BMIAA'17 Catalogue by BIGMAT INTERNATIONAL ARCHITECTURE AWARD

BIGMAT HEADQUARTERS BIGMAT BELGIUM Zoning Industriel de Rhisnes Rue du Fond du Maréchal, 6 B - 5020 SUARLÉE Phone: +32 81 40 87 40 Website: www.bigmat.be BIGMAT CZECH REPUBLIC VGP/A1, Sezemická 2757/2 193 00 PRAHA 9 Phone: +420 776 777 867 Website: www.bigmat-stavebniny.cz BIGMAT SLOVAKIA Za Hronským mostom 4750/16A 960 01 ZVOLEN Phone: +00421 45 5551 311 Website: www.bigmat.sk

BIGMAT INTERNATIONAL ARCHITECTURE AWARD 2017

THE BIGMAT GROUP, HOME OF BUILDERS Created more than 35 years ago. BigMat is the first international chain of independent traders for construction materials. The group is present in 7 countries in Europe with 909 sales outlets and 495 members: France, Spain, Portugal, Italy, Belgium, Czech Republic, and Slovakia.

BIGMAT INTERNATIONAL ARCHITECTURE AWARD GRAND PRIZE Lacaton & Vassal

NATIONAL PRIZES

BELGIUM Multiple Architecture & Urbanisme CZECH REPUBLIC A69 – Architekti ITALY C+S Architects PORTUGAL Álvaro Siza Vieira / Eduardo Souto de Moura SLOVAKIA ZeroZero SPAIN Mansilla + Tuñon Architects

CATEGORY PRIZES

BIGMAT FRANCE 14 Boulevard Poissonnière 75009 PARIS Phone: +33 1 53 32 80 30 Website: www.bigmat.fr

MUOTO

BIGMAT ITALY Centro Direzionale Colombirolo Via Roma, 74 l-20060 Cassina De’Pecchi, MILAN Phone: +39 02 95 34 48 36 Website: www.bigmat.it

José María Sánchez García Arquitectos

BIGMAT IBERIA Avenida de los Pirineos, 7°, 1ª planta E - 28700 San Sebastián de los Reyes, MADRID Phone: +34 916 23 71 60 Website: www.bigmat.es

PUBLIC PRIZE

BIGMAT INTERNATIONAL 42-44 Avenue de la gare L-1470 LUXEMBOURG Phone: +352 28 4878 1075 Website: www.bigmat.com

Éric Lapierre Experience João Mendes Ribeiro Arquitecto Lda. Menos é Mais Pedro Matos Gameiro

MGM, Morales de Giles Arquitectos S.L.P. HONORIFIC SPECIAL MENTION YOUNG ARCHITECTS H3T Architekti

Pedro Mauricio Borges

BIGMAT INTERNATIONAL ARCHITECTURE AWARD 2017

BIGMAT INTERNATIONAL ARCHITECTURE AWARD GRAND PRIZE Lacaton & Vassal

NATIONAL PRIZES

CATEGORY PRIZES

BIGMAT FRANCE 14 Boulevard Poissonnière 75009 PARIS Phone: +33 1 53 32 80 30 Website: www.bigmat.fr

MUOTO

BIGMAT ITALY Centro Direzionale Colombirolo Via Roma, 74 l-20060 Cassina De’Pecchi, MILAN Phone: +39 02 95 34 48 36 Website: www.bigmat.it

José María Sánchez García Arquitectos

BIGMAT IBERIA Avenida de los Pirineos, 7°, 1ª planta E - 28700 San Sebastián de los Reyes, MADRID Phone: +34 916 23 71 60 Website: www.bigmat.es

PUBLIC PRIZE

BIGMAT INTERNATIONAL 42-44 Avenue de la gare L-1470 LUXEMBOURG Phone: +352 28 4878 1075 Website: www.bigmat.com

Éric Lapierre Experience João Mendes Ribeiro Arquitecto Lda. Menos é Mais Pedro Matos Gameiro

MGM, Morales de Giles Arquitectos S.L.P. HONORIFIC SPECIAL MENTION YOUNG ARCHITECTS H3T Architekti

Pedro Mauricio Borges

â&#x20AC;&#x2122;17 INTERNATIONAL ARCHITECTURE AWARD

INDEX

BIGMAT INTERNATIONAL ARCHITECTURE AWARD CLAUDE COUTANT

A LEADING AWARD JESÚS APARICIO

COMMENTS OF THE JURY 16 WINNING PROJECTS BIGMAT INTERNATIONAL ARCHITECTURE AWARD GRAND PRIZE. FRANCE Frac (Regional Contemporary 46 Artwork Collection) of the North Region Lacaton & Vassal

NATIONAL PRIZE. BELGIUM A Building-square 60 Multiple Architecture & Urbanisme NATIONAL PRIZE. CZECH REPUBLIC The Prototype of the House in Posazavi 70 A69 – Architekti NATIONAL PRIZE. ITALY Law Court Offices in Venice 80 C+S Architects NATIONAL PRIZE. PORTUGAL Abade Pedrosa Municipal Museum 90 Álvaro Siza Vieira / Eduardo Souto de Moura NATIONAL PRIZE. SLOVAKIA Footbridge Sulin 100 ZeroZero NATIONAL PRIZE. SPAIN Royal Collection Museum 110 Mansilla + Tuñon Architects

CATEGORY PRIZE Public Condenser 120 MUOTO CATEGORY PRIZE 86 Collective Housing Units 126 Éric Lapierre Experience CATEGORY PRIZE Arquipélago Contemporary Arts Centre 132 João Mendes Ribeiro Arquitecto Lda Menos é Mais CATEGORY PRIZE House in Alfama 138 Pedro Matos Gameiro CATEGORY PRIZE Factory of Electrical Assembly 144 José María Sánchez García Arquitectos CATEGORY PRIZE Consolidation and Adaptation 150 of the Ancient Convent of Santa Maria de los Reyes and its Gardens MGM, Morales de Giles Arquitectos S.L.P.

HONORIFIC SPECIAL MENTION YOUNG ARCHITECTS Black Flying House 156 H3T Architekti

PUBLIC PRIZE Quinta da Tilia 162 Pedro Mauricio Borges SELECTED PROJECTS

168

BIOGRAPHIES

188

ENGLISH

CLAUDE COUTANT PRESIDENT OF BIGMAT INTERNATIONAL

BIGMAT INTERNATIONAL ARCHITECTURE AWARD

After Granada and Berlin, the third edition of the BigMat International Architecture Award will be held this year in Florence, a veritable open air museum and city of legend for all lovers of art, history and architecture. Birthplace of the Italian Renaissance and pre-eminent centre of artistic development, what better city than Florence to represent our award? This year, the award has been broadened with the participation of Slovakia: an example of the growth and evolution of the BigMat Group. An ambitious architecture award that is moving forward in this edition with a new structure and paying ever greater attention to diverse facets of the world of construction. Indeed, the addition of categories to the award (Sustainability and innovative use of material – Architecture – City and landscape – Rehabilitation – Temporary architecture – Interior design) aims to strengthen the bond between our profession as distributors of building material and ever ready to advise and offer solutions for construction and, in the broader sense, the world of architecture. Owing to the support and involvement of our company year in and year out, the award is arousing great interest throughout Europe, especially in countries where we are present. A true cause of pride for our group. Due to the international scale of the award, we are attaining greater proximity to architects. With this dynamic, not only have we added new categories to the structure of the prize, but we have also created a Public Choice Award which allows the community of architects and the public at large to express their preferences among the projects selected in every country. Edition after edition, the objective of the BMIAA remains the same: to do our own small part in the construction of quality projects. Building with professionalism enhances comfort and well-being both socially and economically, and also leaves a legacy for generations to come. We want to thank all the architects who participate in our award every year, but also all actors and people involved in this project. CLAUDE COUTANT PRESIDENT OF BIGMAT INTERNATIONAL

INTERNATIONAL ARCHITECTURE AWARD

FRANÇAIS

ČESKÝ

BIGMAT PRIX INTERNATIONAL D’ARCHITECTURE

BIGMAT MEZINÁRODNÍ CENA ZA ARCHITEKTURU

Après Grenade et Berlin, la troisième édition du BigMat International Architecture Award s’est conclue à Florence, véritable musée à ciel ouvert et lieu mythique pour tous les amateurs d’art, d’histoire et d’architecture.

Po Granadě a Berlínu se třetí ročník BigMat International Architecture Award bude konat ve Florencii, ve skutečném muzeu pod širým nebem a na mýtickém místě všech milovníků umění, historie a architektury.

Berceau de la renaissance italienne, et centre d’évolution artistique majeure, quelle autre ville pouvait mieux incarner l’image de notre prix que Florence?

Kolébka italské renesance a nejdůležitější centrum uměleckého vývoje. Které jiné město by mohlo lépe ztělesňovat obraz naší ceny než Florencie?

Cette année, il s’est élargi avec la participation de la Slovaquie; témoignant ainsi de l’évolution et de la croissance du groupe BigMat.

Tento rok se bude ceny účastnit i Slovensko, další důkaz toho, jak se naše skupina rozrůstá.

