame, a shape, made at a completely different place for a completely different purpose. Within this shell shaped structure will one find floors constructed, wall separating spaces, and rooms furnished. The scenery conjures a SF film-like image, in which locals inhabit over an abandoned spacecraft. With time, trees start to grow encircling the spacecraft, harmonizing it into the landscape.

Desiring a place that will be occupied frequently over many years and yet at the same time be in sync with nature, we came up with the aforementioned scenery of a large shell structure floating above ground.

Being in sync with nature isn’t about yielding to nature – it’s about coexistence. The existence of the structure depends on its power to endure nature. By isolating living space from the wilderness, and upgrading its quality as a shelter, the house will be protected from nature and will provide a comfortable environment. With this, the house will be taken care of and used frequently and continuously. Specifically in cases of villas, frequent use is what leads it to blend in with its surroundings.

The regions’ low temperature and high humidity level make for a harsh climate. As a result, many houses that take on traditional structures are decaying. Is it in sync with nature? Perhaps. But the whole idea of comfort seems to be put into question. Consequently, large numbers of villas have not been in use for many years bringing them down to further dilapidation. Despite the general avoidance of concrete material in the region, its usage and the lifting structure have helped the villa protect itself from the humidity.

Leaving the boundary between human life and nature ambiguous is a Japanese virtue. Yet, this ideal can only be achieved through meticulous attention and care of the wilderness on a daily basis. This might be attainable at our homes, but isn’t a practical theory when applied to villas. If a visit to the villa inevitably leads to hours and days of maintenance, why bother going? It clearly goes against the purpose of a villa. Having a type of living space that merges with nature could be appealing, but it only seems natural to consider this option only when one is ready to devote a large time solely on maintenance.

It goes without saying that villas should not only be functional spaces for the weekend. Their greatest goal is to provide us with good rest, leisure, and picturesque views that never become dull – all in the vicinity of nature. In the style of many modern sculptures, we aimed to enhance the surrounding nature by incorporating it within the spatial structure.

Photographs: Nacasa & Partners

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House of Vision Shiga, Japan 342

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The lot is located at the foot of a hill where the fields and houses are mixed together. The client’s desire was “to live while feeling nature without be-ing bothered by looks from the neighbors”. To make the best use of the lot, the planning was designed to enclose the lot with the trench extended beyond the building, and to provide an interior courtyard as the center. The enclosed space clips images from the surrounding landscapes, creating a comfortable outdoor living room that is not exposed to the outside world. The position of each opening is carefully designed in consideration of “what to take in and what to conceal”. Specifi-cally the position and form of the opening of the living/dining room with kitchen on the second floor is most effective in concert with the interior. In this house, the most important theme is “how to close/open” in the open environment.

Photographs: Takumi Ota

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In Flakes Towada, Japan 346

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Snowflakes in frosty winter, petals of cherry blossoms in beautiful spring, flickering sunlight through foliage in hot summer, golden leaves in chilly autumn are found here. Something is always fluttering down the clear atmosphere of Towada. And now, stainless bent plates/benches scatter down flutteringly, and yet, as if keeping the moment forever.

The surfaces of the plates that are well polished to have mirror gloss would cut out various sceneries wafting around. In springtime, they’d let you have a special experience just like hovering up and down in pale rose colored world.

The owner of this wonderful project is Arts Towada.

Photographs: Sadao Hotta, Kuniya Oyamada, MOUNT FUJI ARCHITECTS STUDIO

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PLUS Shizuoka, Japan 348

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The site locates on mountainside of Izu-san, where Pacific Ocean can be looked down on the south. The untouched wilderness, covered with deciduous broad-leaved trees such as cherry trees and Japanese oaks, gives little level ground. But we saw faint glimmer of architectural possibility along the ridge. The architecture would be used as villa for weekends.

I didn’t want to just form the undulating landscape dotted with great trees as normal, nor design an elaborate architecture bowing down to the complex topography. What sprang to my mind is a blueprint for an architecture which is perfectly autonomous itself, at the same time seems to emerge as an underlying shape that the natural environment has been hiding. It’s abstraction of nature, to say.

The architecture was realized by crossing two rectangular parallelepipeds at the very right angles. The lower one contains private rooms and bathroom, and sticks half of the body out to existing narrow level ground. The upper one incorporates salon and kitchen, and lies astride the lower one and the mountain ridge. It almost seems like an off-centered cross pinned carefully on natural terrain.

One axis of the cross stretches toward the Pacific Ocean on south, and the other, the forest of Japanese oak and some white birch on west. The rooms in the lower structure and terrace on it enjoy broad vista of the sea and blue sky. And gentle shade of natural forest embraces the space in the upper one. Water-polished white marble (cami #120) was chosen as interior finishing material. It glows softly like Greece sculptures to blend blue light from the south and green light from the west gradationally, thus creates delicate continuous landscape of light which suggests the character and usage of the space. Exterior is also finished with white marble. The surface gets smoother as it approaches to the southern/western end till it takes mirror gloss (cami #1000) at the ends. The southern end of white cross melts into the blue of sky and sea, and the eastern end to the green of forest.

Abstraction is nothing to conflict with nature here.

Carved out of nature, it never stops being a part of nature itself, however highly abstracted. Never relativize the nature with its foreignness, nor generate contradiction to settle for being “artificial nature” by giving up being abstract and mimicking the nature.

The abstraction inspired by Mother Nature defines the nature itself, and still, stays natural.

That’s what I wanted from this abstraction and architecture.

Photographs: Ken’ichi Suzuki

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Tree House Tokyo, Japan 352

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This house for a couple is built in a residential area on a gentle hill in the northern Tokyo. The site is located at the top of a hill connected with a narrow path leading to the actual building lot. The ground level is gradually climbing higher from edge of the site. Although the site has particular sense of oppression and dusky feel, and the actual building lot is completely enclosed by the adjacent houses, we realized with the characteristic of the place as the depths of the urban condition without exposing to the outside, and secluded from the town. In this case, it is more suitable to extend the volume vertically rather than horizontally. Similar reason can be found in the nature that a tree enclosed by other tall trees in a deep forest tends to have vertical directivity for its growth.

The geometry achieved through “Cartesian coordinates system” is typically applied in architecture since it has advantage in terms of the repetitive expansion in a fixed orientation. However, this system is not suitable here as previously described. Rather, it is desirable to apply a geometric rule, which can pick up the subtle, close relationship and the balance between the site and its edge conditions. Thus, we decided to utilize the “polar coordinates system” as the geometry defining this architecture, which describes the location of an element by the distance and the angle from the center of the site.

In detail, the arch-shaped “column-beam” frame structure made by LVL/Laminated Veneer Lumber in 51 mm thickness is rotated in the regular angle of 11.25 degrees (360 degrees/32 frames) to form this architecture. Each frame gets 55 mm higher than the previous one, therefore there is the height difference of 1.7 m in frame as they go around 360 degrees. This system forms the fluent Hyperbolic Paraboloidal curve surface providing the entrance to the roof terrace, while it also functions as the high side light that brings in the only open sky toward the east and the greenery of the neighboring house as a framed picture.

At the center of the polar coordinate is condensed with 32 pieces of the LVL columns, forming a large central pillar with the diameter of about 1.1 m. The interior is divided into four territories by this central pillar, in the similar format found in the traditional Japanese houses in square shaped plan divided into four territories – although the division does not occur in fixed 90 degrees because the system is based on the polar coordinate. In addition, the central point is defined at the eccentric point in the planar to differentiate the distance from the circumference, while the rotation angle of the column-beams is maintained in regular manner. With this system, the outer columns far away from the center have larger intervals, while the inner columns near to the center have denser intervals. The frames rising up spirally make variations in the ceiling height, which define the characters of each of four territories. For instance, the intimate shadowy territory by the denser distance of the columns and lower ceiling is defined as the sleeping space, and the bright, high-ceiling territory applicable with large window opening by the larger distance of the columns can be suitable for dining space, The floor level is also shifted as skipped floors according to the division of the territory by the central pillar, although the height difference is based on the topographic condition of the existing site.

The completed house was formed by the strict rules of the geometry, but somehow it achieved the atmosphere unlike the artificial object. When we sit down at the bottom of the central pillar and lean against to look up, those radially extending beams appear to be the branches of a large tree. Surrounding of the central pillar stem provides the “place of inhabiting” for the life peacefully. Here, there is a different quality of the place, unlike the transparent “space” to be called as a “house”. This make us realize that the center of a “space” may reflect on a social “meaning”, while the center of a “place” would consist of the sense of “existence” .

photographs: Ken'ichi Suzuki, Mount Fuji

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OYM shibuya, Tokyo, Japan 356

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The site faces 19 m long to the street with only 4 m depth. It came along by street expansion. These “odd-area” can be found everywhere in Japan and necessarily becomes consecutive car parks. In this project, part of these areas are chosen as a site to build an office. The proposition was how to answer for the site, and for the city view.

For the effective utilization of the limited site, it adopted the structure called reinforced concrete masonry (RM structure). It is comprised of high-compressive concrete block and filled in reinforced concrete. The block works as form while construction and remains as exterior and interior wall. As a result, the structure reduces the wastage of wood in formworks as well as additional construction noise; It is a very practical way in dense Tokyo city.

White mortar floor, painted ceiling, and ordered white concrete block softly reflect light and fill the interior space. The gradation which comes from the grid of blocks exaggerates length of building.

Now, the architecture takes part in the face of the city and street. The way of dealing with irregular site, created by developing city infrastructure is the issue of cities not only in Japan but also all over the world. The issue of urban structure is also a huge challenge of architecture.

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Photographer’s Weekend House Kujukuri, Chiba, Japan 360

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It was challenging to find a starting point from a flat site of about 1,500 square meters near the Kujukuri beach where the desolate landscape spreads out. After studying various ideas from a tower overlooking the Pacific Ocean through several small houses scattering around, the architect finally reached a solution incorporating a one-storey courthouse with four courtyards. The strength and simplicity of its structure fitted well with this extensive open space. The volume of rough concrete blended in with its desolate landscape as if it were there for an eternity.

In contrast to a simple external volume of rough concrete, an internal space enclosed with walls is designed to show the depth of space as well as interplay of light and shadow. The cross-shaped space cut out by the four courtyards arranged in the four corners of the building provides continuity despite having necessary structural walls in between. Walls are placed only to divide the space loosely allowing light and space to play with our visual perception and create illusions of distance. There are horizontal spaces connecting to the courtyards, darker spaces enclosed with walls, and vertical spaces stretched out to the sky. While going through these spaces playing with one’s vision, one’s mind starts to enjoy a continuous labyrinth of inside versus outside, and light versus shadow.

A request from the client, a photographer, was to build a space where light and shadow interplay beautifully. Throughout the day, natural light comes into the building from four courtyards. Sometimes it shines against a big wall creating a bright mirror effect. Other times it aims at low casting an interesting shadow figure on a courtyard. Playing with light and shadow, this weekend house is forever continually in a state of change.

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House in Buzen Buzen, Fukuoka, Japan 366

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It is a perfect playground for kids at a small space in a town, such as narrow paths between houses, the edge of a garden, the back of a shed, under a floor, or an open lot. Rather than a park or garden that was built to be played in, we wanted to make a house with a courtyard that would become a playground naturally. We designed the residence with not only collecting rooms but also producing some structures in the space.

Paths are covered by a glass roof weave between the disconnected structures to create an interior space that feels exterior, a private space that feels public, a hall that feels like an avenue. In that space the children can run around, you can enjoy a breeze while you eat, read under the sun, and fall asleep watching the stars. There is a charm beyond imagination there, beyond normal home life.

Just like children who use space outside to its full potential, we wanted to make equal the relationship between inside and outside by using the courtyard as a part of everyday life and bringing inside activities outside. Beyond making city streets like courtyards to make them feel closer to houses, we want to continue to try and envision the architecture of the future, moving past the inside-outside relationship to find new types of connections.