Un prix de l’architecture ambitieux, et qui, à l’occasion de cette édition, évolue en adoptant une nouvelle structure accordant une attention particulière aux différentes facettes du monde de la construction. En effet, l’intégration des catégories dans le prix (Durabilité et utilisation innovante du matériau – Architecture – Ville et paysage – Rénovation – Architecture éphémère – Architecture d’intérieur) a pour objectif de mieux valoriser les liens qui unissent notre métier de distributeurs de matériaux, toujours disposés pour conseiller et offrir des solutions pour le bâtiment, et au sens plus ample au monde de l’architecture qui en est à l’origine. Grâce à l’appui et à l’implication de notre enseigne, le prix suscite toujours plus d’intérêt dans le cadre européen et notamment dans tous les pays où nous sommes présents. Une véritable fierté pour notre groupe qui, grâce à la dimension internationale du Prix, jouit d’une réelle proximité avec les architectes. C’est suivant cette dynamique que nous avons non seulement intégré des catégories dans la structure du prix, mais également créé le Prix du Public, permettant à la communauté des architectes ainsi que le grand public au sens large d’exprimer leurs préférences parmi les projets sélectionnés à travers les pays participants. Edition après édition, l’objectif du BMIAA reste le même: apporter notre pierre à la construction résultant de projets de qualité. Construire bien favorise le confort et le bien-être de tous, du point de vue sociale comme économique, permettant également de léguer un héritage aux générations futures. Nous souhaitons remercier tous les architectes qui participent de plus en plus à notre Prix, mais aussi tous les acteurs et personnes impliqués dans cette réalisation.

Ambiciózní cena za architekturu, která se u příležitosti tohoto ročníku vyvíjí, přijímá novou strukturu a zvláštní pozornost je věnována různým podobám světa stavebnictví. Začlenění jednotlivých kategorií do ceny (Stálost a inovativní využívání materiálů - Architektura - Město a krajina – Renovace - Pomíjivá architektura - Architektura interiérů) má za cíl lépe zhodnotit vztahy, které spojují naše povolání distributorů stavebních materiálů, jež jsme vždy připraveni poskytnout radu a nabídnout řešení pro stavbu, a v širší rovině pro svět architektury, který stojí v počátcích každé stavby. Díky podpoře a zapojení naší značky jsme svědky, ročník za ročníkem, čím dál tím většího zájmu napříč Evropou, zejména v zemích, kde máme zastoupení. Skutečná chlouba naší skupiny, která díky mezinárodnímu rozměru Ceny, nás přibližuje k architektům. Díky této dynamice jsme nejen zařadili nové kategorie do struktury ceny, ale také jsme vytvořili Cenu veřejnosti, která umožňuje architektům a široké veřejnosti vyjádřit své preference ohledně vybraných projektů z jednotlivých zemí. Ročník za ročníkem zůstává cíl BMIAA stejný: přispět k výstavbě kvalitních projektů. Výstavba podporuje komfort a pohodu jak z hlediska sociálního, tak z hlediska ekonomického a umožňuje odkázat toto dědictví budoucím generacím. Chtěli bychom poděkovat všem architektům, kteří se čím dál tím více účastní naší Ceny, ale také všem aktérům a osobám, které se podílejí na realizaci. CLAUDE COUTANT PREZIDENTKA BIGMAT INTERNATIONAL

CLAUDE COUTANT PRÉSIDENTE DE BIGMAT INTERNATIONAL

CLAUDE COUTANT PRESIDENT OF BIGMAT INTERNATIONAL

ITALIANO

PORTUGUÊS

BIGMAT PREMIO INTERNAZIONALE DI ARCHITETTURA

BIGMAT PRÉMIO INTERNACIONAL ARQUITETURA

Dopo Granada e Berlino, si conclude la terza edizione del BigMat International Architecture Award a Firenze, museo a cielo aperto e luogo mitico per tutti gli amanti dell’arte, della storia e dell’architettura.

Depois de Granada e Berlim, a terceira edição do BigMat International Architecture Award teve lugar em Florença, verdadeiro museu a céu aberto e lugar mítico para todos os amantes da arte, da história e da arquitetura.

Culla del Rinascimento italiano e fondamentale centro di evoluzione artistica: quale altra città, se non Firenze, avrebbe potuto incarnare al meglio l’immagine del nostro premio?

Berço do Renascimento italiano, e centro preponderante de evolução artística, que outra cidade poderia encarnar melhor a imagem do nosso prémio do que Florença?

Quest’anno, il premio s’ingrandisce con la partecipazione della Slovacchia, a testimonianza dell’evoluzione e della crescita del gruppo BigMat.

Este ano, alargou-se com a participação da Eslováquia, prova da evolução e do crescimento do grupo BigMat.

Un premio d’architettura ambizioso che in questa edizione si evolve, adottando una nuova struttura e prestando particolare attenzione alle diverse sfaccettature del mondo dell’edilizia. L’inserimento di nuove categorie al premio (Sostenibilità e uso innovativo dei materiali – Architettura – Città e paesaggio – Ristrutturazione – Architettura effimera – Architettura d’interni) ha per obiettivo valorizzare al massimo i legami che uniscono il nostro settore dei distributori di materiali edili, sempre disposti a offrire consulenza e soluzioni per l’edilizia, al mondo in senso lato dell’architettura, da cui essa si origina.

Um prémio de arquitetura ambicioso, e que, por ocasião desta edição, evolui com a adoção de uma nova estrutura, dando uma especial atenção às diferentes facetas do mundo da construção. De facto, a integração das categorias no prémio (Sustentabilidade e utilização inovadora do material – Arquitetura – Cidade e paisagem – Reabilitação – Arquitetura efémera – Design de interiores) tem por objetivo uma melhor valorização das ligações que unem o nosso trabalho de distribuidores de materiais, sempre dispostos a aconselhar e oferecer soluções para a construção, e, no sentido mais amplo, o mundo da arquitetura que se encontra na sua origem.

Grazie al sostegno e all’impegno della nostra insegna, con il passare delle edizioni, il premio suscita sempre più interesse in Europa, principalmente in tutti i paesi in cui siamo presenti. È motivo di grande orgoglio per il nostro gruppo, che grazie alla dimensione internazionale del Premio, gode di una relazione di speciale prossimità con gli architetti.

Graças ao apoio e à implicação da nossa empresa, edição após edição, o prémio suscita cada vez mais interesse a nível europeu, nomeadamente em todos os países nos quais estamos presentes. Um verdadeiro orgulho para o nosso grupo que, graças à dimensão internacional do Prémio, goza de uma real proximidade com os arquitetos.

Seguendo questa logica, non solo abbiamo inserito le categorie nella struttura del premio, ma abbiamo anche creato il Premio del Pubblico, che consente sia alla comunità degli architetti che al pubblico generale di esprimere le proprie preferenze fra i progetti selezionati nei vari paesi.

Foi nessa perspetiva que integrámos não só categorias na estrutura do prémio, como também criámos o Prémio do Público, permitindo dessa forma, à comunidade de arquitetos assim como ao público no sentido mais geral, expressar as suas preferências entre os projetos selecionados através dos países.

In ogni edizione, l’obiettivo del BMIAA è sempre lo stesso: offrire il nostro contributo al mondo dell’edilizia, consentendo la creazione di progetti di qualità. Costruire bene permette di aumentare il comfort e il benessere di tutti dal punto di vista sociale ed economico, consentendo al tempo stesso di lasciare un retaggio alle generazioni future.

Edição após edição, o objetivo do BMIAA mantém-se: contribuir com a nossa pedra à construção de projetos de qualidade. Construir bem favorece o conforto e o bem-estar de todos do ponto de vista social e económico, permitindo também deixar um legado às futuras gerações.

Ringraziamo tutti gli architetti che partecipano sempre più numerosi al nostro Premio, ma anche tutti coloro che sono coinvolti in questa realizzazione.

Gostávamos de agradecer a todos os arquitetos que participam cada vez mais no nosso Prémio, mas sobretudo a todas as pessoas e agentes implicados na sua realização.

CLAUDE COUTANT

PRESIDENTE BIGMAT INTERNATIONAL

PRESIDENTA DA BIGMAT INTERNATIONAL

INTERNATIONAL ARCHITECTURE AWARD

SLOVENSKÝ

ESPAÑOL

BIGMAT MEDZINÁRODNÁ CENA ARCHITEKTÚRY

BIGMAT PREMIO INTERNACIONAL DE ARQUITECTURA

Po Granade a Berlíne, tretí ročník BigMat International Architecture Award vrcholí vo Florencii, ktorá je autentickým múzeom pod holým nebom a mýtickým miestom pre všetkých milovníkov umenia, histórie a architektúry.

Después de Granada y Berlín, la tercera edición del BigMat International Architecture Award culmina en Florencia, un auténtico museo a cielo abierto y lugar mítico para todos los amantes del arte, la historia y la arquitectura.

Kolíska talianskej Renesancie a neodškriepiteľné stredisko umeleckého vývoja. Ktoré iné mesto odráža obraz našej ceny lepšie ako Florencia?

Cuna del Renacimiento italiano y centro de evolución artística indiscutible, ¿qué mejor ciudad que Florencia para encarnar la imagen de nuestro Premio?

Tento rok sa cena rozšírila o účasť Slovenska: čo je príklad rastu a vývoja skupiny BigMat.

Este año, el Premio se ha ampliado con la participación de Eslovaquia: un ejemplo del crecimiento y la evolución del grupo BigMat.

Ide o ambicióznu architektonickú súťaž, ktorá sa v tomto ročníku rozvíja s novou štruktúrou a ktorá postupne venuje čoraz väčšiu pozornosť rôznym aspektom sveta stavebníctva. Cieľom zahrnutia kategórií do ceny (udržateľnosť a inovačné použitie materiálov – architektúra – mesto a krajina – obnova – efemérna architektúra – interiérová architektúra) je posilniť prepojenie, ktoré spája našu profesiu ako distribútorov stavebných materiálov vždy pripravených poradiť a ponúknuť riešenia pre stavebníctvo a v širšom slova zmysle aj pre svet architektúry. Každý nový ročník podporuje a rozširuje našu značku, vďaka čomu súťaž vzbudzuje veľký záujem na európskej úrovni, obzvlášť vo všetkých krajinách, kde pôsobíme. Pre našu skupinu je skutočnosť, že sa vďaka medzinárodnej dimenzii ceny približuje k architektom, dôvodom na hrdosť. Touto dynamikou sme nielen integrovali kategórie do štruktúry ceny, ale tiež sme vytvorili Cenu verejnosti, ktorá umožňuje komunite architektov, ale aj širokej verejnosti vyjadriť svoje preferencie medzi projektami vybranými vo všetkých krajinách. Cieľ BMIAA je v každej edícii rovnaký: prispieť svojou trochou do mlyna na výstavbu kvalitných projektov. Stavať profesionálne podporuje komfort a blahobyt z hľadiska sociálneho a ekonomického a zároveň umožňuje zanechať dedičstvo budúcim generáciám. Chceme poďakovať všetkým architektom, ktorí sa každý rok do našej súťaže zapájajú, ale tiež všetkým zúčastneným a osobám, ktoré sú do projektu zapojené. CLAUDE COUTANT PREDSEDKYŇA BIGMAT INTERNATIONAL

Un premio de arquitectura ambicioso, que evoluciona en esta edición con una nueva estructura y que cada vez presta una mayor atención a las distintas facetas del mundo de la construcción. De hecho, la integración de las categorías en el premio (Sostenibilidad y uso innovador de materiales – Arquitectura – Ciudad y paisaje – Rehabilitación – Arquitectura efímera – Interiorismo) tiene como objetivo reforzar el vínculo que une nuestra profesión como distribuidores de materiales de construcción dispuestos en todo momento a asesorar y ofrecer soluciones para la construcción, y en un sentido más amplio, al mundo de la arquitectura. Gracias al apoyo y a la implicación de nuestra marca edición tras edición, el premio suscita un gran interés a nivel europeo, especialmente en todos los países en los que estamos presentes. Un auténtico orgullo para nuestro grupo que, gracias a la dimensión internacional del premio, se acerca a los arquitectos. Con esta dinámica, no solo hemos integrado categorías en la estructura del premio, sino también hemos creado el Premio del público que permite a la comunidad de arquitectos y al gran público en un sentido amplio expresar sus preferencias entre los proyectos seleccionados en todos los países. Edición tras edición, el objetivo del BMIAA sigue siendo el mismo: aportar nuestro grano de arena a la construcción de proyectos de calidad. Construir con profesionalidad favorece el confort y el bienestar desde los puntos de vista social y económico y asimismo dejar un legado a las siguientes generaciones. Queremos dar las gracias a todos los arquitectos que participan en nuestro premio cada año, aunque también a todos los actores y personas implicadas en este proyecto. CLAUDE COUTANT PRESIDENTA DE BIGMAT INTERNATIONAL

CLAUDE COUTANT PRESIDENT OF BIGMAT INTERNATIONAL

ENGLISH

JESÚS APARICIO PRESIDENT OF THE AWARD

A LEADING AWARD BIGMAT ’17 Conceived twelve years ago, this year marks the sixth incarnation of the biennial BigMat Architecture Award. The competition is open to all architects, and this year’s event has attracted upwards of 850 entries from the seven eligible regions of Europe in which the BigMat Group operates, namely the Walloon Region of Belgium, the Czech Republic, France, Italy, Portugal, Slovakia and Spain. Yet the success of this year’s prize has not only been in the numbers, but also in the quality of the entries. Many of the projects put forward were created by some of the most renowned architects operating within the eligible regions set out in the terms and conditions of the competition. We could not have achieved so many high-quality entries over the years without the ongoing support of the BigMat Group, which is widely known for its outstanding intellectual autonomy, and without such a prestigious International Panel. This year round, the panel I had the honour of presiding over comprised Marc Barani, Paulo David, Xaveer de Geyter, Francesco Isidori and Henrieta Moravcíková. Following careful thought, we short-listed thirteen essential works of architecture, all located in the various European countries eligible for the award. Works featuring all manner of budgets, concepts and uses. Works affecting both landscape and cityscape. Works enhancing existing architecture or forming new construction. Yet all of them without doubt hugely impressive examples of contemporary architecture.

INTERNATIONAL ARCHITECTURE AWARD

BELGIUM The short-listed project for Belgium is a combination of building and square that accurately yet sensitively and freely resolves the problem of the tricky urban environment in which they now live. CZECH REPUBLIC We have two finalists from the Czech Republic. A prototype house in Posazavi featuring a self-supporting structure that can be prefabricated and erected on a sturdy rocky surface. The structure of the house is equally as impressive as its functional aspects. The other finalist is the Black Flying House; an hugely original hanging room that can be installed in a number of different ways and which in this case is installed under an existing railway arch. FRANCE France has contributed three finalists to the 2017 edition of the BigMat International Architecture Award. The first of these is the FRAC building. The panel held a positive view of the creator’s decision not to restore, but rather duplicate and remodel an existing industrial facility, maintaining the volume and size of the existing building to therefore double the amount of available space. The second finalist is the Public Condenser building. Here the panel was swayed by the functional integration or condensing of public activities within the building, made possible thanks to a structure that elegantly superimposes the different spaces and activities. ITALY Italy’s short-listed project is located in the city of Venice. Here we have a courthouse featuring a dark and slender design, which the panel feels conveys the neutrality and elegance needed of an administrative building situated in an environment and city of such heritage and value

PORTUGAL Three finalists were selected from Portugal. The first of these, the Abade Pedrosa municipal museum in San Tirso, is a piece that blends seamlessly with the surrounding architecture while creating a break between the two buildings and deftly adding the intended functionality. The second finalist is House in Alfama, which paradoxically yet brilliantly combines the rotundity and sensitivity of its spaces, while integrating and making the building the unassuming protagonist of its neighbourhood. Last but not least from Portugal we have Arquipélago, a contemporary arts centre located in the Azores. Here the panel was impressed with the sensitivity shown in the design, which combines restoration with new construction work, leading, respectively, to a dark construction and another clad in white. SLOVAKIA Moving the Slovakia, the short-listed project is a pedestrian bridge made from reinforced concrete, the design of which is a logical product of the function it serves and of the structure needed to create the work in the chosen material. SPAIN Three of the short-listed projects were made in Spain. The buildings come from different parts of the country and respond to different functional requirements relating to both the business world and the cultural realm. The first of the projects is an electrical assembly workshop located in Extremadura, where we were impressed by the clever use of materials and geometry, the result being a place of work that is closed to the outside yet bright inside. The second of the Spanish finalists is a project that enhances a former convent in Seville, sensitively transforming its exterior while recovering the garden and plants across its various patios. The third is a sprawling museum that further enhances Madrid’s most iconic cityscape known as “la Cornisa”, tying in beautifully with the existing Royal Palace. JESÚS Mª APARICIO GUISADO ARCHITECT PRESIDENT OF THE AWARD

JESÚS APARICIO PRESIDENT OF THE AWARD

FRANÇAIS

UN PRIX DE RÉFÉRENCE BIGMAT ’17 Après douze ans de trajectoire, la biennale du Prix d’architecture BigMat atteint sa sixième édition. Il s’agit d’un concours auquel les architectes peuvent se présenter librement, et ils l’ont fait en masse, en soumettant plus de 850 projets issus des sept pays d’Europe dans lesquels le groupe BigMat est présent et où se déroule le concours : Belgique (Région wallonne), République tchèque, France, Italie, Portugal, Slovaquie et Espagne. En outre, le succès de ce concours n’a pas été que quantitatif, mais aussi qualitatif. Nous pouvons affirmer sans aucun doute que parmi les projets présentés, la majorité réalisée par les grands architectes des pays mentionnés, on retrouvait l’espace temporel défini dans le règlement du concours. Nous n’aurions pas pu atteindre la qualité et la quantité de ce prix sans le soutien, d’une part, du groupe BigMat et de son respect pour l’autonomie intellectuelle, et d’autre part, des prestigieux membres du jury international des différentes éditions. À l’occasion de cette sixième édition, le jury que j’ai eu l’honneur de présider était composé de Marc Barani, Paulo David, Xaveer de Geyter, Francesco Isidori et Henrieta Moravčíková. Le résultat : la sélection de treize œuvres architecturales indispensables, situées dans les pays d’Europe où le concours est organisé. Des œuvres aux budgets, concepts et usages en tout genre, des œuvres qui modifient le territoire et l’urbanisme, des œuvres intervenant sur des éléments déjà présents ou des œuvres nouvelles. Dans tous les cas, de grandes œuvres de l’architecture contemporaine. BELGIQUE Le projet finaliste belge est un ensemble composé d’un bâtiment et d’une place qui apporte une solution sensible, libre et précise au problème urbain de l’environnement dans lequel il s’insère. RÉPUBLIQUE TCHÈQUE Deux projets finalistes ont été sélectionnés en République tchèque. Un prototype de maison à Posázaví qui propose une structure autoporteuse pouvant être préfabriquée et placée sur des éléments pierreux dans le paysage. La structure est en parfaite harmonie avec la fonctionnalité de la maison. L’autre projet finaliste est la Black Flying House, une proposition originale de chambre pouvant être installée dans diverses circonstances, ici suspendue à une arcade préexistante. FRANCE Trois finalistes français ont été retenus à l’occasion de l’édition 2017 du BigMat International Architecture Award. Le premier d’entre eux est le bâtiment FRAC, pour lequel le jury a apprécié, en tant que solution à la réhabilitation,