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House in Fukuyama Fukuyama, Hiroshima, Japan 370

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House in Fukuyama is standing at rising of a brae where it has a panoramic view of Fukuyama city. The client wanted their house to open to the great view of the city, and at the same time, to close from surroundings for privacy. For the two opposite requests, we designed the house considering a form of the site and its material use. Because the site was placed at lower level of a street, all rooms were put at the level to block neighbors' eyes, and at the opposite side, it is fully open to the Fukuyama city. At the open side, living room and dining room are placed, and they have the same finishes as exterior walls. For rooms that are for private like a bathroom, they have more clean and smooth finishes. Because of the differences in the site uses and material finishes, there are more varieties of atmosphere inside. Moreover, through the same finish walls with outside, trees in a mountain and a courtyard are reflected to the inside. The shadows of the trees connect inside and outside more closely and open as if the interior is a part of the hill. We hope the house is creating space that is well harmonized between privacy and openness in reconsidering the condition of the site and the meaning of material of architecture.

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House in Hidaka Hidaka, Saitama, Japan 376

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This is a house that is engaging nature to a part of life in the dwelling through a wave of the ground from the outside to the inside.

The site has a rich nature environment with beautiful scenery of a hill. The client wanted that their house is open to the nature environment and also has a depth in the space.

The ground is covering the half of the 1st floor of the dwelling. Because of the light hill around the house, residents could feel the connection with the surrounding environment closer as if they are living in the nature. To protect the building from the pressure of soil of the hill, the foundation of the house was built up and wrapping the half part of the wall at the ground level. The half walls have multiple functions such as a table, shelves, and stools. In other words, residents could find their own way to use the space as if they are finding their own, comfortable space in nature like a hill with fine sunlight or under the trees with soft light through leaves.

We tried to create a neutral line between inside and outside in engaging the landscape into the house. We hope the architecture could create an environment that has more interactive relationship between nature and life of residents.

Photographs: Toshiyuki Yano

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With this project we wanted to see what we could do amidst the functional constraints of a clinic. Instead of keeping places normally used for movement such as an elevator shaft or stair wells closed, we wanted to open them up to collect light, using them as lightwells to maintain the lighting coming in from above. As light travels downward through the lightwells, exterior bar-graph-like apertures maintain lighting on the lower levels, and gradually decrease in number towards the upper levels. This lighting design, using the building’s positive-negative relationship between interior and exterior, makes uniform lighting on each floor possible.

Furthermore, much like a traditional Japanese lattice door, the placement of the structurally integral walls and apertures makes the inside of the building difficult to see from the outside, while preserving a clear view of the outside from within, allowing for both functionality and an ideal level of privacy on each floor.

By reconsidering the already in place elements of the construction, such as shape, hallways and stairwells, and lighting, we think we have created a new and highly functional standard for clinics, not through a large operation but a very modest one.

Photographs: Toshiyuki Yano

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Mundra, Gujarat, IndiaAga Khan School 380

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The design for the Aga Khan School evolved from a very client specific academic brief – a rural school that would be fully networked and house the most modern facilities. The attempt was to use the brief as a means to evolve a new typology for school architecture that is contextual and that must converse with its environment and its people.

The divine guiding principles in designing the school were:- Environmentally & ecologically it mimics complete harmony and balance.- The client’s aspirations are realized functionally and aesthetically.- Its imagery is that of a mother’s lap so that the child comes and goes happily.

The design and organization of the physical mass allows for a climatically suitable building interspersed with open-to-sky courtyards, high ceilings and pitched clay tiled roof that beat the extreme heat. Natural light and ventilation through large windows and the multitude of courtyards, appropriately scaled, create an airy and well-lit environment.

The simple form provides a flexible, robust and secure framework within which to encourage key notions of independence and freedom and its structure creates a wide variety of stimulating environments, without dead ends or unmanageable hidden places.

The Aga Khan School is not really a single volume; volumes within a “volume”. They are clusters of enclosed spaces interspersed with courtyards – the breathing spaces of the school. Or, green spaces bound by rooms.

The copious use of colour clubbed with bright, large and informative murals provides for an experience of an enlarged toy to play in. The themes for these murals range from astronomy and transport to local folk dance and festival, and encourage students to dream.

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Jawaharlal Darda Institute for Engineering & TechnologyYavatmal, Maharashtra, India 384

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In creating a campus layout with all its physical assets for the JDIET, the ‘Conceptual Concern’ has been the overview of India orbiting on the world circuit.

The Parameters for any architectural Indulgence; the designing of the JDIET and creating Individual edifices acquires significance in addressing the following issues:1. Precise reading of the site; culturally, climatically and geographically. 2. Ecological attitude toward the campus development and its growth as an organic whole. 3. Campus as a community indeed a place for meeting of minds. 4. Clustering of various edifices as a medium for promoting teaching, learning and knowing. 5. Buildings as a resource for an appropriate educational support system for imparting advanced knowledge to the young minds. 6. An architectural solution that will respond to many more options without any loss of efficiency under altered educational programming. 7. The campus as a tool for learning that demands low key investments and high yields; it must remain cost effective as a whole. 8. Institute’s physical assets that are appropriate and affordable, both in today’s context.

The client’s brief suggested that realization of the campus layout and implementation of buildings execution programme is gradual. It was thus desired that the construction activities be phased over a period of time. As an architectural response to this, it was appropriately thought that any stage of implementation should give a finished look to the campus. This prompted clustering of various buildings as close knit with loose fit.

The circular geometry of the campus layout is derived from the cosmic path of the celestial bodies in the heaven. Its presence here has established a cosmic connection of man’s kind, earlier manifested through the history of mankind. As an architectural solution it is an affirmation of today’s society.

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Women & Children Clinic, Ampera Raya, Jakarta Selatan 388

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Part One

When this project started in 2007, the original land size of 2,600 sqm is barely enough to build a women and children clinic with 52 wards. The building programme is complex, which includes one floor dedicated to in vitro treatment. The 5-storey building sits on an elongated site. It has an inward tapered shape with a frontage of only 20 meters in width. Strict guideline of building setback results in a curvilinear building so thin that the part facing the road only has 7 meters of width.

As the client doesn’t want to have a clinic with conventional approach, architect creates building facade that engages with its surrounding by using interwoven pattern of plaster concrete panel and color glass. This is to mimic the surrounding area dominated by non-descript commercial building with colorful commercial signboard, and at the same time enhancing the quality of clinic’s interior by producing various color glows for rooms.

This seemingly irregular composition of glass and window on the facade is a result of room organisation internally. Rooms and facilities are arranged along the main corridor that acts as a spine of this curvilinear form. On the third and fourth floor, these 2-level corridors are connected by an irregular void in the wards waiting area, creating a fluid space called “the womb”.

Although the facade seems complicated, internal circulation and room programme is straight-forward and clear. A long central corridor of 2.4 meters in each floor connects rooms and facilities distributed equally at both sides of the line. In each floor, this corridor centres on the reception lobby, which becomes a point of orientation for the visitor. By dividing the building facilities into 2 linear blocks, each room is quite narrow, consequently resulting in an entire floor bathed in abundant natural lights almost all day long.

Part Two

When construction stage was still ongoing, the client manages to acquire the adjacent 2,000 sqm land. This additional parcel helps to release the tension in the first phase due to its complex programme. The overall “U” -shaped land also helps to regulate traffic, easing the parking internal circulation by having separate access in and out. However because of the time constraint, it was decided to build only 1 storey building in this extension, while leaving the rest of the land as natural greeneries. This 1-storey building will be used for the clinic’s main lobby, public facility and administration section. It is connected to the first building by a continuous curving wall that defines the main alley between public and more private wings. A large and fluid space containing the administration and reception area is located next to the skylight atrium, a sensuous space formed by the large opening on the roof, filtering the natural daylight through out the main lobby. Facing the large garden with lots of mature trees, this space is a favourite spot for visitors waiting for their scheduled treatment.

Photographs: Happy Lim

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Located at the typical urban housing complex, which predominantly consist of semi detached housing, this project is trying to elaborate the indoor and outdoor relationship. The parcel is located at the end corner of the block and adjacent to the public park, which is seen as a directing point to the space planning concept. The tropical climate is also taken as a main consideration to drive the architectural geometry concept, along with the material choice.

The space itself tries to elaborate the continuity of walking experience from the very first entrance through the fence and end to the guest living room. Rather than organize the space layout in conventional way, the architects try to swap the zoning of semi private family room from the rear part to the front corner area of the land parcel, and elevate 3 meters above the street level. So the public park view can be “borrowed” from this family room, rather than conventional small courtyard at the back of the land.

Consequently a ramping pedestrian way is set from the main entrance through the over flow swimming pool to the guest living room at the back part of the land, thus creating the walking experience to the visitor.

The building envelopes itself using the floor to ceiling glass skin, in order to maximize surrounding view, and through the sliding folding glass door system, make the family room as flexible as “tropical” terrace, adjacent to “infinity” swimming pool.

Using the 3.5-meter span of metal louver canopy, the master bedroom at the second floor was covered from the afternoon sunlight, without sacrificing the “generous” view to the adjacent public park from inside.

Inside the modern tropical Asian architecture style of the building, the architects try to put a “traditional” interior element, like semi transparent wall partition in the family room, to soften the atmosphere.

A natural piece of natural wood is also used as a dining table accompanying to give a warm feeling to this area as a “main heart” of this residence. In master bathroom, the “gallery” concept is elaborated, with the rectilinear space arrangement, which maximizes the natural daylight through the gap between the rooms with the perimeter wall. As for the color and material palette, the earth, creamy colors contrast with dark, aged and rustic wood appearance.

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Ehrlich Architects USAFounded in 1979, Ehrlich Architects is located in Culver City, California. Internation-

ally recognized for distinctive design, the firm’s 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 eight National American Institute of Ar-

chitects (AIA) awards and recognition as the 2003 Firm of the Year by the American

Institute of Architects, California Council.

A total of six monographs have been published on the work of Ehrlich Architects including

the latest, “Multicultural Modernism”, released by Images Publishing Group. In 2007, the

Palm Springs Art Museum curated a retrospective show of the firm’s work.

Planning and design continues to be led by founder Steven Ehrlich, FAIA, Managing

Principals Charles “Duke” Oakley, FAIA, Thomas E. Zahlten, AIA, Takashi Yanai,

AIA, and five Associates (Patricia Rhee, AIA, Mark Kim, AIA, Whitney Wyatt, AIA,

Mathew Chaney, AIA and Rachel Stanley). Each brings a unique focus on the fusion

of powerful, simple forms with the cultural, climactic, and contextual particulars of

place.

The architecture and planning of Ehrlich Architects 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 building 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.

Epstein | Metter Studio Architects USAEpstein is one of the largest and oldest architecture, interiors, engineering and con-

struction firms in the world. Since 1921, we have delivered value-added design solu-

tions for clients throughout the world. We celebrate our rich history while we focus

on the future: creating a sustainable world.

The firm currently has over 30 projects in design or construction that are pursuing

LEED Certification, and nearly 30% of Epstein’s domestic design and engineering

staff are LEED Accredited Professionals.

We have a diverse portfolio of work in the commercial, industrial and public sector

markets and the firm’s reputation is continually linked to high-profile projects.

Epstein has proven its ability to assemble and manage large, multi-faceted teams of

specialists and to bring large, complicated projects to a successful conclusion.

Epstein is an employee-owned firm with over 350 employees worldwide. We are

headquartered in Chicago with regional domestic offices in Los Angeles and New

York, and international locations in Warsaw, Poland and Bucharest, Romania.

Griffin Enright Architects USAThe Los Angeles-based Griffin Enright Architects was co-founded by Margaret Grif-

fin, AIA and John Enright, AIA in 2000. Their versatile practice encompasses three

areas: institutional design including master-planning, high-end residential and con-

ceptual design. Projects include large-scale institutional and residential commissions

to landscape design and gallery installations. The firm fuses interests in innovation,

research, and experimentation with the exploration of cultural complexities relative

to the built environment. Their work transcends the traditional scope of architectural

practice, underscoring connections to the surrounding urban fabric and landscape

by reinforcing existing conditions or creating new ones, allowing urban context, ar-

chitecture, and landscape to be experienced in new, unanticipated ways. The firm is

the recipient of over forty awards for design excellence and has been published and

exhibited extensively, both nationally and internationally.

JOHNSTON MARKLEE / DIEGO ARRAIGADA ARQUITECTO USASince its founding in 1998, Johnston Marklee's portfolio is distinguished by its con-

cise conceptual approach to each specific project. Rather than adhere to a signature

style, Johnston Marklee investigates issues of design, form, and technical resolution

to create unique works of architecture. Principals Sharon Johnston and Mark Lee

have developed their approach to projects varying in scale from master plans to

contemporary buildings and temporary installations to distill the inherent complexity

of each project into coherent, singular solutions.

While maintaining a deep commitment to architecture history as well as the

discipline's contemporary discourse, Johnston Marklee's creative process engages

the respective knowledge and influence of collaborations beyond those typical to

architecture. Drawing upon an extensive network of professional experts in related

fields, Johnston Marklee is widely recognized for culling the expertise of engineers,

contemporary artists, graphic designers, writers, and photographers to broaden the

breadth of design research. Johnston Marklee fosters collaboration in which the ex-

pertise of joining disciplines are sharpened, rather than blurred, maintaining perme-

able boundaries for greater results.

Principals Mark Lee and Sharon Johnston are equally engaged in academic and

applied design research, and the firm fosters the vital links between these arenas in

their practice. Johnston Marklee couples their conceptual approach to design with

rigorous study of building and material methods, fabrication technologies, and con-

struction techniques. The firm directs complex teams of collaborators where cross

disciplinary practices yield unexpected results. Academic study focuses on critical

reassessment of architectural and urban design history within the context of urban

development and housing in border cities and culture-specific landscapes.

Mark Lee received his Bachelors in Architecture from University of Southern Cali-

fornia and his Masters in Architecture from Harvard University. He has taught at the

ETH in Zurich, UCLS in Los Angeles, and is currently a guest professor at the Tech-

nical University of Berlin.

Sharon Johnston received her Bachelors in History from Stanford University and her

Masters in Architecture from Harvard University, and she has taught at SCI-Arc and

UCLA in Los Angeles.

Machado and Silvetti Associates USAMachado 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, and include urban design and plan-

ning 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 ex-

ecuted urban projects” and the designs were commended for being “uncompromis-

ingly 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, nine design awards from the New England AIA

chapter, thirteen 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. Sil-

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

Miró Rivera Architects USAMiró Rivera Architects is an award-winning architectural firm operating in Austin,

Texas since 1997. It currently consists of fourteen people, including the two design

principals, Juan Miró, AIA and Miguel Rivera, AIA. Miró Rivera Architects (MRA)

offers a wide range of architectural services including: urban design, institutional,

commercial, and residential architecture and interior design. MRA's design signature

entails diversity to fit the individual client’s vision, while stringing a common thread of

innovation throughout each project.

Miró Rivera Architects views each project as a unique undertaking. Each work re-

sults from careful consideration of the particular requirements of the client, site, and

program. The firm’s comprehensive approach incorporates design at all scales of

the project, resulting in a final product that is thoroughly composed and complete.

MRA’s work is characterized by the innovative use of structural systems, materials,

and finishes. Their designs are dramatic, elegant, and highly original.

Miró Rivera Architects has emerged as one of the new architectural voices in the

United States, creating a body of work that exemplifies design excellence. Their

work has been recognized nationally and internationally with 42 design awards

including the 2008 and 2006 AR Emerging Architecture Award in London, the 2009

International Biennial Barbara Cappochin in Italy and 19 American Institute of Ar-

chitects (AIA) design awards. In 2005, Miguel was awarded the AIA National Young

Architect Award, in 2006, MRA won the AIA-Austin Firm Achievement Award and in

2010 Miguel Rivera and Juan Miró were selected by Architectural Digest among the

top 100 architects and designers in the world.

MRA’s work has been exhibited in multiple national and international venues includ-

ing the Royal Institute of British Architects (London), the Museum of Architecture

(Frankfurt) and the Aedes Gallery (Berlin). Miró Rivera Architects has also been

published in over 100 periodicals and books.

Morrison Dilworth + Walls USAMorrison Dilworth and Walls was formed by Lionel Morrison, FAIA, Mark Dilworth,

AIA, LEED AP and Cari Walls, LEED AP, for the purposes of creating outstanding

architecture for discerning clients.

The combined work of the founding partners has had a significant impact on the

City of Dallas. Mr. Morrison is responsible for the design of One Arts Plaza and Mr.

Dilworth, the design of the expansion of NorthPark Center; both among Dallas' most

recognizable icons.

The three partners all began their architectural careers at the same Dallas-based

firm, Mr. Dilworth most recently as its CEO and Design Director and Cari Walls

as his partner, serving as the principal leadership for the firms' interior practice.

Mr. Morrison left the firm to begin Morrison Seifert Murphy, an internationally ac-

claimed practice he led with two partners for more than 22 years. Their careers have

produced a broad portfolio of award-winning and highly-acclaimed projects in the

residential, retail, and commercial markets. Their work has been widely published in

books and magazines in the United States and around the world.

Morrison Dilworth and Walls' work (www.mdwstudio.com) is diverse in type, scale

and location and ranges from new construction, expansions and master plans. Cli-

ents are principally commercial and private and building types include office, mixed-

use, retail and residential.

Currently, the firm is engaged in a variety of design projects at NorthPark Center in

Dallas, is in the planning stages for ArtHouse II and is a part of the design team for

the renovation of the World Financial Center in New York City.

Rangr Studio USAFounded in 2004, Rangr Studio is an internationally published architectural design

firm with experience in a variety of project types, scales and countries.

Rangr Studio's designs provide a connection to the larger landscape beyond. The

design process prioritizes spatial experience over form, the ethereal effects of light,

space, acoustics, texture over the solely picturesque effect of sculptural shape. The

Studio typically arrives at a project concept after an analysis of the environmental

conditions of a given site – from sun position through the day and seasons, prevail-

ing breezes, views to topographical conditions and the composition of the ground

itself. The studio executes several iterations of a design to arrive at the best solution

for the client's needs. Throughout the process Rangr Studio presents drawings, ren-

derings and scale models to further a creative dialogue between designer and client.

Rangr Studio's projects create a stage for life, profoundly integrated with the sur-

rounding environment.

Turnbull Griffin Haesloop Architects USATurnbull Griffin Haesloop is an award-winning architecture firm, led by principals

Mary Griffin FAIA, Eric Haesloop FAIA and Stefan Hastrup AIA from San Francisco

office. We are a woman-owned business renowned for sustainable, site sensitive

design of houses as well as wineries, churches, libraries and independent schools.

Our work also includes campus planning, adaptive reuse and historic renovations.

An integral part of our practice is interior design, headed by Margaret Turnbull Simon

ASID.

We believe architecture is primarily concerned with establishing a "sense of place,"

inspired by the uniqueness of each site and each client. Since the concept for each

of our buildings is rooted in its environment, we are particularly attentive to topogra-

phy, microclimate, vegetation and solar orientation. We listen carefully to the aspira-

tions and requirements of our clients.

Mary Griffin, Eric Haesloop and Stefan Hastrup collaborate on all aspects of design

and continue William Turnbull’s commitment to producing buildings of enduring ar-

chitectural value. Turnbull Griffin Haesloop is a member of the U.S. Green Building

Council, with several LEED accredited professionals.

wHY Architecture USAwHY Architecture was founded in 2003 by its two partners, Yo-ichiro Hakomori

and Kulapat Yantrasast. Yo-ichiro received his Master of Architecture degree from

the University of California, Los Angeles, and his Doctorate from the University of

Tokyo. Kulapat, a native of Thailand, received his Bachelor of Architecture degree

in Thailand and his Master of Architecture degree and Ph.D. from the University of

Tokyo. While as graduate students at the University of Tokyo, they realized that they

shared the same fundamental principles and goals of architecture which led to their

collaboration on several design competitions and research projects.

After completing their degrees, they each worked for world-renowned architects on

a variety of different projects prior to forming wHY Architecture. Both have continued

to lecture and teach at universities around the country and worldwide. Kulapat has

also served on the Artist Committee for American for the Arts, the nation's oldest

organization for the support of art in society.

Their works include many innovative architectural designs for people, the arts and

the environments. The Grand Rapids Art Museum is the first new art museum in

the world to receive the LEED certification. wHY Architecture has been working on

many new gallery designs for the Art Institute of Chicago as well as the renovation

and expansion of the historic Venice Jail into the new Social and Public Art Resource

Center in Venice, California. Current projects also include the environmentally sus-

tainable Art Bridge, at the Great Wall of Los Angeles River, made mostly from the

trash salvaged from the river itself as well as many residential and commercial proj-

ects. wHY Architecture has also maintained architectural collaboration with Tadao

Ando on significant museums and residential projects in the US.

Newsweek magazine article on contemporary architecture noted wHY Architecture

as one of the innovative architectural practices for the new generation. Their philoso-

phy of the integration of creative thinking with timeless design, along with their focus

on intelligent and high-quality construction, have gained them a reputation for their

architectural works and projects for the arts and culture as well as residences all

over the country.

ZERAFA ARCHITECTURE STUDIO USAZerafa Studio is a multi-disciplinary architectural design firm based in New York City.

Founded in 2005 by Jason Zerafa, the firm has a fundamental belief that each proj-

ect offers us the opportunity to develop innovative architectural design solutions that

can make a positive and lasting contribution to our built environment. Zerafa strongly

believes in a rigorous and holistic design process that encourages the direct partici-

pation of our clients and specialty consultants in a collaborative work environment.

Zerafa is fully committed to creating sophisticated modern architecture that is

sensitive to the culture of individual clients and the specific context of each project.

Its responsibility is to develop cost effective design solutions to address complex

technical and environmental challenges and to fully support and realize the program-

matic and functional needs of each project. A strong architectural solution should

embody and clearly illustrate a series of fundamental ideas inherent to the spirit of

the project. These ideas should ultimately be used to test and inform design deci-

sions throughout the design process. Its professional commitment to the clients and

the profession is paramount, and we initiate each project with the understanding that

innovative design adds value to our projects.

Jason Zerafa is the founding principal of the Zerafa Architecture Studio. Prior to

founding Zerafa Architecture Studio in 2005, Jason Zerafa was a Senior Associate

Principal and Senior Designer with Kohn Pedersen Fox Associates PC in New York.

Since joining KPF in 1994, Mr. Zerafa was an integral participant in the design and

development of a number of significant buildings in the United States, Europe and

Asia. His innovative designs for buildings have won major international and national

competitions and his design work for KPF has been extensively published.

Anmahian Winton Architects USAAlex Anmahian and Nick Winton started Anmahian Winton Architects in 1992. We

currently employ 9 designers, including 5 registered architects, 4 LEED accredited

professionals, and 2 full time administrators. Alex and Nick direct the design of

every project within a collaborative studio environment, where a high level of prin-

cipal involvement throughout the design and construction process is the norm. The

intensive nature of our practice demands that each member of our firm share a com-

mitment to design excellence, technical expertise, and project management.

Alex Anmahian and Nick Winton are members of the AIA, NCARB, USGBC, and

licensed to practice architecture in multiple states.

In Alex Anmahian and Nick Winton’s belief, architecture is an expression of culture,

forged in relation to a complex set of circumstances, both practical and intangible.

We see our work as a synthesis of place, program, and community that enhances

the rituals of everyday life, fosters a sense of wellbeing, inspires, invigorates, and

educates. Our approach has evolved over time as a project-by-project exploration of

conceptual thought and building technique, expressed in the form of space, the na-

ture of material, and the quality of light. This approach has been applied to a diverse

range of projects including a health center in a dense urban setting, the conversion

of an empty warehouse into a state-of-the-art urban think tank, artists’ studios and

galleries on the Midwestern prairie, and the design of the largest public rowing facil-

ity in the United States.