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la décision de dupliquer une salle existante avec des touches contemporaines et en maintenant le volume initial pour doubler ainsi l’espace disponible. Le deuxième projet est le bâtiment Public Condenser. Dans ce projet, le jury a salué l’intégration fonctionnelle d’activités publiques qui se condensent dans le bâtiment, rendue possible grâce à une structure qui permet gracieusement de superposer les espaces composant cette architecture. ITALIE Le projet finaliste italien se trouve à Venise. Il s’agit d’un tribunal construit dans un volume sombre, svelte et strict, pour lequel le jury a apprécié l’apport de la neutralité et de l’élégance nécessaires à un bâtiment administratif entouré par un patrimoine d’une si grande valeur. PORTUGAL Trois finalistes ont été sélectionnés au Portugal. L’un d’entre eux est le musée municipal Abade Pedrosa de San Tirso. Il s’agit d’une pièce sagement intégrée au site monumental pour servir de césure entre les pièces tout en constituant une solution fonctionnelle. Le deuxième projet finaliste est la maison à Alfama, une résidence qui combine paradoxalement, mais avec brio, la netteté et la sensibilité de ses espaces avec l’intégration et le protagonisme de sa silhouette par rapport au quartier dans lequel elle se trouve. Le troisième projet finaliste du Portugal est Arquipélago, un centre d’art contemporain aux Açores. Dans ce projet, le jury a apprécié la sensibilité de l’intervention qui combine la restauration et la nouvelle construction, ce qui se traduit respectivement par l’architecture d’une construction sombre avec une annexe blanche. SLOVAQUIE En Slovaquie, le projet finaliste est un pont piéton en béton armé, dont le tracé suit logiquement la fonction à offrir et la structure nécessaire pour le réaliser dans ce matériau. ESPAGNE Trois projets finalistes sont espagnols. Les œuvres se trouvent dans différentes régions d’Espagne et répondent à divers besoins fonctionnels liés à la production professionnelle et à la culture. Le premier projet est un atelier d’assemblage électrique situé en Estrémadure. On y observe une utilisation précise du matériel et de la géométrie pour définir un lieu de travail hermétique à l’extérieur et lumineux à l’intérieur. Le deuxième finaliste espagnol est un projet qui consolide un ancien couvent à Séville en transformant son extérieur à l’aide d’une simple récupération du jardin et de la végétation existante dans ses cours. Le troisième finaliste est un grand musée qui vient compléter la corniche madrilène en dialoguant avec le Palais royal préexistant et en contribuant à former ce profil caractéristique de la ville. JESÚS Mª APARICIO GUISADO ARCHITECTE PRÉSIDENT DU PRIX

ČESKÝ

REFERENČNÍ CENA BIGMAT ’17 Po dvanácti letech existence Cena za architekturu BigMat, pořádaná každé dva roky, vstupuje do šestého ročníku. Jedná se o soutěž, do které se mohou volně přihlásit architekti pocházející ze sedmi evropských zemí, kde má skupina BigMat zastoupení - Valonsko v Belgii, Česká republika, Francie, Itálie, Portugalsko, Slovensko a Španělsko. Letos je do soutěže přihlášeno více než 850 projektů. Úspěch tohoto ročníku je nejen kvantitativní, ale i kvalitativní. Je možné konstatovat, že mezi předloženými projekty jsou díla realizovaná významnými architekty v daných oblastech a v časovém období definovaném soutěží. Nebylo by možné dosáhnout této kvality a kvantity bez pomoci Skupiny BigMat a jejího respektu vůči intelektuální nezávislosti, a zároveň bez vysoké prestiže členů mezinárodní poroty, kteří se zúčastnili jednotlivých ročníků. Tento rok v porotě, které mám tu čest předsedat, zasedli Marc Barani, Paulo David, Xaveer de Geyter, Francesco Isidori a Henrieta Moravčíková. Výsledkem je výběr třinácti architektonických děl, umístěných v evropských zemích, které se Ceny účastní. Jedná se o díla různých rozpočtů, konceptů a účelu. Díla, která ovlivňují dané území a město. Díla, která se týkají již existujícího, nebo jsou zcela novým počinem. U všech je ale možné říci, že se jedná o velká díla soudobé architektury.

ITÁLIE Italský finálový projekt se nachází v Benátkách. Jedná se o soudní budovu postavenou ve tmavém, štíhlém a strohém stylu. Porota ocenila neutralitu a eleganci potřebnou pro správní budovu umístěnou v prostředí s tak vysokou památkovou hodnotou. PORTUGALSKO Za Portugalsko byly vybrány tři finálové projekty. Jedním z nich Městské muzeum Abade Pedrosa v San Tirso. Jedná se o dílo, které je velmi moudře začleněno do Monumentálního celku, a jež slouží jako předěl mezi jednotlivými částmi. Zároveň dobře řeší funkci, ke které je určeno. Dalším finálovým projektem je dům v Alfama, obydlí, kde se paradoxně dokonale snoubí energičnost a citlivost prostoru, stejně jako integrace a hlavní role díla ve čtvrti, kde se nachází. Posledním portugalským finálovým projektem je Arquipélago, centrum soudobého umění na Azorech. U tohoto projektu porota ocenila citlivost zásahu, ve kterém se kombinuje rekonstrukce a stavba nového podlaží. Výsledkem je tmavá architektonická stavba s bílým zakončením. SLOVENSKO Na Slovensku je finálovým projektem pěší lávka z železobetonu, jejíž nárys je logickým důsledkem funkce, které má sloužit, a struktury potřebné pro realizaci z daného materiálu.

V tomto případě je zavěšen pod již existujícím rámem.

ŠPANĚLSKO Španělské finálové projekty jsou tři. Budovy se nacházejí v různých částech země a plní nejrůznější funkce, od podnikové výroby po kulturu. Prvním projektem je dílna elektrické montáže v Extremaduře. U té je třeba vyzdvihnout energické využití materiálu a geometrie, díky čemuž bylo vytvořeno pracovní místo zvenku hermeticky uzavřené a prosvětlené zevnitř. Druhý španělský finálový projekt se nachází ve starém konventu v Seville. Vnitřek byl citlivě přetvořen a byla zachována existující vegetace na dvorech. Třetím finálovým projektem je velké muzeum, které doplňuje madridské prostředí a navazuje dialog s dříve existujícím Královským palácem. Podílí se na vytvoření charakteristického profilu města.

FRANCIE

JESÚS Mª APARICIO GUISADO

Francie má v tomto ročníku Ceny BigMat International

ARCHITEKT

Architecture Award tři finalisty. Prvním z nich je budova

PREZIDENT CENY

BELGIE Belgický finálový projekt představuje celek tvořený budovou a náměstím, které řeší s citlivostí, svobodou a přesností městský problém krajiny, do které jsou zasazeny. ČESKÁ REPUBLIKA V České republice jsou dva finálové projekty. Prototyp domu v Posázaví, který nabízí samonosnou strukturu, jež se může prefabrikovaná umístit na kamenné prvky v krajině. Struktura domu je řešena jednotně s jeho funkčností. Druhým finalistou je Černý létající dům, originální návrh přístřešku, který je možné instalovat v různých podmínkách.

FRAC. Porota zde ocenila jako alternativu k rekonstrukci rozhodnutí rozšířit pomocí soudobých plánů existující halu. Byl zachován objem předchozí a zdvojnásobil se dostupný prostor. Druhým finálovým projektem je budova Public Condenser. U tohoto projektu je třeba dle poroty vyzdvihnout funkční integraci veřejných aktivit, které se soustředí v budově. To je možné díky struktuře, jež je velmi krásná a vytváří nad sebou poskládané prostory, jež tvoří tuto architekturu.

JESÚS APARICIO PRESIDENT OF THE AWARD

ITALIANO

UN PREMIO DI RIFERIMENTO BIGMAT ’17 Dopo un percorso di dodici anni, il Premio biennale BigMat di Architettura giunge alla sua sesta edizione. Si tratta di un Premio a cui possono partecipare liberamente gli architetti, che lo hanno fatto numerosi, presentando oltre 850 progetti, provenienti dalle sette zone europee in cui è presente il gruppo BigMat e dov’è indetto il Premio (la Vallonia in Belgio, la Repubblica Ceca, la Francia, l’Italia, il Portogallo, la Slovacchia e la Spagna). Tuttavia, il successo di quest’edizione non è stato solo quantitativo, bensì qualitativo. Si può affermare senza ombra di dubbio che fra i progetti presentati vi sono molte opere di grandi architetti, nella circoscrizione spaziotemporale definita dal regolamento del concorso. Sarebbe da una parte impossibile raggiungere l’obiettivo qualitativo e quantitativo che ostenta il Premio senza il sostegno del Gruppo BigMat e il suo rispetto nei confronti dell’autonomia intellettuale del Premio, e dall’altra senza il notevole prestigio dei membri della Giuria Internazionale, nelle sue diverse edizioni. In questa edizione, la Giuria che ho avuto l’onore di presiedere, è composta da Marc Barani, Paulo David, Xaveer de Geyter, Francesco Isidori e Henrieta Moravcíková. Il risultato: la scelta di tredici opere architettoniche indispensabili, situate nei paesi europei del Premio. Opere con diversi budget, concetti e usi. Opere che influenzano il territorio e la città. Opere che intervengono su elementi esistenti o completamente nuove. Ma di tutte si può affermare che sono grandi opere dell’architettura contemporanea. BELGIO Il progetto finalista per il Belgio è l’insieme di un edificio e una piazza, che risolvono con sensibilità, libertà e precisione il problema urbano dell’area in cui si posizionano. REPUBBLICA CECA I finalisti della Repubblica Ceca sono due. Un prototipo di casa a Posazavi, che propone una struttura auto-portante che si può prefabbricare, situata su elementi pietrosi nel paesaggio. La struttura della casa si muove all’unisono con il suo funzionamento. L’altro finalista è la Black Flying House, una proposta originale di abitazione, che può essere installata in diverse circostanze e che in questo caso è appesa sotto un cerchio preesistente. FRANCIA La Francia ha ottenuto tre finalisti in questa edizione 2017 del Premio BigMat International Architecture Award. Il primo è l’edificio FRAC.In esso la Giuria ha apprezzato, come alternativa a una ristrutturazione, la decisione di duplicare con un progetto contemporaneo, un capannone esistente, mantenendo il volume di quello precedente, e duplicando così lo spazio disponibile. Il secondo progetto