The environmental stewardship is an essential function of architecture and a natural

outcome of good design. Virtually all of our institutional and commercial projects are

designed to achieve a LEED-Gold certification, or better. While LEED certification

has become the leading barometer for sustainability, we are committed to design

thinking that delivers the most tangible and efficient path to conservation of energy,

water, and site, regardless of LEED goals. The vast majority of sustainable projects

are based on the “ultra efficient” building paradigm, and we recognize that for build-

ings to be truly sustainable they must be designed within a “net zero” or “ecologically

regenerative” paradigm.

acdf* architecture CanadaThe team members of acdf* combine an established reputation, a vast experience

with complex projects and a dynamic conception team that altogether enhance

architectural spaces through materials, light and tectonic assemblies. acdf* is con-

stituted of over 50 passionate and experienced professionals that work collectively

to offer architectural services for new constructions as well as for restoration and

enhancement projects of our architectural heritage. acdf* offers a variety of services

with the mission of accomplishing architectural projects and designs based on client

and user satisfaction, and ensuring the global success of its projects with regard to

esthetics, functionality, cost and environmental awareness.

Since its foundation, acdf* has been developing projects through out Canada,

Abudabi (UAE), Dubai (UAE), Can-tho (Vietnam), Jakarta (Indonesia). Their concep-

tual philosophy is based on the precise understanding of the user’s needs in order

to create spaces where functionality and efficiency confer legitimacy and strength to

a sensory and poetic architectural approach. The firm attributes paramount impor-

tance to design quality control, as well as to every step in the process: from the initial

concept to the selection of materials, assembly and details. This integrated approach

allows us to create rich and singular spaces. Their method aims at creating spatial

simplicity in which materials find their significance in relation to each other, either by

their simple juxtaposition, harmony or opposition. The sensory qualities of materials

are emphasized by a composition of shadow and light so as to maximize the user’s

comfort and architectural promenade.

Baird Sampson Neuert Architects CanadaBaird Sampson Neuert architects is a leader in architectural and urban design in

Canada. The firm has been in practice for over three decades during which its many

achievements in architecture and urbanism have established a reputation for cre-

ative research and design excellence. George Baird founded the firm in 1972 which

rapidly gained a national profile for innovative projects in urban design. The practice

expanded when Barry Sampson became a partner in 1982 and again in 1998 when

Jon Neuert, also a registered architect, became a principal. In recent years the firm

has expanded to include senior associate, Yves Bonnardeaux, and associates,

Mauro Carreno and Ian Douglas.

Its portfolio is distinguished by a wide array of award winning building and public

space designs. As well as architectural projects the work includes ground breaking

urban design and planning projects for a broad cross section of public and private

sector clients. Included among the many major awards the firm has received for its

projects are three Governor General’s Awards, Canada’s most prestigious national

recognition for design excellence. Many projects have involved an extensive con-

sultation process and a close working relationship with community representatives

and project committees to achieve broad community development goals. The broad

range of project type and wide array of technical challenges represented in the firm’s

portfolio demonstrates the great depth of its research capacity, creative capabilities

and consistent commitment to design excellence.

Baird Sampson Neuert has extensive experience programming complex institu-

tional buildings and site landscapes. As part of the Master Plan for the Cranbrook

Education Community, most of the existing campus buildings were completely re-

programmed to accommodate new academic functions. The firm was commissioned

by amalgamated Toronto District School Board undertake the consolidation of its

entire administrative portfolio of 1.2 million square feet of space and 2,100 employ-

ees. More recently the firm has been retained by Cornell University to undertake

academic and public access programming at Plantations, a botanical garden on the

periphery of the main campus. For the University of Guelph, BSN has been leading

the development of a facility programme for a 300,000 square foot multidisciplinary

agricultural research centre focused on sustainable dairy farming.

Baird Sampson Neuert has also been responsible for urban design plans for com-

munities across Canada. An innovator of urban design and was responsible for the

creation of the first development guidelines for Toronto, contained in the ground

breaking report onbuildingdowntown, and central Vancouver, contained in the report

greening downtown Vancouver. It has been invited to participate in numerous urban

design competitions and has been involved with the creation of development plans

for major projects in the Greater Toronto Area including the St. Lawrence Neighbour-

hood, Harbourfront, and Ataratiri (also known as the West Donlands). It was a key

member of the team that won the Ontario Government sponsored competition for

Seaton, a new town for 90,000 persons based on sustainable design principles.

Its practice is also known for its master planning capabilities, having completed

numerous major studies across Canada and the United States. Recently it has com-

pleted Master Plans for three Ontario university campuses. It has prepared master

plans for large ecologically significant sites such as the 2,500 acre Royal Botanical

Garden and the Toronto Brickworks. It has also completed master planning for inter-

nationally important heritage sites such as the Cranbrook Educational Community,

in Bloomfield Hills, Michigan, which is listed on the National Historic Registry.

The firm has designed a number of celebrated public spaces. These include Burl-

ington waterfront centre and Old Post Office Square in downtown St. Louis, both of

which were awarded through international design competitions. For Toronto’s Ann

Tindal Park at Harbourfront, BSN enhanced the capacity of the park to serve as Har-

bourfront’s primary outdoor programme space, supporting intensive use by tens of

thousands of visitors every weekend. Cloud Gardens Park, designed for downtown

Toronto, has received numerous awards including a Governor General’s Award and

was recently published in an international survey of public spaces.

Brière, Gilbert + associés architectes CanadaBrière, Gilbert + associés architectes is a firm working in the field of architecture and

urban planning. The firm has been based now in Quebec for thirty-five years and

Montreal for ten years. With a staff of over 25 employees, it has been able to sur-

round itself with a dynamic, imaginative and highly skilled team. Its innovative style

and a mindset oriented to meet challenges of all sizes have permitted the firm to ac-

quire and put into practice a very enviable expertise. The team is able to adapt and

put into practice these skills with success to a wide variety of projects with their own

constraints. Furthermore, the firm is known for its international accomplishments and

has signed for projects in Europe and the United States of America.

For the specific field of urban design, the firm has realized in the last 15 years, many

projects and studies, starting from the Master Plan of the “Espace Saint-Roch”

in Quebec in 1992, the master plan for the revitalization of an important district in

Gatineau, Canada in 2005, to more recently, the master plan for the revitalisation of

the Namur, Jean-Talon neighbourhood in Montreal, Quebec.

Measured Architecture CanadaMeasured Architecture is a boutique architectural firm based in Vancouver BC. Af-

ter ten years of working with senior Vancouver architect Bing Thom, Measured was

formed in 2007 with the objective of creating contemporary, environmentally sound

buildings for both the private and public sector. Clinton Cuddington, MAIBC is the

sole director/owner of the company. Measured is a signatory to the 2030 Challenge,

with the goal of realizing an immediate and substantial reduction in energy use in

each of our buildings. Its professional interest is to create buildings that are socially,

environmentally and culturally sustainable. Measured works to realize the latent

poetic potential of reducing energy consumption and designing with nature, while at

the same time delivering better buildings. Measured pride on its ability to design high

quality, high performance, and high value projects, which are stimulating to use and

grounded in their communities.

Clinton Cuddington has extensive experience with public projects, before the estab-

lishment of Measured, while working as employees at other companies. These in-

clude the redevelopment and expansion of the Arena Stage Theatre in Washington,

DC, the Surrey Campus of Simon Fraser University, and the Confederation Square

in Ottawa, Ontario.

Measured is the recipient of a 2008 Lieutenant Governor of British Columbia Award

of Merit, and the 2008 Western Living Designer of the Year award for Architecture.

It has recently received substantial media attention in the professional and public

press for a number of their projects.

Kuwabara Payne McKenna Blumberg Canada Kuwabara Payne McKenna Blumberg Architects (KPMB) was founded in 1987 by

Bruce Kuwabara, Thomas Payne, Marianne McKenna, and Shirley Blumberg. The

practice is recognized as one of Canada's premier architectural studios and is known

for its commitment to architectural excellence. Their work has received more than

100 awards, including nine Governor General's Awards for Architecture, Canada's

highest honour.

KPMB is also recognized for its commitment to the public realm and the cultural life

of cities. The firm is actively participating in Toronto’s cultural renaissance with proj-

ects that include the Roy Thomson Hall Enhancement, the Jarvis Street Campus for

Canada’s National Ballet School (in joint venture with Goldsmith Borgal & Company

Architects), the Royal Conservatory of Music’s TELUS Performance and Learn-

ing Centre, the Young Centre for Performing Arts for George Brown College and

Soulpepper Theatre Company, and the Festival Centre and Tower for the Toronto

International Film Festival.

Works in Canada also include the Canadian Museum of Nature in Ottawa (with Padol-

sky, Kuwabara, Gagnon Joint Venture Architects), Le Quartier Concordia for Concordia

University in Montreal (in joint venture with Fichten Soiferman Associes, Architectes),

and the corporate headquarters for Manitoba Hydro in Winnipeg. In the United States

clients include the Goodman Theatre in Chicago, Yale University, and the University of

Michigan. Internationally, projects include the Canadian Embassy in Berlin (a joint venture

with Gagnon, Letellier, Cyr Architectes and Smith Carter Architects and Engineers Incor-

porated), and the prototypical Star Alliance Lounge at the Zurich International Airport in

Switzerland, as well as its its offshoot in Nagoya, Japan.

Daniel Bonilla Arquitectos ColombiaDaniel Bonilla is an architect from Universidad de Los Andes – Bogota 1986, and

Master of Arts in Urban Design from Oxford Brookes University – England 1990,

teacher and lecturer at several international universities.

He has obtained multiple distinctions and prizes at the XVII, XVIII, XIX, XX and XXI

Colombian Architecture Biennales, III and IV Iberoamerican Architecture Biennale

(Chile 2002 and Peru 2004), Highly Commended and Prize Winner at the AR+D

Awards 2002 and 2004, Special Mention at the III Frate Sole Foundation Award

2004 Italy, Honour Mentions at the International Biennale of Quito, Ecuador in 2002

and 2004, and the Steel Blue Pencil 2006 - Colombia.

Designer of diverse scale buildings like the Chapinero Chamber of Commerce of Bo-

gota, the Convention Centre of Medellin, the Colombian Pavilion for Expo-Hannover

2000, the Administration Postgraduate Faculty building of the University of Los An-

des, the 130 Small Metropolitan Police Stations, the Street Furniture of Bogota, and

the chapels of Los Nogales School and the Porciúncula of Miraculous in La Calera,

among others.

Their featured projects include: Julio Mario Santodomingo Building (architect: Daniel

Bonilla, design team: Daniel Bonilla, Jaekson Baez, Juliana Lozano, Keily Jaramillo,

Manuel Mendoza, Marcela Albornoz, y Germán Ortega); Omega Block Building

(architect: Daniel Bonilla, design Team: Daniel Bonilla, Adriana Hernández, David

Córdoba, Juan Andrés Díaz, Andrés Gutiérrez, Eduardo Varela, students: Paula

Gutiérrez, Alejandra Torres, Vanessa Vásquez, Sebastián Chica, Nicolás Carpio).

Alejandro Aravena ChileAlejandro Aravena (1967), architect Universidad Católica de Chile, established

Alejandro Aravena Architects in 1994. He was Visiting Professor at Harvard GSD

(2000-05) and is currently the Elemental-Copec Professor at UC. He is member of

the Pritzker Prize Jury and has been named International Fellow of the Royal Insti-

tute of British Architects (RIBA).

Professional Work include Educational facilities, Institutional, corporate and Public build-

ings, Museums, Houses and Housing, and his last product for Vitra, the Chairless.

Awards include the Silver Lion at the XI Venice Biennale, the Marcus Prize 2010, the

Avonni Prize for Innovator of the Year and the Erich Schelling Architecture Medal

2006 (Germany) among other prizes.

His Books include Los Hechos de la Arquitectura, El Lugar de la Arquitectura and Mate-

rial de Arquitectura and a monography on Elemental by Actar published in 2010.

Publications on his work include the monography Alejandro Aravena, progettare

e costruire by Electa, Kenneth Frampton’s 4th edition of Modern Architecture; a

critical history, Thames & Hudson’s 60 Innovators shaping our creative future and

books by Phaidon and Taschen. Magazines include GA (Japan), Icon, Monocle and

Architectural Review (UK), Casabella, Lotus, Abitare, The Plan and Domus (Italy),

Arquitectura Viva (Spain), Detail and Arch+ (Germany), Mark and Volume (Nether-

lands), Architectural Record, Dwell, Praxis and Perspecta (United States) and others

in more than 30 other countries.