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finalista è l’edificio Public Condenser. In questo progetto risaltano, secondo la Giuria, l’integrazione funzionale delle attività pubbliche condensate nell’edificio, elemento possibile grazie a una struttura che, con enorme bellezza, costruisce la sovrapposizione di spazi che costituiscono quest’architettura. ITALIA Il progetto finalista dell’Italia si trova a Venezia. Si tratta di un tribunale, costruito in un volume scuro, snello e rigido, in cui la Giuria ha apprezzato il fatto che doti della necessaria neutralità ed eleganza un edificio amministrativo inserito in un ambiente dall’altissimo valore patrimoniale. PORTOGALLO Per il Portogallo sono stati selezionati tre finalisti. Uno di questi, il Museo Municipale de la Abade Pedrosa di San Tirso, è un’opera integrata con saggezza nel Gruppo Monumentale, fungendo da cesura fra i pezzi e al tempo stesso risolvendo con grande competenza la funzione per cui è stata pensata. Un altro progetto finalista è la casa di Alfama, un’abitazione in cui paradossalmente si uniscono in maniera brillante la rotondezza e la sensibilità degli spazi e l’integrazione e il protagonismo della sua figura rispetto al quartiere circostante. L’ultimo progetto finalista portoghese è Arquipélago, un Centro d’Arte Contemporanea nelle Azzorre. Di questo progetto la Giuria ha apprezzato la sensibilità dell’intervento, che unisce il restauro a una nuova opera, che si traducono rispettivamente in un’architettura dalla costruzione oscura e un’altra con rifinitura bianca. SLOVACCHIA In Slovacchia il progetto finalista è un ponte pedonale in cemento armato, con un tracciato che è la conseguenza logica della funzione per cui è preposto e della struttura necessaria per svolgerla, con il materiale utilizzato. SPAGNA Tre dei progetti finalisti sono spagnoli. Gli edifici si trovano in diverse parti della geografia e rispondono a diverse esigenze funzionali, legate alla produzione imprenditoriale e all’ambito culturale.Il primo progetto è un’officina per assemblaggi elettrici in Extremadura, in cui risalta l’uso armonico del materiale e della geometria, che lo definiscono come luogo di lavoro ermetico all’esterno e luminoso all’interno. Il secondo finalista spagnolo è un progetto che consolida un antico convento di Siviglia, trasformandone l’esterno con una sensibile operazione di recupero del giardino e della vegetazione presente nei suoi chiostri. Il terzo finalista è un museo di grandi dimensioni, che completa la cornice madrilena, dialogando con il preesistente Palazzo Reale e collaborando alla composizione di questo caratteristico profilo della città. JESÚS Mª APARICIO GUISADO ARCHITETTO PRESIDENT DELLA GIURIA DEL PREMIO DI ARCHITETTURA

PORTUGUÊS

UM PRÉMIO DE REFERÊNCIA BIGMAT ’17 Após um percurso de doze anos, o Prémio bienal BigMat de Arquitetura chega à sua sexta edição. Trata-se de um Prémio ao qual os arquitetos podem apresentar-se livremente, e fizeram-no de forma muito numerosa enviando mais de 850 projetos, provenientes das sete zonas da Europa, coincidentes com os locais em que o grupo BigMat tem presença, onde se convoca o Prémio -zona da Valónia, na Bélgica, República Checa, França, Itália, Portugal, Eslováquia e Espanha. Mas o sucesso desta edição foi não só quantitativo, mas também qualitativo. É sem qualquer dúvida possível afirmar que, entre os projetos apresentados, a maioria foram realizados por muitos dos grandes arquitetos no limite de espaço e tempo definido nas bases do concurso. Seria impossível ter atingido a qualidade e a quantidade que este prémio apresenta sem, por um lado, a ajuda do Grupo BigMat e respeito pela autonomia intelectual do mesmo e, por outro, o alto prestígio dos membros do Júri Internacional nas diferentes edições. Nesta edição, o Júri que teve a honra de presidir foi comporto por Marc Barani, Paulo David, Xaveer de Geyter, Francesco Isidori e Henrieta Moravcíková. O resultado, a escolha de treze obras indispensáveis de arquitetura, situadas nos países da Europa onde o prémio se estabelece. Obras que correspondem a todo o tipo de orçamento, conceito e utilização. Obras que afetam o território e a cidade. Obras que intervêm sobre o existente ou de nova construção. Mas de todas elas é possível afirmar que são grandes obras de arquitetura contemporânea. BÉLGICA O projeto finalista da Bélgica é o conjunto de um edifício e uma praça que resolvem com sensibilidade, liberdade e precisão, o problema urbano do seu meio envolvente. REPÚBLICA CHECA Os finalistas da República Checa são dois. Um protótipo de casa em Posazavi que propõe uma estrutura autoportante que pode ser pré-fabricada e colocada sobre elementos pétreos na paisagem. A estrutura da moradia resolve-se em uníssono com o funcionamento da casa. O outro finalista é a Black Flying House, uma original proposta de moradia que pode ser instalada em diferentes circunstancias e que neste caso está colgada sob um aro pré-existente. FRANÇA França teve três finalistas nesta edição 2017 do Prémio BigMat International Architecture Award. O primeiro deles é o edifício FRAC. Neste projeto, o Júri valorizou, como alternativa a uma reabilitação, a decisão de duplicar com traças contemporâneas um armazém existente, mantendo o volume que este define, duplicando assim o espaço disponível. O segundo projeto finalista é o edifício Public

Condenser. Neste projeto é de salientar, na opinião do júri, a integração funcional de atividades públicas que se condensam no edifício, questão tornada possível graças a uma estrutura que, com grande beleza, constrói a sobreposição de espaços que constituem esta arquitetura. ITÁLIA O projeto finalista da Itália encontra-se situado na cidade de Veneza. Trata-se de um edifício de tribunais que se constrói num volume escuro, esbelto e estrito no qual o júri valorizou o facto de assim dotar de neutralidade e elegância, um edifício administrativo situado num local de grande valor patrimonial. PORTUGAL De Portugal foram selecionados três finalistas. Um deles, o Museu Municipal Abade Pedrosa em Santo Tirso, é uma peça que se integra com sabedoria no Conjunto Monumental, servindo de cesura entre as peças, ao mesmo tempo que resolve com solvência a função à qual se destina. Outro projeto finalista é a casa em Alfama, uma moradia que combina paradoxalmente com brilhantez a rotundidade e a simplicidade dos seus espaços, e a integração e o protagonismo da sua figura em relação ao bairro onde se encontra. O último projeto finalista português é chamado Arquipélago, um Centro de Artes Contemporâneas nos Açores. Em relação a este projeto, o júri valorizou a sensibilidade da intervenção na qual se combinam restauração e obra de nova construção, que se traduzem, respetivamente, numa arquitetura de construção escura e outra com acabamento branco. ESLOVÁQUIA Na Eslováquia o projeto finalista é uma ponte pedonal em betão armado, cuja linha é consequência lógica da função que deve resolver e da estrutura necessária para realizá-la no material em que se constrói. ESPANHA Dos projetos finalistas, três são de Espanha. Os edifícios encontram-se em diferentes pontos geográficos e respondem a diversas solicitações funcionais, que se referem à produção empresarial e ao âmbito cultural. O primeiro dos projetos é um ateliê de montagem eletrónica na Extremadura, no qual é de salientar a utilização marcada do material e da geometria que permite a definição de um local de trabalho hermético ao exterior e luminoso no seu interior. O segundo dos finalistas espanhóis é um projeto que consolida um antigo convento em Sevilha, transformando o seu exterior com uma operação sensível que recupera o jardim e a vegetação existente nos seus pátios. O terceiro dos finalistas é um museu de grandes dimensões que vem completar a cornija madrilena, dialogando com o pré-existente Palácio Real e colaborando para conformar este característico perfil da cidade. JESÚS Mª APARICIO GUISADO ARQUITETO PRESIDENTE DO PRÊMIO

JESÚS APARICIO PRESIDENT OF THE AWARD

SLOVENSKÝ

PRESTÍŽNA CENA BIGMAT ’17 Po dvanástich rokoch svojej púte cena architektúry BigMat, udeľovaná každé dva roky, dosiahla svoj šiesty ročník. Ide o cenu, do ktorej sa môžu voľne prihlásiť všetci architekti. A spravili to vo veľkom počte. Bolo zaslaných viac ako 850 projektov pochádzajúcich zo siedmych zón Európy, v ktorých je skupina BigMat prítomná a v ktorých sa cena vyhlasuje: oblasť Valónska v Belgicku, Česká republika, Francúzsko, Taliansko, Portugalsko, Slovensko a Španielsko. Avšak úspech tohto ročníka nebol iba kvantitatívny, ale aj kvalitatívny. Môžeme bez zaváhania vyhlásiť, že medzi predloženými projektami sa nachádzala väčšina projektov, ktoré sú vedené mnohými významnými architektmi časového a priestorového obvodu určeného podmienkami súťaže. Dosiahnutá kvalita a kvantita, ktoré táto cena dosiahla by neboli možné bez podpory Skupiny BigMat a bez rešpektovania intelektuálnej nezávislosti súťaže na strane jednej a na strane druhej bez vysokej prestíže členov medzinárodnej poroty jednotlivých ročníkov. V tomto ročníku, v ktorom som mal česť porote predsedať, túto tvorili: Marco Barani, Paulo David, Xaveer de Gyeter, Francesco Isidori a Henrieta Moravčíková. Výsledkom je výber trinástich obligátnych architektonických diel, ktoré sú umiestnené v krajinách Európy, kde súťaž prebieha. Diela akéhokoľvek rozpočtu, koncepcie a využitia. Diela, ktoré ovplyvňujú teritórium a mesto. Diela, ktoré predstavujú zásah do existujúcich prvkov alebo sú novo postavené. Ale o všetkých môžeme povedať, že ide o veľké diela súčasnej architektúry. BELGICKO Záverečný belgický projekt je súbor budovy a námestia, ktorý citlivo, slobodne a presne rieši urbanistický problém okolia, do ktorého je zasadený. ČESKÁ REPUBLIKA V Českej republike sú dvaja finalisti. Prototyp domu v Posázaví, ktorý navrhuje samonosnú štruktúru, ktorá sa môže prefabrikovať, umiestnenú v krajine na kamenných prvkoch. Štruktúra domu je riešená zároveň s fungovaním domu. Druhým finalistom je Black Flying House, originálny návrh izby, ktorá môže byť inštalovaná za rôznych okolností a ktorá je v tomto prípade zavesená pod existujúcim oblúkom mosta. FRANCÚZSKO Francúzsko malo v tomto ročníku 2017 Ceny BigMat International Architecture Award troch finalistov. Prvým je budova FRAC. Na ňom porota ocenila rozhodnutie zdvojnásobiť existujúcu halu súčasnými ťahmi ako alternatívu obnovy, pri zachovaní objemu, ktorý ju definuje, čím sa zdvojnásobuje priestor k dispozícii. Druhým záverečným projektom je budova Public Condenser. Porota je názoru, že pri tomto projekte treba vyzdvihnúť funkčné integrovanie verejných aktivít, ktoré sa sústreďujú v budove.