Lectures have been held in The London School of Economics and RIBA in the UK,

America´s Society in NY, InterAmerican Development Bank in Washington, Experi-

menta Design in Portugal and Design Indaba Southafrica among other places.

Exhibitions on his work have been held at Harvard GSD (2004), Sao Paulo Biennale

(2007), Venice Biennale and Milan Triennale (2008) among other places. In 2011 he

will be featured in MA Gallery in Tokyo.

Since 2006 he is Executive Director of ELEMENTAL S.A. a for profit company with

social interest working in projects of infrastructure, transportation, public space and

housing, partnering with Universidad Catolica de Chile and COPEC, Chilean Oil

Company.

Gonzalo Mardones Arquitecto ChileGonzalo Mardones Viviani Was born in Santiago de Chile on July 8th 1955. He gets

his degree as architect from the Universidad Católica de Chile, where he graduates

with the Maximum Honors. He receives the First Prize in the Architecture Bien-

nale, for the best degree project among all the Architectural Schools in Chile, for

his project for urban renewal of the South-West Center of Santiago. He has been a

professor of architectural design workshops and directed degree projects in the Fac-

ulties of Architecture of the Universidad Católica, Universidad de Chile, Universidad

Central, Universidad Andrés Bello and Universidad Finis Terrae, in addition to hav-

ing been guest professor and lecturer in different universities in Chile, and abroad.

His work has been published by the main architectural magazines and honored at

Biennales. He has been a member of the National Commission of Competitions of

the Architects Association in Chile and a founding member of the Association of Ar-

chitectural Practices (AOA). In 2008 he receives the ‘‘Institutional Distinction UMSA

for the Career’’ by the Universidad Mayor San Andrés, La Paz, Bolivia. At the date is

the Master Director of the USS Universidad San Sebastian, Santiago de Chile.

Izquierdo Lehmann Arquitectos ChileLuis Izquierdo Wachholtz and Antonia Lehmann Scassi–Buffa are architects gradu-

ated from the Pontificia Universidad Católica de Chile in 1980 and 1981 respectively.

In 1984 they established Izquierdo Lehmann Arquitectos in Santiago, Chile. Since

then they have personally developed projects on different scales and programs.

They have built housing, educational, commercial and office buildings, more than

100 single houses, interior architecture, furniture, objects and construction systems.

Many of these works have been published around the world in specialized maga-

zines and books, and presented in biennals in Santiago, Buenos Aires and Quito, in

Madrid, in Harvard University GSD, in Sao Paulo, New York, Cartagena, and in the

Museum of Modern Art, New York.

They have been professors at the Universidad Católica de Chile and Universidad

Andrés Bello. Their work has been distinguished with several prizes, among them,

the National Prize for Architecture (2004).

Nicolas Loi ChileNicolas Loi is the director of Loi Architects, which is a chilean design firn based in

Santiago, Chile. Nicolas Loi is an Architect from the Universidad de Chile, and holds

a Master of Architecture in Urban Design from Harvard University. The scope of

work of the office goes from individual housing design to large scale master plan-

ning, both in Chile and abroad.

7XA Arquitectura Mexico7XA is founded and co-directed by the architects Angel López and Carlos Ortiz

since 1999. They have participated in the design and construction of residence,

commercial, entertainment, landscape and so on. In 2001 the jury gave them a spe-

cial mention on Arquine prize and they win the third place of the contest “Access to

San Nicolás de los Garza”. In 2003 they obtained the nomination of the prize Obras

CEMEX in the category of residential design by the house “Córcega”. In 2005 they

obtained honorary mention in XIII Bienal de Arquitectura by the house “Linda Vista”.

In 2007 they obtain honorary mention by the house “Riviera” and win the “calli de

crystal” by the house “Muralla” in XIV Bienal de Arquitectura of Nuevo León, México.

In 2008 they were selected by OBRAS Magazine as one of “the ten best Mexican

architecture firm of the year”. They were selected to be published on the book

“1000xarchitecture of the Americas” and selected by ENTREMUROS magazine as

one of the best young Mexican firms. In 2009 they won the first prize in “Zocalo 11

de Julio” competition in Tijuana, Baja California. 7XA’s work has been exhibited in

several exhibitions and publications in Mexico and other countries.

Ángel lópez is an architect by the Universidad Autonoma de Nuevo Leon. Before

being a founder member of 7XA, he collaborated as project architect at Conceptual

Space Design Group and Camargo Architects. He is an active member at the Cole-

gio de Arquitectos de Nuevo León and Consejo de la Construcción de la UANL.

Carlos Ortiz is an architect by the Universidad Autonoma de Nuevo Leon. Before

being a founder member of 7XA, he collaborated as project architect at Conceptual

Space Design Group and Camargo Architects, as well as architecture area manager

at Total Design Office. He received the “young creators of art” Fellowships given by

FONCA for the period 2007-2008. He is an active member at the Colegio de Arqui-

tectos de Nuevo Leon.

GOMEZ CRESPO ARQUITECTOS MexicoGOMEZ CRESPO ARQUITECTOS is a collaboration of architects and creative pro-

fessionals whose mission is to build brand and property value through architecture.

It is a forward-thinking design company engaged in creating significant architecture

with responsible solutions.

GOMEZ CRESPO ARQUITECTOS focuses primarily on residential and commercial

projects. It understands each project as a unique opportunity to develop an individ-

ual design concept, customized to the particular nature and economic possibilities

of the client working in close collaboration with manufacturers and contractors and

participating in the construction process as an integral aspect of the design.

Selected Awards2005 Residential Award, Casa Sp. Iconos Del Diseño Awards, Architectural

Digest, México

2006 Winner, Hotel Rodavento, Iconos Del Diseño Award, Architectural Digest,

Landscape Architecture In Collaboration With Arq. Waldemar Franco Sol And

Jose Miguel Quintana

2007 Finalist , Best Commercial Design, Hotel Rodavento, Am Editores Awards, 10

Years Of Publications.

2008 Residential Award Winner, Iconos Del Diseño Awards, Architectural Digest

México, Casa At

Selected WorksRodavento Hotel, Valle De Bravo, Estado De México

Casa At, Valle De Bravo, México

Ba House, México D.F.

Gm House, México D.F.

At House, Valle De Bravo, Estado De México

Gr Apartment, México D.F

Casa Del Arbol, Acapulco, Guerrero, México

Villa Escondida, Puerto Vallarta, Jalisco, México

Presidente Intercontinental Cancún Resort, Interior Renovation

Rojkind Arquitectos Mexico Michel Rojkind Halpert was born in 1969, in Mexico City, where he studied archi-

tecture and urban planning at the Universidad Iberoamericana. After working on his

own for several years, he teamed up with Isaac Broid and Miquel Adria to establish

Adria+Broid+Rojkind (1998-2002).

With the idea of exploring new challenges that address contemporary society, to

design compelling experiences that go beyond mere functionality, and to connect

at a deeper level with the intricacies of each project, Michel Rojkind established an

independent firm Rojkind Arquitectos (2002) recognized by Architectural Record in

2005 as one of the best ten “Design Vanguard” firms.

By addressing users’ needs directly and seeing them as potential sources of inspira-

tion and strength, Rojkind Arquitectos seeks new directions in architectural practice

– evoking common identities through the exploration of uncharted geometries that

address questions of space, function, technology, materials, structure, and construc-

tion methods related directly to geography, climate, and local urban experiences.

By pursuing all projects that represent a particular design challenge, Rojkind Arqui-

tectos has been able to develop a wide an ever-growing spectrum of designs initia-

tives, from the intimacies of small objects to the intricacies of large buildings and

master plans.

With Arturo Ortiz, Derek Dellekamp, and Tatiana Bilbao, Michel Rojkind co-founded

MXDF Urban Research Center (2004). The main object of MXDF is to intervene in

specific areas of the urban development, modifying the production of urban space

in Mexico through the systematic study of social, political, environmental, global,

and cultural conditions. In order to achieve this, MXDF has been collaborating with

several universities in Mexico, Studio Basel, ETH Zürich, and MIT in Boston Mas-

sachusetts. MXDF is a non-profit organization.

Recently Michel has been shortlisted to participate in several large scale interna-

tional projects, including Canada, Kuwait, and Spain. In addition to being a regular

contributor in several architectural and design publications, Michel Rojkind has

served as the editor of the technology section “FWD” in the architecture journal

Arquine International, and has been held several visiting professorships at several

universities.

Parque Humano MexicoParque Humano is a multidisciplinary practice based in Mexico City, focused on

integrating architecture, landscape and art. The firm partners are Jorge Covarrubias

(born 1969), graduated from Universidad Iberoamericana in Mexico City and Benja-

min Gonzalez Henze (born 1965) in Mexico City and graduated from La Salle Uni-

versity in Mexico. Some of their most important projects include: Casa en el Bosque

(Silver Medal in the X Mexican Architecture Bienalle), Casa SA (Honorable Mention

in the X Mexican Architecture Bienalle), Casa Club Bosque Altozano (Silver Medal

in the XI Mexican Architecture Bienalle), Televisa’s art gallery, Galeria LABOR, Luis

Barragán “The Quiet Revolution” exhibition and the museography in Palacio de Bel-

las Artes, Mexico City, Fernando Ortega’s museography in MUCA, UNAM.

Parque Humano is an open source system whose primary concerns is people and

their needs. It tries to find, through the sharing of knowledge and experience, the

possibilities that architecture, design, art and urban space can offer to build a better

world.

Parque Humano’s work is about f inding new relationships between human

coexistence and nature, projects that through its impact and experience gener-

ate respect for the natural world. The practice has always worked on building a

relation between inside and outside, it is the exterior landscape which organizes

our interior spaces. Working with nature is a way of working towards the under-

standing of our world.

Another aspect that characterizes Parque Humano’s design is the way it registers

the concept of time. Turning space into time is a primary feature in all its projects,

seeing reality as it changes and time as it goes by. Parque Humano continuously try

to materialize light in an attempt to sense time - an important emotional quality.

Parque Humano’s objective is to combine a high-level interdisciplinary methodologi-

cal process that combines technical support, architectural design and art, recog-

nizing the contributions of these disciplines to the idea of a territorial rebalancing

project, which ultimately is what configures our landscape, and ensures a quality of

the environment.

ACXT Architects SpainIn a cultural environment in which creativity is often likened to personal genius,

ACXT is convinced of the potential benefits of combining two separate levels of

analysis in the creative process. On the one hand, there is the particular con-

tribution of the individual and, on the other, the collective results of working in

groups. In ACXT individuals assume personal responsibility for the development

of a project within the framework of an association of professionals. We feel part

of a team and of a collective effort that enriches us at a personal level and chal-

lenges each one of us to improve as individuals, but also affords us the freedom

to give expression to our own proposals. Those responsible for each project are

recognised as individual creators and therefore each project is also analysed

within the context of the personal development of those who conceived it. As

a consequence, the way in which projects are conceived is not the exclusive

domain of one person, especially when these are analysed as finished objects.

Common aspects do exist but they have more to do with the process and the

way the work is delivered than with the final result. We are made richer through

a permanent collaboration as professionals and at the same time we are guar-

anteed sufficient scope to take decisions in accordance with the characteristics

of each situation within a system that ensures autonomy and freedom. Our work

entails, therefore, an essential paradox, namely, how to reconcile the idea of

personal creativity and working in a group.

Alejandro Muñoz Miranda SpainAlejandro Muñoz Miranda was born in Granada in 1974, he is an architect who grad-

uated in the first graduating class of the Escuela Técnica Superior de Arquitectura

(School of Architecture) in Granada and who obtained the best academic results in

his year. He received a distinction for his final degree project, which concerned the

development of an Administrative Civic Centre and a Transport Interchange in the

Metropolitan Area of Granada.

In 1999 he was awarded the First National End of University Degree Award in archi-

tecture given by the Ministry of Education, Culture and Sport. He has been working

as a qualified professional since 2000, alternating his architectural work with the

writing of his PhD thesis, the creation of sculptures and the design of books, furniture

and exhibitions.

He was invited to exhibit in the Spanish Pavilion at the 7th Venice Architecture Bien-

nale 2000, coordinated by Alberto Campo Baeza.