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Toto je možné vďaka štruktúre, ktorá s veľkou krásou vytvára prekrývanie sa priestorov, ktoré túto architektúru tvoria. TALIANSKO Taliansky záverečný projekt sa nachádza v Benátkach. Ide o budovu súdu, ktorej stavba je tmavá, štíhla a striktná. Porota na projekte ocenila, že takýmto spôsobom administratívna budova, umiestnená vo vysoko hodnotnom okolí, vlastní potrebnú neutralitu a eleganciu. PORTUGALSKO V Portugalsku boli vybraní traja finalisti. Jedným z nich je Mestské múzeum opáta Pedrosu v San Tirse. Ide o priestor, ktorý sa inteligentne začleňuje do monumentálneho celku. Slúži ako prelom medzi jeho časťami a zároveň spoľahlivo rieši funkciu, na ktorú je určený. Ďalším záverečným projektom je dom v Alfame. Ide o príbytok, v ktorom sa paradoxne a brilantne kombinuje rozhodnosť a citlivosť jeho priestorov a integrácia a protagonizmus jeho siluety vo štvrti, kde sa nachádza. Posledným portugalským záverečným projektom je Arquipélago. Ide o Stredisko súčasného umenia na Azorských ostrovoch. Na tomto projekte porota ocenila citlivosť intervencie, ktorá kombinuje obnovu s novou výstavbou a ktorej výsledkom je jedna architektúra s tmavou výstavbou a jedna s bielym zakončením. SLOVENSKO Na Slovensku je záverečným projektom peší most zo železobetónu, ktorého krivka je logickým dôsledkom funkcie, ktorú musí spĺňať a potrebnej štruktúry, aby ho bolo možné realizovať z vybraného stavebného materiálu. ŠPANIELSKO V Španielsku sú tri záverečné projekty. Budovy sa nachádzajú v rôznych miestach teritória a zodpovedajú rôznorodým funkčným požiadavkám priemyselnej výroby a kultúrnej oblasti. Prvý z projektov je dielňa elektrických komponentov v Extremadure. Na ňom treba vyzdvihnúť rozhodné použitie materiálov a geometrie, ktoré definujú pracovné miesto hermetické voči exteriéru a svetlé vo svojom interiéri. Druhým zo španielskych finalistov je projekt, ktorý spevňuje starý kláštor v Seville. Mení jeho vonkajšok citlivým zákrokom, ktorý obnovuje záhradu a zeleň jeho dvorov. Tretím z finalistov je múzeum veľkých rozmerov a ktoré dopĺňa rímsu Madridu v dialógu s Kráľovským palácom. Podieľa sa na tvorbe tohto charakteristického profilu mesta. JESÚS Mª APARICIO GUISADO ARCHITECT PRESIDENT OF THE AWARD

ESPAÑOL

UN PREMIO DE REFERENCIA BIGMAT ’17 Tras doce años de singladura, el Premio bienal BigMat de Arquitectura alcanza su sexta edición. Se trata de un Premio al que los arquitectos se pueden presentar libremente, y lo han hecho masivamente remitiendo más de 850 proyectos, procedentes de las siete zonas de Europa coincidentes con los lugares donde tiene presencia el grupo BigMat y donde se convoca el Premio (zona de Valonia de Bélgica, República Checa, Francia, Italia, Portugal, Eslovaquia y España). Pero no solamente el éxito de esta convocatoria ha sido cuantitativo, sino además cualitativo. Se puede afirmar sin duda alguna que, entre los proyectos presentados, se encontraban muchos de los trabajos de grandes arquitectos en la circunscripción espacio-temporal definido en las bases del concurso. Sería imposible haber alcanzado la calidad y la cantidad que este premio ostenta, por un lado, sin la ayuda del Grupo BigMat y el respeto a la autonomía intelectual del mismo y, por otro, sin el alto prestigio de los miembros del jurado internacional en las distintas ediciones. En esta edición el jurado que tuve el honor de presidir, estaba compuesto por Marc Barani, Paulo David, Xaveer de Geyter, Francesco Isidori y Henrieta Moravcíková. El resultado fue la elección de trece obras indispensables de arquitectura, situadas en los países de Europa donde el premio se establece. Obras de todo tipo de presupuesto, de concepto y de uso. Obras que afectan al territorio y a la ciudad. Obras que intervienen sobre lo existente o son de nueva planta. Pero de todas ellas se puede afirmar que son grandes obras de arquitectura contemporánea. BÉLGICA El proyecto finalista de Bélgica es el conjunto de un edificio y una plaza que resuelven con sensibilidad, libertad y precisión el problema urbano del entorno en el que se insertan. REPÚBLICA CHECA Los finalistas de la República Checa son dos. Un prototipo de casa en Posazavi que propone una estructura autoportante que se puede prefabricar colocada sobre unos elementos pétreos en el paisaje. La estructura de la vivienda se resuelve al unísono con el funcionamiento de la casa. El otro finalista es la Black Flying House: una original propuesta de habitación que puede instalarse en distintas circunstancias y que en este caso está colgada bajo un arco preexistente. FRANCIA Francia ha tenido tres finalistas en esta edición 2017 del Premio BigMat International Architecture Award. El primero de ellos es el edificio FRAC. En él, el jurado ha valorado, como alternativa a una rehabilitación, la decisión de duplicar con trazas contemporáneas una nave existente, manteniendo el volumen que define la anterior, duplicando de esta manera el espacio disponible. El segundo proyecto finalista es el

edificio Public Condenser. En este proyecto, cabe destacar a juicio del jurado, la integración funcional de actividades públicas que se condensan en el edificio gracias a una estructura que, con gran belleza, construye la superposición de espacios que constituyen esta arquitectura. ITALIA Italia tiene su proyecto finalista ubicado en la ciudad de Venecia. Se trata de un edificio de juzgados que se construye en un volumen oscuro, esbelto y estricto en el que el jurado ha valorado el hecho de que de esta manera se dota de la neutralidad y elegancia necesarias a un edificio administrativo ubicado en un entorno de tanto valor patrimonial. PORTUGAL De Portugal han sido seleccionados tres finalistas. Uno de ellos, el Museo Municipal de la Abade Pedrosa en San Tirso, se trata de una pieza que se integra con sabiduría en el Conjunto Monumental sirviendo de cesura entre las piezas, a la par que resuelve con solvencia la función a la que se destina. Otro proyecto finalista es la casa en Alfama, una vivienda en la que paradójicamente se combina con brillantez la rotundidad y la sensibilidad de sus espacios, y la integración y el protagonismo de su figura respecto al barrio donde se ubica. El último proyecto finalista portugués es Arquipélago, un Centro de Artes Contemporáneas en las Azores. El jurado ha valorado la sensibilidad de la intervención en la que se combinan la restauración con obra de nueva planta, que se traducen, respectivamente, en una arquitectura de construcción oscura con otra de terminación blanca. ESLOVAQUIA En Eslovaquia, el proyecto finalista es un puente peatonal en hormigón armado cuyo trazado es consecuencia lógica de la función que debe resolver y de la estructura necesaria para llevarla a cabo en el material que se construye. ESPAÑA Los proyectos finalistas de España son tres. Los edificios se encuentran en distintas partes de la geografía y responden a diversas solicitaciones funcionales, que se refieren a la producción empresarial y al ámbito cultural. El primero de los proyectos es un taller de ensamblajes eléctricos en Extremadura y cabe destacar un uso rotundo del material y de la geometría que hace que se defina un lugar de trabajo hermético al exterior y luminoso en su interior. El segundo de los finalistas españoles es un proyecto que consolida un antiguo convento en Sevilla, donde se transforma su exterior con una operación sensible que recupera el jardín y la vegetación existente en sus patios. El tercero de los finalistas es un museo de gran dimensión que viene a completar la cornisa madrileña dialogando con el preexistente Palacio Real y que contribuye a conformar este característico perfil de la ciudad. JESÚS Mª APARICIO GUISADO ARQUITECTO PRESIDENTE DEL PREMIO

JESÚS APARICIO PRESIDENT OF THE AWARD

ENGLISH

COMMENTS OF THE JURY

XAVEER DE GEYTER BELGIUM A Building-Square While this project might be modest and difficult to grasp at first instance, it triggers our attention for different reasons. The first reason is its context. On the slopes of the Meuse River, a railway station was installed at the edge of the city it serves. The railway itself splits the lower, dense part from the upper, suburban neighborhood. The urban fabric below and above arehardly continuous. They are stuffed with voids and the edges of the railway itself are loose and undefined. Not exactly a clear-cut urban situationwelcoming new developments. The second reasonconcerns the nature of the project. It is not just an architectural object, or a masterplan, or for that matter a clearly defined public space. It is a trajectory that tries to address the existing situation and that sees its potential. It features squares, parking lots, play gardens and picnic areas. And as the topography is a major issue, it is crammed with stairs, slopes, elevators, banks, belvédères and a tunnel. The only architectural object, a railway station pavillion, is physically dissected from the railroad but clearly a selfconscious, visual hingefor the project as a whole. Yet the project is not only a trajectory. What you see is not what you get. Several new buildings are planned for the main square, together with the station pavillion. The planning of these is pretty unusual: while all the public space elements are there, the buildings around the square consisting of housing, shops andsocial equipmentare to come later. Public space as a catalyst for new planning. The quality of the project lies in the physical revelation of the area’s potential, in contrast withmany architectural creations, which seemrather self-celebratory in their existence. HENRIETA MORAVČÍKOVÁ CZECH REPUBLIC + SLOVAKIA Black Flying House Architecture studio H3T architekti has earned critical acclaim for its small, often temporary objects in public spaces. With their latest installation, the studio has again pursued a strategy of uncovering the hidden potential of a location through new and original enhancements. The Black Flying House was erected in an abandoned military facility just outside the Czech city of Pardubice. The wooden archetype of a house was left to hover under the arch of a dilapidated railway bridge, offering potential guests the look and feel of an emergency shelter. In its absurd position and location the seemingly trivial form

of the object acquired powerful social and environmental value. The work was subsequently taken down after 39 days as per the terms of the demolition warrant. The Prototype of the House in Posazavi The prototype house built in a former granite quarry in the picturesque setting of the river Sázava is a further example of the long-lasting fascination of the A69 architecture studio in the family house design. It benefits from their previous experience with organic arrangement in an orthogonal sense and with the concept of transparency. The construction of the prototype also tests the phenomenon of reversibility. The timber frame of the house is erected on a steel load-distributing raft bedded on the rocks, which can easily be taken down and removed. Beside this the prototype is intended as a poetic work that reflects the very finest in modernist aesthetics. Footbridge Sulin The bridge crosses the river Poprad, the natural national border between Poland and Slovakia. It should help generate cross-border tourism in what is one of Europe’s most beautiful natural settings. The concrete, slightly vaulted bridge body with a brutalist surface reacts to the surrounding landscape and enhances it, just as stone bridges or castles have done in the past. The downto-earth character of the structure is underlined by the simple vertical grooves of the concrete body and the wooden cladding of the floor and inner railing. Balancing on the borderline between original and banal the creators of the bridge have succeeded in creating a piece of architecture in perfect harmony with this very (un) ordinary place.

MARC BARANI FRANCE MUOTO The building directly and effectively expresses and illustrates the energy contained in the process of planning this living and breathing space. The vertical public space was conceived thanks to a subtle and clever arrangement of heavily glassed spaces. This general sense of transparency makes the structure the centre of the project and affords it a potent and unmistakeable presence. Eric Lapierre The structure provides a number of convincing solutions to the matter of tower blocks and high-rises. Without doubt, this project is best described as an oxymoron: compact/bright, bars/flexible, rational/diverse, concrete/scalability. A work there to serve its inhabitants, where the architect has wisely fused classic and modern culture.

COMMENTS OF THE JURY

Lacaton & Vassal This project is a perfect embodiment of the architects’ work: delivering more with less, blending rigour with poetry, multiplying the potential of a project.

The use of just one material, both for the roof and the interior cladding of the walls, makes the building all the more iconic and abstract, while giving it a timeless quality.

Their doctrine, combined with their incisive intelligence, has changed the traditional vision of the architect: it is better to expand a building than transform it if it then fails to live up to its new use.

PAULO DAVID PORTUGAL + SPAIN

Proposing a solution so far removed from the original question raised by the award is a cheeky and cold-blooded rethinking of the role of the architect; what they have done is reframe the question through the project, rather than merely responding to the question, thus appreciably expanding the range of possibilities and the potential for good answers.

By underlining the gulf between them, by building in the form of a distinct touch and position through construction of a new body that physically connects the two buildings. By joining all times, exposing their subtleties.

FRANCESCO ISIDORI ITALY Un Monolite Archetipico This international award-winning project is essentially a blade grafted to the fascinating yet complex urban fabric of Venice. The building was completed in early 2013 and faces the Piazzale Roma, one of the city’s main hubs and the only access point for cars wanting to enter the City of Water. The scale and size of the building can be appreciated from the sprawl of the adjoining square and from the imposing size of the San Marco car park nearby. Its simple and archetypal shape is the product of a clever take on the traditional styling of Venetian industrial buildings. A gable spanning more than five metres looking on to Piazzale Roma marks the entrance: a dark shadow that attracts scores of people from the square to the sevenstory entrance lobby inside. The vast space, which is open to the public during the day, acts as a form of “urban entrance” lit from above, a typical feature of the city’s traditional industrial buildings. Inside, a long straight staircase lying parallel to the façade connects all levels of the building. The building is completely clad in pre-oxidised sheets of copper, a material traditionally used in Venice to cover the roofs of all manner of institutional buildings (both religious and secular). In this project, materiality and form combine to become a metaphor for what is the institution: the courthouse serves as a large monolith bathing citizens in light as they traverse the building. The panel chose this project because of its seamless integration within a complex urban setting, as it successfully fuses the traditional old warehouse styling with the stereometric volume of the multi-storey car park. Thanks to its slender and lithe design and its pitched roof profile, the work is a perfect grafting within its environment.

INTERNATIONAL ARCHITECTURE AWARD

Museu Municipal Abade Pedrosa How can we relate different buildings with similar programs?

By replacing a small window, a tiny detail, a memory. By re-inscribing the truth in the historical adjustment and reinterpreting the past to build another time. When discovering the dialog between two architects that put in place two buildings communicating in time and in history, one perceives the sequencing in their decisions, even the most silent ones. Casa em Alfama How can a small house in a place of the city of Lisbon re-inscribe the value of the site? By responding in a precise and clear manner to an appealing program of revision, from the ability to reactivate the life value in reinforcing a centrality in the direction of a (new) place. By incorporating, with the exact scale, lending integration and hospitality, sublimated by the material of its delicate, flat walls, that join the different times of this place. By proposing a bedroom located in an extremely high position of the house, that poetically possesses a liquid moment, of an exclusivity with the sky, reinforcing seclusion in the densest place in the city. Museu de Arte Contemporanea – Arquipélago How can one re-inscribe the value of a factory and prolong its physical morphology? By finding a space between the new volumes to which character is given and a new design is defined for this place. By adjusting the scaling and gently touching the preexistence, and not surpassing its limits. By expressing the will to lay bare the weight of the volcanic materialization of this place, with new bodies built with apparent, smooth and dark concrete. By prolonging the mineral positioning and showing a differential tactile datum. By investing and allowing the materiality to respond in a contrary way to its exterior, smooth and docile, seeking to accommodate a program for the unpredictability of the arts.

The BigMat International Architecture Award, through these three winning projects, shows by way of example the different fields of work of Portuguese architects with a persistent and rigorous posture of “building on the built-up”. Royal Collection Museum How to refine the search for an invisibility? By introducing a new body that affirms itself as a programmatic and material extension. By enabling a cross with the particularities of the royal palace. By relating different times and re-inscribing the accuracy of the historical adjustment. By sharpening the beauty of all times. By playing within the duality between the heavy and the light, the transparent and the opaque. By showing the dialog between nature and artifice, through a reduction of the environmental, individual and collective impact. By intervening with the full awareness that rigorous rationality is the path to maximum flexibility. The proposal becomes clearer when living in an “inhabited retaining wall”, seeking, in this logic, to relate to the palace. Consolidation of the Ancient Convent of Santa María de los Reyes How can we touch lightly in an intense place? By intervening with a specific, careful and sensitive gesture, with awareness of the balance between action and resistance. By relating different actions to create a (new) time. By discovering in the floor design the conditions for the creation of space. By highlighting its peculiarities,

even the most invisible ones. By delineating a mineral carpet featuring a junction of different stones and pieces of furniture that split between movement and permanence. By serenely entering into dialog with the two times, and revisiting the rigor of historical accuracy. By living from textures that, as the wealth of this minimal intervention, enter into dialog with the history of both interventions. Electrical Assembly Industry How to build a factory on an industrial site? By refining the scale to offer integration and continuity, which are sublimated by the material of their surfaces. By improving the materiality that, in this approach, seeks to resolve all situations by enveloping the building in single material. By generating a courtyard that can contain the physical noise of factory life. By seeking an industrial approach that organizes factory management around a contained and rational space. By meticulously harmonizing an economy of means in the execution of particularities. Appropriate a single material by denoting a distinct visual datum. By laying bare the lightness of the materialization, prolonging the hard and the strong, the rational and the industrialized.

The BigMat International Architecture Award, through these three winning projects, exalts the different and extensive field of work of Spanish architects with a surprising and passionate posture with respect to memory. The ability to find in history and, above all, in its valuation, an attractive posture for building in time.