He has also created steel sculptures with José Manuel Darro, which have been

displayed in exhibitions, such as “Esculturas 8.8” in the Círculo de Bellas Artes (Fine

Arts Circle) in March 2004, and produced urban sculptures, such as “Granado Frac-

tal”, made of corten steel for the Fernando de los Ríos roundabout in Granada.

The most outstanding recent constructions include the Headquarters of the Granada

Business Confederation, the New Syndicate Headquarters in Granada, the Reha-

bilitation of the Street Gran Vía de Colón, the Project Management of the Boulevard

in Avenida de la Constitución in Granada and a house in Barranco del Abogado in

Granada.

He was recently selected for the exhibition of Young Architects in Spain, organised

by the Ministry of Housing and coordinated by Jesús Aparicio Guisado for the Exhi-

bition Hall of Las Arquerías de Nuevos Ministerios in Madrid.

He is a professor of Architectural Projects at the Escuela Técnica Superior de Arqui-

tectura de Granada (School of Architecture) since October 2007.

Alberto Campo Baeza SpainAlberto Campo Baeza was born in Valladolid, where his grandfather was an archi-

tect, but from the age of two, he lived in Cadiz where he saw the light. There, his

father, who is about to celebrate his 100th birthday, was a surgeon. From him, he

inherited the spirit of analysis and from his mother the determination to be an archi-

tect.

He lives in Madrid, where he went to study Architecture. His first teacher was Alejan-

dro de la Sota, who imbued in him the essential architecture that he is still trying to

erect. He also had Julio Cano Lasso as professor, who very generously invited him

to collaborate on some works, as well as Aburto and Cabrero. He wrote his Doctoral

Thesis with Javier Carvajal and entered as a Professor in the Madrid School of Ar-

chitecture, where he has been a tenured professor for more than 20 years.

He has taught at the ETH in Zurich and the EPFL in Lausanne, the University of

Pennsylvania in Philadelphia, As well as in Dublin and Naples, in Virginia and Co-

penhagen, and at the Bauhaus in Weimar and at Kansas State University. He spent

a year as a research fellow at Columbia University in New York in 2001. He has

given many lectures and has received many awards, the latest, is the Torroja for his

Caja Granada building.

His works have been widely recognized. From the homes Casa Turégano and Casa

de Blas, both in Madrid, to Casa Gaspar, Casa Asencio and Casa Guerrero in Cádiz.

Or the Centro BIT in Inca-Mallorca or the Caja de Granada savings bank and MA,

the Museum of Andalusian Memory, both in Granada.

And more than 8 editions of a book with his texts “La Idea Construída” [The Con-

structed Idea] have been published in several languages. He believes in Architecture

as a Constructed Idea. And he believes that the principle components of Architec-

ture are gravity that constructs space and light that constructs time.

He has shown his work in Crown Hall by Mies at Chicago’s IIT and at the Palladio

Basilica in Vicenza, and at the Saint Irene Church in Istanbul. In 2009, the presti-

gious MA Gallery of Toto in Tokyo is preparing an anthological exhibition of his work,

and in many other places. He says it’s because he’s always surrounded by generous

people.

b720 Fermín Vázquez Arquitectos SpainFermín Vázquez founded b720 Architects in 1997 and he is currently the Man-

aging Partner. Since then, the practice has carried out projects in major cities in

Spain, in architecture and urban planning, and has won numerous competitions.

Fermín Vázquez combines practice with teaching, he has been project teacher

at the Escuela Técnica Superior Arquitectura de Barcelona (Spain) and the

École d’Architecture et de Paysage de Burdeaux (France). Nowadays, he teach-

es at the European University of Madrid (UIM). Moreover, he gives lectures at

universities and institutions all over the world and contributes from time to time

in specialized publications.

b720 Arquitectos practice with more than 50 professionals working at offices in Bar-

celona, Madrid and Porto Alegre (Brasil) – highlights among its recently completed

projects: the Gran Casino de la Costa Brava (Lloret de Mar, Girona), the Lleida-

Alguaire Airport, the City of Justice of Barcelona and l’Hospitalet, the Porta Fira

Towers, the recovery of Plaza del Torico (Teruel) and La Mola Hotel and Conference

Centre (Terrassa, Barcelona). Among his current projects are distinguished: the

promotion of social dwelling in Mieres (Asturias), the Hospital Ernest Lluch (Vallès

Oriental, Barcelona), the construction of a public school in Puigcerdà (Girona), the

waterfront in Porto Alegre, Brazil; the World Trade Center of Igualada; an office

tower in Seville and two mixed-use towers in Galicia.

Throughout his career, Fermín Vázquez and b720's projects have received numer-

ous awards. Recently, the project City of Justice won the RIBA Award 2010 and the

World Architecture Festival, category Community Buildings-Law Court.. In 2007, the

America's Cup building won the European RIBA Award and was finalist of Mies Van

der Rohe Prize, IX Bienal Española de Arquitectura y Urbanismo and the Stirling

Prize. Regarding FAD Awards, in 2007, Indra building was finalist and also did Indra

and Veles e Vents builiding for America’s Cup in 2008. In 2004, the project Paseo

del Óvalo won the prize Ciudades Patrimonio de la Humanidad awarded by the Min-

istry of Culture of Spain, and the European Prize of Urban Public Space.

Estudio Carbajal Spain Estudio Carbajal is a Spanish architectural office located in the southern city of

Seville since 1968 and founded by José Antonio Carbajal Navarro, Nicolás Carbajal

Ballell and Rodrigo Carbajal Ballell. The practice works internationally in competi-

tions for public buildings, urban spaces, refurbishment of historic places and interior

design. The most of the works are situated in Europe, especially in south of Spain.

Nowadays the practice includes about ten different projects.

Projects aim from the first idea to inhabit and enjoy the architecture whereby they

are designed through an attitude of architectural logic and moderation avoiding the

current tendency of excess and waste material.

Thanks to this mindset, the work from this practice has been acknowledged with

several prizes, where it remarks the notification for the National Spanish Archi-

tecture Prize and the annual architectural prize by the Andalusian Association of

Architects for the Theological Seminary in 1998. In addition, some works have been

exhibited in the Spanish Architecture Biennale (I, III and V), the VI and IX summit for

the Mostra Internazionale de Architettura di Venezia, the South-American Bienal for

housing in Lima.

José Juan Barba Arquitectos SpainJosé Juan Barba (1964), Doctor in Architecture, ETSAM (2004), Special Mention in

the National Finishing University Education Awards (1991). He founded his profes-

sional studio in 1992, advising different NGOs until 1997, when he changed the main

focus of his professional work to the research and development of the metropolitan

nature of architecture, with the carrying out of constructed and theoretical projects

(books, articles and the being the curator of exhibitions).

He was a lecturer from 1999 to 2007 at the ESARQ-UIC in Barcelona and has been

lecturing at the ETSAG in Alcalá (Madrid) since 2003. He has been a guest lecturer

at different national and international universities, in Alicante, Volos, Barcelona (Etsab

– Esarq), Madrid (Alcala, CEES, IEarquitectura, Etsam), Montevideo, Rome, Wash-

ington, Valencia (UI Menedz Pelayo), Valladolid, Segovia (SEK) among others. He is

on the panel of judges for different art and architecture competitions.

He is currently the Director of the Masters in “Proyecto de Arquitectura y Cultura

del Paisaje” (“Projects in Architecture and Culture of the Landscape”) at the “I/art”

in Madrid. He was selected and invited to present his work on “The Post-Industrial

City”, with 40 young architects from all over the world at the National Gallery of

Washington DC, USA in 1994.

He has been the editor-in–chief of the international Art and Architecture magazine

METALOCUS since 1999. He was the subeditor of “Espíritu Nuevo” in 1992 and the

correspondent for “Quaderns” in the US in 1998. The last exhibition he was the

curator of was “M.C. Escher. El arte de lo imposible (The Art of the Impossible”),

Canal Y Il, Madrid.

His projects and proposals have been published in numerous specialised maga-

zines and national and international newspapers and have been broadcast on

national and international radio and TV programmes such as: Ed. Actar, EL CUL-

TURAL, ABC de las Artes, BABELIA-EL PAIS, LEER, ZERO, ARQUITECTURA,

FORMAS, ARQ-Chile, ENLACE-México, ON Diseño, MINIMA – Athens-, Arqui-

tectura Plus, Vía Construcción. Radio Círculo, Canal Cuatro, TVEspañola, TV2,

Europa Press, Intereconomía TV, Telemadrid, “La ciudad invisible” RN3, ....

Selected Awards Spain- Finalist. World Architecture Festival. Centre for the Interpretation of Rivers. Tera,

Esla and Orbigo. Barcelona, 2008

- Award. FAD AWARD 07 Intervenciones Efímeras. “M.C.ESCHER”. Arquin-Fad.

Barcelona, 2007

- Finalist “Ii Bienal Iberoamerican”, Publicaciones Periodicas Award,Dic. Montevi-

deo. 2006

- Award. “PANAYIOTI MIXELI AWARD”. SADAS-PEA, for the Spreading of Knowl-

edge of Architecture Athens, 2005

- Award. “PIERRE VAGO” ICAC.International committtee of Art Critics AWARD.

London, 2005.

Santatecla Arquitectos SpainFrom 1996 Santatecla realised projects on urban design and architecture. Based

on this experience, in 2001 Santatecla Arquitectos S.L.P. was funded as an enter-

prise.

The enterprise develops architecture works in phases: ideas competitions, proj-

ects, construction tracking, quality control, etc... either in public or private building

promotion.

In the last years, Santatecla architects have won several competitions with jury’s

evaluation. It can be underlined the following projects: Segovia Fireman Park and

local police station, Seneca square’s urban planning in Alicante and Fireman Park’

s office and museum in Valencia.

Recently, Architect College in Valencia Region (COACV) has distinguished San-

tatecla Architect work by awarding the “First award of architecture 2007, 2008 and

2009” prize thanks to “37 Social Housing Riu Sec in Castellón” project, considered

as the best building construction in the years 2007, 2008 and 2009 at Valencia

Region.

ARQUITECTURAS TORRES NADAL SpainJosé María Torres Nadal (Cieza, Murcia, 1947)

1973 Architect for ETSA of Barcelona

1986. PhD Architectural School Barcelona Thesis “Le Cobusier, by myself ”

1988 Professor on Project Design E.T.S. Architectural Barcelona

1999 Full Professor on Project Design Architectural School Alicante University.

1998- Chair on Project Design Architectural School Alicante.

2002- Chairperson and Director A. School Alicante Master Complex Architecture/

Complex Technology Visiting professor in different Architectural Schools U.S.A

(Tucson, Columbia, San Juan de Puerto Rico, MIT, Cartagena de Indias, Buenos

Aires, Montevideo ) and Europe (Venecia, Londres, Paris etc.)

2006 Site New Spanish Architecture MOMA Su obra N. Y. Work: Auditorium-The-

atre in La Vila Joiosa ( Alicante ) Invited international competitions on Architec-

ture: Headquarter Building Offices CAF in Caracas Venezuela and “Arena Sports

for Handicaps people Hortaleza Madrid 2012”

2009 Editorial Rueda has published a complete book about Torres Nadal. “TOR-

RESNADAL: A WORK”. With writings by Toyo Ito, Robert Venturi, Enric Miralles

and others.

Hérault Arnod Architectes FranceYves Arnod and Isabel Hérault co-founded their agency in 1991, and ever since they

have conceived and realised many buildings, the majority issued by a public order.

The agency works on very varied programs on different scales, refuting any idea of

specialization. Each time the will to escape from the already-made solutions or the

transposition of receipts leads them to propose relevant and original answers which

draw their substance from the reality of a situation. They are very attentive to the

medium in which a project situates itself in order to find each time the right answer

to the specificity of a context. It is a question “of revealing the forces and energies

involved rather than forcing things” (Deleuze). This way of thinking aims to a work

starting from the medium produced by projects very different from each other, the

recurrence is in the process rather than in the result.

The agency has many references in the cultural field, among which one could quote:

theatre (at Les 2 Alpes, delivered in 2005), concert hall, recording studios and re-

hearsal rooms (Métaphone at Oignies, which will be delivered in 2010), media library

and cinemas (at Meyzieu, delivered in 2001), museums (archaeological museum of

Paladru, will be delivered in 2010), skating rinks and spectacle halls (in Grenoble,

delivered in 2001 and to Chalons-en-Champagne, delivered in 2005), etc.

The agency develops along with its projects a reflection on the sustainable develop-

ment, whether required or not by the client. The data of a situation makes it possible

to develop this more or less far according to the program, the site and the budget.

Beyond the technical aspects related to the energy saving or the constructive

modes, the question of interaction between architecture and nature is unceasingly

put, in the projects related to the landscape, but also to the urban contexts, where

the relation between the man and the elements - light, sky, seasons, air… is of pri-

mary importance.

Hérault Arnod concern to respect their engagements and had developed a working

method which aims to the strict control of the costs, schedules and the quality of the

realization: their creativity and architectural research that they pursue exerts inside

this framework.

Henning Larsen Architects DenmarkHenning Larsen Architects originates in an architectural tradition, with function and

location working as generators of constant development of design.

The architectural aim of Henning Larsen Architects is to design the physical sur-

roundings in a way that ensures the user a perceptual design and a solid functional-

ity. The idea of the project must grow from a search of uniqueness. Arising from

inspiring dialogue allowing ideas to be pursued and refined to make the buildings

function optimally far into the future, thus ensuring a sound economic life.

Henning Larsen Architects covers the entire professional spectrum and render ser-

vices ranging from idea and concept development over project management to ex-

pert supervision and construction management. Spatial perception and daylight are

key elements in their projects. Henning Larsen Architects works with spatial qualities

and sequences, the correlation between indoors and outdoors and with the change

of light throughout the day and the year. Textures and colours of materials play an

essential part of their design, which is one of the main reasons why they always work

with spatial sketches, architectural models and project mock-ups.

Henning Larsen Architects develops the working method in relation to the specific

project, and the experience accumulated from other projects contributes to a con-

stant professional development. They are convinced that the brief never holds one

fixed solution, which means that the projects often vary in style but with high func-

tional and architectural quality as the common denominator.

Henning Larsen Architects’ international projects comprise buildings in Norway, Ger-

many, Sweden, Iceland, The Netherlands, United Kingdom, the Middle East and Africa.

Dietmar Feichtinger Architectes AustriaDietmar Feichtinger studied architecture at the Technical University of Graz, gradu-

ating [summa] cum laude in 1988. After gaining initial experience with Prof. Huth,

Prof. Giencke and Prof. Klaus Kada, he moved to Paris in 1989, working at Chaix/

Morel where he was appointed associate architect and project manager. In 1994 he

founded Feichtinger Architectes, with headquarters in Paris, and in 2002 he opened

a subsidiary in Vienna. Feichtinger has taught at a number of universities since 1994

– the University of Paris6 – La Villette, the RWTH Aachen, the University of Inns-

bruck and the University of Vienna. In 1998 he was awarded the Kunstpreis Berlin

by the Academy of Arts.

Selected Awards2008 German Bridge and Footbridge Award, Footbridge over the Rhin;

Footbridge Award 2008, Catégorie Esthétique, Passerelle Simone de Beauvoir;

Hayden Medal 2008, USA, Passerelle des Trois Pays

2007 Mies van der Rohe Award 2007, nomination of 3 projects of the office;

European Steel Design Award, Simone de Beauvoir footbridge;

Bauherrnpreis, Austria 2007, University Camus Krems;

Renault Future Traffic Award 2007, Footbridge over the Rhin

2006 Equerre d’Argent, french architecture prize, Passerelle Simone de Beauvoir;

Architecture Award of the Land of Styria, Award Geramb–Rose, Cultural

Center Weiz;

Culture and sciences Award of the Land of Lower Austria, University Campus

Krems;

Award for the best building 2006, Shanghai Bridge Hamburg

Arkhefield AustraliaArkhefield is a leading architectural and interior design practice based in

Queensland. The firm is headed by Andrew Gutteridge, and supported by a broad

team of committed and enthusiastic Associate architects, registered & graduate

architects, technicians, interior designers and students.

The Arkhefield team look to create challenging and meaningful architecture encom-

passing the very large to the very small across a range of commercial, institutional,

residential and interior design projects. Their key focus is on building great relation-

ships and architectural outcomes for the clients.

Arkhefield’s work has been widely awarded by the Australian Institute of Architects

and other industry bodies with over 45 industry awards being awarded to the firm

since establishing the practice in 1992. Their work has been featured in many na-

tional and international architectural publications, and has recently been exhibited

in the Gallery of Modern Art’s (GoMA) first architectural exhibition - Queensland

Placemakers.

Arkhefield are recognised as design leaders within the Queensland architectural

community and their approach melds the needs of the client with unique solutions to

create outstanding results.

bureau^proberts Australiabureau^proberts is a leading Brisbane, Australia-based architectural firm that has

provided a unique and diverse contribution to the architectural fabric of Queensland

and beyond. Over the past 20 years, the practice has grown to cater to burgeoning

urban renewal opportunities around the globe.

bureau^proberts is recognized as a leader in its f ield and in recent times

has broadened its scope to work on national and international projects. A

particular area of focus has been mixed-use development, which has seen

bureau^proberts respond to the growth of Queensland and the changing ur-

ban fabric of Brisbane. As population has increased, development patterns

have centralised towards the city, making the creation of new modes of living

and working an important catalyst for change. At the forefront of this change,

bureau^proberts has been responsible for a diverse range of projects that have

provided innovative solutions for subtropical and tropical cities.

Marra + Yeh Architects AustraliaMarra + Yeh Architects is a Sydney-based studio working in Australia and south-east

Asia. A serendipitous meeting of diverse cultures, backgrounds and experiences,

Marra + Yeh is a nimble practice concerned with big issues, they see themselves

as a series of connections, to places, people and ideas. The aim of Marra + Yeh’s

work is to engage in the particularities of each place and client at a given time; each

project an opportunity to challenge, explore and discover.

With each project Marra + Yeh seeks out the site’s genius loci, the spirit of the

place which gives it defining characteristics, imposes limitations and offers pos-

sibilities. Through their design process they harness this spirit and transform

it into a place which is unique. Marra + Yeh engages in the pursuit of solutions

which are appropriate, contextual and deliver value. They look at usual things

with unusual eyes. Ultimately Marra + Yeh creates Architecture sensitive to

its context, environmentally responsive and innovative, whilst focused on the

people that ultimately inhabit it.

They believe Architecture must serve societal and environmental systems at the same

time it satisfies the needs of a particular client. They draw inspiration from and work in

harmony with nature, engaging environmental and human ecosystems. Marra + Yeh’s

approach requires both intellect and intuition, conviction and a soft touch.

Max Pritchard Architect AustraliaBorn and raised on Kangaroo Island, Max graduated from the University of Adelaide

in 1970. The next 16 years provided a broad range of experience; intermittent archi-

tectural work, extensive overseas travel and practical building construction.

On commencing his own practice in 1986, Max received an Award of Merit of his first

project (Cooper House). His own house, completed soon after, has the distinction of

being placed on the Heritage Register 12 years after completion. The practice has

remained small, with a maximum of two staff, but has received 24 Awards and Com-

mendations from the Institute of Architects. The recently completed “Bridge House”

has received wide international coverage.

In 2004, Max received the SA Chapter President’s Medal for service to the profes-

sion, and in 2006 he was awarded Life Fellow of the Institute.

Whilst individual houses remain the core of the practice, diversity has been added

with the widely publicised Southern Ocean Lodge; work on tourism and housing

projects in Fiji and designs for a range of houses for a large volume builder.

Peter Elliott Architecture + Urban DesignAustraliaThis is an established architectural and urban design practice having commenced

in 1975. The Practice has a regular staff of 15 to 18. Peter Elliott is Principal Director

with Rob Trinca as Senior Associate, Justin Mallia and Catherine Duggan as Associ-

ates.

As Principal, Peter Elliott oversees and directs all projects. In practices of this size

it is possible for the Principal to maintain a close working relationship with the client

at every stage of the process. Accordingly, this Practice has been able to maintain

a high standard of design and delivery of quality contemporary architecture as is

acknowledged by numerous architectural awards and published works.

The Practice now carries out a diverse range of work for government departments

and agencies, secondary and tertiary education institutions, and other public author-

ities particularly in the inner urban context. Projects include, Spencer Street Foot-

bridge, the Robert Clark Horticultural Centre, Ballarat Botanic Gardens, Observatory

Gate, Royal Botanic Gardens Melbourne and RMIT university urban spaces project.

Wright Feldhusen Architects AustraliaThe dynamic architectural practice of Wright Feldhusen was formed in 1996, with

two principal architects, Tim Wright and Rachel Feldhusen.

We have traditionally been involved in residential design in Perth and Sydney, and

regional areas of Western Australia however the practice has recently taken com-

mercial and leisure commissions.

Our philosophy has always been to pursue architectural excellence in a professional

and approachable manner. wrightfeldhusen believes strongly in a thoroughness of

approach, which requires a constant and open dialogue between the client and our-

selves.

Architectural Philosophy- Architecture that is contextual, responds to its surroundings, is simple, optimistic

and offers an integral solution to a variety of design challenges.

- Contemporary approach which explores the manipulation of space, form, materials

and light.

- A desire to reflect the beauty and uniqueness of a site and its history.

- Innovative and evolving architecture.

- An architecture that is efficient and operates at optimum environmental level.

- Passionate values that challenge conventional ideas.

- A desire to contribute to the community and make a difference to our visual envi-

ronment.

acaa JapanKazuhiko Kishimoto1968 Born in Japan

1991 Graduated with a degree in architecture from Tokai University

1998 Established Atelier Cinqu architectural associates co., ltd

2004- Lecturer of Tokai University

2004- Lecturer of Tokyo Designer Gakuin College

Akihisa Hirata Architecture Office JapanAkihisa Hirata was born in Osaka in 1971. He graduated from Kyoto University,

Graduate School in 1997 and practiced in Toyo Ito & Associates. In 2005, he estab-

lished Akihisa Hirata Architecture Office. He is part-time teacher in Nihon University,

Tokyo University of Science, Kyoto University of Art and Design, and Kyoto Univer-

sity.

Selected Works2009 Architecture Concept Book “animated” Publishing

Installation “animated knot” for Canon at Fondazione La Triennale di Milano,

Milan

Chair “pq” at Fondazione La Triennale di Milano, Milan

2008 Housing project "architecure farm", Taiwan

Alps apartment, Tokyo

Information Center “ienoie” at the Yokohama Triennale

Chair “csh” at Frieze Art Fair, London

2007 Gallery S, Tokyo

Exhibition “Akihisa Hirata ? animated -“ at Prismic Gallery, Tokyo

Lisbon Architecture Triennale 2007, Lisbon

KODAMA Gallery, Tokyo

Sofu (a furniture between sofa and chair)

2006 R-MINAMIAOYAMA Building, Tokyo

House S, Nagano

Hair OORDER, Yokohama

Sarugaku, Tokyo

Project K for Kobe Steel

Selected Awards2008 JIA (The Japan Institute of Architects) New Architect Award 2007 (MASUYA)

2007 SD Review, Finalist (House S)

2004 Asakura Award of SD Review (House H)

2003 International Competition of the Environment Art Forum in Annaka, Finalist

Akira Sakamoto Architect & Associates, CASAJapanAkira Sakamoto has worked for Kinki Architect & Structure Laboratory. In 1982, he

established Akira Sakamoto Architect & Associates CASA. He is now Part-time In-

structor at Kinki University Osaka Institute of Technology Graduate School.

Selected Awards2001 Annual Architectural Design Commendation 2001, Architectural Institute of

Japan,

2001 47th Osaka Architecture Contest 1st section, 2nd section,Governor's Award

2001 6th Kansai Architects Award, Grand Prize

2001 16th Japan Federation of Architects and Building Engineers Association,

Excellent Prize

2003 Annual Architectural Design Commendation 2003, Architectural Institute of Japan

2003 Scenic Urban Landscape Award for city of Takaoka, Grand Prize

2003 Nashop Lighting Award '03 Excellent Prize

2005 Panasonic Presents Residential Lighting Award '04, Excellent Prize

2006 Panasonic Presents Residential Lighting Award '05, Juror's Choice Award

2009 24th Japan Federation of Architects and Building Engineers Association,

Excellent Prize

ALPHAVILLE JapanKentaro Takeguchi1994 Graduated from Kyoto University, the Architecture Department

1996 Studied at A.A.School in London

1998 Completed Master Degree of Kyoto University, the Architecture Department

1998 Established ALPHAVILLE

2000- Lecturer at Takarazuka Fine Arts University and Kyoto Fine Arts University

Asako Yamamoto1994 Graduated from Kyoto University, the Architecture Department

1996 Studied at Paris-La Villette School of Architecture

1997 Completed Master Degree of Kyoto University, the Architecture Department

1997 Worked at Riken Yamamoto Architecture Office

1998 Established ALPHAVILLE

2000- Lecturer at Kyoto Fine Arts University

ARTechnic architects JapanKotaro Ide1965 Born in Tokyo

1989 Graduated from the Department of Architecture, College of Art and design,

Musashino Art University

-1994 Worked at Ken Yokogawa Architects & Associates Inc.

1994- Established ARTechnic architects

Selected Works1995 SMD House in Zushi, Kanagawa

1997 Oak Terrace in Oota, Tokyo ( Apartment house)

1999 YMM House in Suginami, Tokyo

2000 MSO House in Shibuya, Tokyo

2002 Cherry Terrace Library in Shibuya, Tokyo (Commercial facility)

2003 Manazuru Studio in Manazuru, Kanagawa (Villa)

YMG House in Yokohama, Kanagawa

2005 NKM House in Shibuya, Tokyo

2008 SHELL in Karuizawa, Nagano (Villa)

FORM / Kouichi Kimura Architects JapanKouichi Kimura1960 Born in Kusatu City, Shiga prefecture, Japan

1982 Graduated from Kyoto Art College

1994 Established FORM / Kouichi Kimura Architects

MOUNT FUJI ARCHITECTS STUDIO / Masahiro Harada + MAO Japan

Masahiro Harada1973 Born in Shizuoka

1997 - 2000 Architectural office of Kengo Kuma as Chief Architect

2001 - 2002 Architectural office of Jose Antonio Martinez Lapena and Elias Torres

(Barcelona,Spain) as Chief Architect as National Fellowship for Artist

(Japanese Governmen Scholarship)

2003 Architectural office of Arata Isozak as Project Manager

2004 Established MOUNT FUJI ARCHITECTS STUDIO

2005 - Visiting professor, University of Keio

2008 - Associate professor, University of Shibaura

MAO1976 Born in Kanagawa

2004 Established MOUNT FUJI ARCHITECTS STUDIO

Selected Awards2001 Tokyo Designer’s Block 2001 Selected project

2003 SD Review 2003 Grand Prix

2004 American Wood Design Award 2004 Honor Award

2007 The Barbara Cappochin Prize for Architecture Best international works

2008 AR Awards for Emerging Architecture 2008 Honourable Mentions

NIIZEKI STUDIO JapanKenichiro Niizeki1969 Born in Japan

1995 M.Arch, Meiji University, Tokyo

1996 Founded KIKI architect & Associates, Tokyo

2002 Founded Niizeki Studio, Tokyo

Selected Works2002 YCM

2005 KMG

2006 YYU, WEP

2007 OYM, KHB, SDG

2008 NRS

2009 KGY, ZMZ, NGT

Selected Publications2004 ATM/ Techniques & architecture No.470, France

2005 KMG/ Japan Architect, No.233, Japan

2006 TCM/ Techniques & architecture No.481, France

2007 WEP/ DETAIL No.12, Japan

WEP/ Japan Architect, No.253, Japan

SDG/ DETAIL, No.20, Japan

2008 SDG/ Japan Architect, No.261, Japan

WEP/ Japan Living, Tuttle Publishing, U.S.A.

A Tranquil Box, DETAIL, 177, shokokusya, Japan

TIME & STYLE CULTURE OF LIFESCAPE” /Bijutsu Shuppan-Sha,Ltd, Japan

YMT/ Japan Architect, No.272, Japan

2009 KHB/ Japan Architect, No.278, Japan

OYM/ Japan Architect, No.84-7, Japan

Selected Awards2007 Detail Prize, Special Prize for Wood, Germany

Shin Ohori / General Design JapanShin Ohori1967 Born in Gifu

1990 Graduated from Musashino Art University

1992 Completed master’s degree in architecture at Musashino Art University’s

graduate school

1995 Being joint established Intentionallies

1999 Established General Design

Suppose Design Office JapanMakoto Tanijiri1974 Born in Hiroshima

1994 Graduated from Anabuki Design College

1994 - 1999 Worked at Motokane Achitects

1999 - 2000 Worked at HAL Architects

2000 Established Suppose design office

He is currently Professor at the Anabuki Design College

Makoto Tanijiri thinks that it is important to keep looking for something new as an

architect.

He defined his work as a chance to realize fresh ideas about buildings and relation-

ships of all interactive elements. It is a pleasure for Tanijiri to detect new potential of

architecture.

The possibility could be recognized only in a situation facing to himself with mind of

equivalency to all buildings in different scale and cost, such as a dog houses and

skyscrapers.

The architect sometimes feels that society is dismissive of accepting modern ideas,

and that is why, he wants to explore something new but also familiar to human life.

For example, people would appreciate an apple just falling off a tree more than the

one in pink or purple, which is never seen before.

Tanijiri believes that he could find the answer in daily life with having fresh eyes judg-

ing from different perspectives.

The architect never doubt that a reason people always want "new" is because they

have a strong desire of making better environment without being satisfied the pres-

ent condition.

With the aspiration to enhance the human environment, Makoto Tanijiri is contribut-

ing "new architecture" in seeking its answers to ordinary life.

UCJ architecture & environment IndiaPlacing the user centrally on the design grid while drawing from the rich, multilayered

ancient Indian building traditions typifies the work of UCJ architecture & environ-

ment. These design values have empowered UCJ architecture & environment, since

its inception in 1961 (formerly Uttam C. Jain architects & planners), in resolving

contextually specific issues and evolving design metaphors through structures and

programs that to the end users remain an ongoing, constantly clarifying process in

spatial experience. The University of Jodhpur, Jodhpur, project rendered iconic in

its use of local traditions and technologies in design; the Indira Gandhi Institute of

Development Research, Mumbai, that expresses its design intent through its graded

admittance of natural light; the Habib Ganj Railway Station, Bhopal, where the suc-

cessive arches of the Islamic city gates not only fix the contextual milieu of the city

but also facilitate thorough security provisions; the Affordable Housing project for

CIDCO, Navi Mumbai, an offering in qualitative life-spaces at affordable costs and

more recently the Capitol Complex, Naya Raipur, Chhattisgarh, where the birth of a

new state is tracked by placing at the centre the beliefs of people today unburdened

by past history. Man is the measure in the works of UCJ architecture & environment,

comprised of partners Uttam C. Jain, Chirag Jain and Shona Jain.

Aboday Architect IndonesiaAboday is an acronym of abode for david, ary and yap. Founded in late 2006 by its

three partners, it has a main office in Jakarta and representative offices in Bali and

Singapore. The practice provides full service of design, in the scale of millimeter to

kilometer. Its works have developed substantially in these past 4 years ranging from

architecture, interior design and other creative works.

Aboday projects endlessly evolve through its practice, which does not impersonate

common convention. Its works always base on specific approach rather than prede-

termined style. The goal is to create specific buildings that harmoniously connected

to its context and function.

Aboday believe that intensive dialogue is a solid foundation to support this approach.

By continuously creating mutual working environment between clients, consultants

and builders, they create an excellent design process to achieve best value of pro-

gram, budget and architectural quality.

Ary IndraBorn in Madiun,1971, Ary received his degree in architecture from Brawijaya Uni-

versity, Malang, Indonesia (1995). He has gained 12 years of post qualification

experience eversince. Prior to form Aboday in 2006, he worked for AXIS Architects

Planners in Singapore from 1998-2006 where his last position is Principal Designer.

Aside from his daily work practicing architecture, he is also a freelance writer for

some architecture and lifestyle magazine in Indonesia. He is in charge for Aboday’s

Media Relation and Publication.

Rafael DavidBorn in Cimahi 1971, Rafael received his degree in architecture from Parahyangan

University, Bandung, Indonesia; he started his career working as Assistant Architect

for few architecture practices in Singapore. Prior to form Aboday in 2005, he worked

for AXIS Architects Planners in Singapore from 2000-2006 where his last position is

Principal Designer.

Johansen YapBorn in Jakarta 1975, Johansen received his degree in architecture from Taru-

manegara University, Jakarta, Indonesia (1998), He taught in his alma mater, before

decidedly practicing as an architect in Singapore. Prior to form Aboday in 2005 he

has worked for several architecture practices in Singapore. He was awarded winner

in 2009 British Council Indonesian Young Design Entrepreneur Award, and awarded

2nd place in its International Competition in London.

Selected Works2008 DMHQ Building, 3 Storey Office Building, Jakarta

Phing House, Residential House, Sunter, Jakarta

Amaya Townhouse, 13 unit Townhouse, and 6 unit Lodge, Jatipadang, Jakarta

Cassia Townhouse, 8 unit Townhouse, Pejaten, Jakarta

Metro Office Building, 4 storey office facility in Wahid Hasyim, Jakarta

Rumah Widi, residential house, Jakarta

2009 Citadines Eightrium, 10 storey Service Apartment & Hotel, Menteng, Jakarta

EKTA Media Center, 8 storey,movie & photo studio, Jakarta

Tara House, residential house, Jakarta

Play House, residential house, Bumi Serpong Damai, Tangerang

Labuhan Sait Resort, 32 unit villas and facilities, PadangPadang, Bali

Soedarpo Informatika Center, 6 storey Office Building, Jakarta

2010 Benoa Villa, Residential Villa in Benoa, Bali

Rumah Gandun, 17 Unit Townhouse, Jakarta.

Gozzi Commercial, 7 Storey Office Building, Warung Buncit, Jakarta

Cemara Compound, residential houses, Jakarta

Swargha Ubud, 30 unit Villas and Facilities, Kadewatan, Ubud, Bali

Astra Honda Motor, Plant G, Factory, Cikarang, Jawa Barat

TWS & Partners IndonesiaIr. Tonny Wirawan Suriadjaja was born in 1972, Jakarta, Indonesia. Received archi-

tectural degree from Tarumanagara University, Indonesia.

May 1995 - July 1995

work with Gunawan Tjahjono Ph.d to design National Museum in Korea.

July 1995 - November 1995

work with Shimizu Lampiri Consultant at Jakarta as an Architect.

November 1995 - June 1998

work with Ciputra Development at Jakarta as an Architect.

June 1998 - Present

establish TWS & Partners Design Team.

Selected Works- Akmani Hotel, Jakarta, Indonesia, period 2007 - 2009

- The Ubud, Jakarta, Indonesia, period 2008 - 2009

- N House, Jakarta, Indonesia, period 2007 - 2009

- Cross House, Jakarta, Indonesia, period 2006 - 2009

- Savron Residenc, Jakarta, Indonesia, period 2009 – on going

- The Jimbaran, Jimbaran Bali, Indonesia, period 2009 – on going

- Natasha Skin Center, Bandung, Indonesia, period 2006 - 2008

- Studio 2 in 1, Jakarta, Indonesia, period 2005

- The Commerce, Jakarta, Indonesia, period 2006 - 2007

- Setia Eco Park Villa, Kuala Lumpur, Malaysia, period 2005 - 2007

- Kamandalu Resort, Ubud Bali, Indonesia, period 2008 – on going

Selected Awards- 2004 1st Winner of The Bale On The Edge Design Competition at Pecatu-Bali,

held by Trisula Corporation, Ltd

- 2007 Nominated Award of Pecatu Project – Bali, held by Orang Tua Group

- 2008 1st Prize Winner of Big Bungalow at Setia Eco Park, held by SP Setia,

Malaysia

- 2009 Selected Project for represent Indonesia in Architecture @10 Book, held by

BCI International.

architecture highlight vol.4

Documents