COMMENTS OF THE JURY

FRANÇAIS

COMMENTAIRES DU JURY

XAVEER DE GEYTER BELGIQUE A Building-Square Bien qu’à première vue, ce projet puisse sembler modeste et difficile à comprendre, il retient toutefois l’attention pour plusieurs raisons. La première d’entre elles est son contexte. Sur les rives de la Meuse, une gare de train a été construite dans la banlieue de la ville qu’elle dessert. La voie ferrée sépare la partie inférieure, plus dense, de la zone supérieure et suburbaine. Le tissu urbain des deux zones, qui n’est pas homogène, est occupé par des vides. Même les extrémités de la voie sont imprécises et indéfinies. Il ne s’agit pas vraiment d’une zone urbaine clairement ouverte à de nouveaux développements. La deuxième raison relève de la nature du projet. Il ne s’agit pas d’un objet architectural, d’un plan directeur ou d’une zone publique clairement définie. Ce projet tente plutôt de gérer la situation existante et de prendre conscience de son potentiel. Il est constitué de places, de places de parking, de balançoires et d’aires de pique-nique. Par ailleurs, la topographie étant l’un des principaux problèmes, il comprend des escaliers, des pentes, des ascenseurs, des dénivelés, des belvédères et un tunnel. Le seul objet architectural, le pavillon de la gare ferroviaire, est physiquement séparé des voies, bien qu’il s’agisse clairement et visuellement d’un point cardinal du projet en général. Cependant, le projet n’est pas uniquement un parcours. Il est beaucoup plus que ce dont il a l’air à première vue. Il est prévu de construire plusieurs nouveaux bâtiments qui formeront la place principale, avec le pavillon de la gare. La planification de cet ensemble est peu habituelle. Tous les éléments de l’espace public sont en effet déjà présents, tandis que les bâtiments autour de la place, c’est-à-dire les logements, les magasins et les services sociaux, seront construits ultérieurement. L’espace public comme catalyseur d’un nouveau programme. La qualité du projet réside dans l’exploitation physique du potentiel de la zone, en contraste avec de nombreux ouvrages architecturaux, qui semblent une allégorie de leur propre existence.

HENRIETA MORAVČÍKOVÁ RÉPUBLIQUE TCHÈQUE + SLOVAQUIE Black Flying House Studio H3T Architekti a bâti sa réputation sur la réalisation de petits objets souvent temporaires dans l’espace public. La stratégie de dévoiler le potentiel caché de l’espace à travers une nouvelle intervention se retrouve également dans sa dernière installation. La Black Flying

House est située dans une zone militaire abandonnée au bord de la ville tchèque de Pardubice. L’archétype d’une maison en bois suspendue à l’arcade des vestiges d’un pont ferroviaire et servant de refuge de secours aux éventuels hôtes. Dans une position et un emplacement absurdes, la forme banale de l’objet acquiert une puissante dimension socio-environnementale. L’œuvre a été retirée après 39 jours d’existence conformément à un permis de démolir. The Prototype of the House in Posazavi Construit dans une ancienne carrière de granit au milieu du paysage pittoresque de la rivière Sázava, le prototype est le prolongement de l’intérêt de longue date des architectes d’A 69 dans la conception de maisons familiales. L’œuvre bénéficie de leurs expériences précédentes en matière de développement de la disposition organique dans le cadre du schéma orthogonal ou en matière de transparence. Dernier élément, mais non des moindres, le phénomène de réversibilité testé dans la construction du prototype. Le pan de bois de la maison se dresse sur une structure de répartition de charge en acier à plat sur la roche afin de permettre un démontage et un retrait faciles. En outre, ce prototype est une œuvre poétique qui développe la plus grande tradition esthétique du modernisme. Footbridge Sulin Le pont enjambe la rivière Poprad, la frontière naturelle entre la Pologne et la Slovaquie. L’œuvre se veut d’être un moteur du développement du tourisme transfrontalier dans l’un des plus beaux environnements naturels d’Europe. Le corps du pont en béton légèrement voûté à la surface brute interagit dans le paysage et l’embellit, tout comme le faisaient jadis les ponts de pierre et les châteaux. Le caractère terre à terre de la structure est accentué par les fentes verticales simples du corps en béton ainsi que par le revêtement en bois du sol et de la balustrade intérieure. En équilibre entre l’original et le banal, les auteurs de ce pont sont parvenus à créer une architecture parfaitement cohérente avec cet endroit (extra)ordinaire.

MARC BARANI FRANCE MUOTO Le bâtiment exprime et met en scène de façon directe et efficace, l’énergie contenue dans le programme de ce lieu de vie. Le thème de l’espace public vertical prend corps grâce à un assemblage subtil d’espaces et de circulations largement vitrés. Cette transparence générale met la structure au cœur du projet et lui permet d’exister comme un signal puissant et évident.

COMMENTS OF THE JURY

Eric Lapierre Cette opération propose un ensemble de solutions pertinentes et convaincantes sur le thème de l’immeuble de logements épais.

est un grand volume monolithique qui accueille les citoyens

C’est sans doute la figure de l’oxymore qui pourrait le mieux décrire ce projet : épais / lumière, grille / souplesse, rationalité / diversité, béton / évolutivité.

relation entre les vieilles usines et le volume stéréométrique

Un travail au service des habitants où l’architecte combine savamment culture classique et moderne.

une intégration dans le site parfaitement adaptée au

Lacaton & Vassal Ce projet est emblématique du travail des architectes : offrir plus avec moins, combiner rigueur et poésie, décupler le potentiel d’un programme.

dans un espace lumineux. Si le jury a choisi ce projet, c’est pour sa capacité à se greffer dans un espace urbain complexe, en résolvant la difficile du parking à étages. La forme planimétrique extrêmement allongée et le profil de la toiture à versants permettent contexte. L’utilisation d’un seul matériau, que ce soit pour la toiture ou pour le revêtement externe des murs, renforce l’aspect iconique et abstrait de l’intervention, en créant à la fois une atmosphère hors du temps.

Leur doctrine couplée à une intelligence incisive, change la vision traditionnelle du patrimoine : il est plus juste de prévoir une extension pour un bâtiment que de le transformer lorsqu’il n’est pas adapté à sa nouvelle utilisation.

PAULO DAVID

Proposer une solution aussi éloignée de la question posée lors du concours, recentre avec culot et sang-froid le rôle de l’architecte ; il s’agit de reformuler par le projet la question posée plutôt que de se contenter d’y répondre, augmente sensiblement le champ des possibles et le potentiel de bonnes réponses.

des programmes semblables ?

FRANCESCO ISIDORI ITALIE Un Monolite Archetipico Vainqueur d’un concours international, le projet constitue une greffe dans la complexité du système urbain de la ville de Venise. Achevé début 2013, le bâtiment donne sur Piazzale Roma, lieu névralgique de Venise et seul point d’accès des automobiles à la cité lagunaire. L’échelle et la dimension du bâtiment s’opposent au grand vide de l’esplanade d’en face et au volume imposant du parking à 7 étages San Marco. Sa forme simple et archétypique est le fruit d’une manipulation judicieuse de la typologie traditionnelle des bâtiments industriels vénitiens. Un porte-à-faux de plus de cinq mètres orienté vers Piazzale Roma indique l’entrée : une ombre qui attire les flux de personnes de la place au hall intérieur pleine hauteur. Cet espace, librement accessible de jour, fait office d’« entrée urbaine » éclairée par le haut, à la manière des bâtiments industriels ; à l’intérieur, un long escalier linéaire, parallèle à la façade, distribue tous les niveaux. Le bâtiment est entièrement revêtu de dalles en cuivre pré-oxydé. Dans la typologie vénitienne, le cuivre est le matériau utilisé pour couvrir toutes les toitures des bâtiments institutionnels (religieux et laïques). Dans ce projet, la matérialité et la forme deviennent une métaphore de l’institution : la maison de la justice

INTERNATIONAL ARCHITECTURE AWARD

PORTUGAL + ESPAGNE Museu Municipal Abade Pedrosa Comment mettre en relation des bâtiments différents ayant

En soulignant le vide qui les sépare, en construisant une forme de contact et une position différentes à travers l’édification d’un corps nouveau, physiquement relié aux deux bâtiments. En joignant tous les temps et en mettant en évidence leurs subtilités. En remplaçant une petite fenêtre, un petit détail, une mémoire. En réinscrivant la vérité dans l’ajustement historique et en réinterprétant le passé pour bâtir un autre temps. En découvrant le dialogue entre deux architectes qui mettent en place les bâtiments communicants, dans le temps et dans l’histoire, on perçoit l’échelonnement de leurs décisions, y compris les plus silencieuses. Casa em Alfama Comment une petite maison quelque part à Lisbonne peutelle rétablir la valeur du site ? En répondant clairement et précisément à un programme intéressant à réviser, par la capacité à réactiver une valeur existentielle dans le renforcement d’une centralité vers un (nouveau) lieu. En incorporant à la bonne échelle, en apportant intégration et hospitalité, sublimée par la matière de ses murs délicats et lisses, qui mêlent les différents temps de ce lieu. En proposant une chambre à coucher dans un emplacement très élevé de la maison, qui dispose poétiquement d’un moment liquide, d’une exclusivité avec le ciel, en renforçant l’idée de retraite dans un lieu dense de la ville. Museu de Arte Contemporanea – Arquipélago Comment réécrire la valeur d’une usine et en prolonger la morphologie physique ?

En trouvant un espace entre les nouveaux volumes et en lui donnant du caractère, avant de définir la nouvelle conception de ce lieu. En ajustant l’échelle et en intervenant légèrement sur la préexistence, sans en dépasser les limites. En exprimant la volonté de laisser le poids de la matérialisation volcanique de ce lieu à nu, avec les nouveaux corps construits en béton apparent, lisse et foncé. En prolongeant le positionnement minéral et en mettant en évidence une donnée tactile différenciée. Inverser et permettre que la matérialité réponde de façon contraire à son extérieur, lisse et docile, en tentant d’accueillir un programme pour le caractère imprévisible des arts. À travers les trois projets récompensés ici, le BigMat International Architecture Award montre de façon exemplaire le domaine de travail différent des architectes portugais avec une posture persistante et rigoureuse du « construire dans le construit ». Royal Collection Museum Comment affiner la recherche d’une invisibilité ? En introduisant un nouveau corps qui s’affirme comme une extension programmatique et matérielle. En rendant possible le croisement avec les particularités du palais royal. En mettant en rapport les différents temps et en réinscrivant l’exactitude de l’ajustement historique. En accusant la beauté de tous les temps. En jouant avec la dualité du lourd et du léger, du transparent et de l’opaque. En montrant le dialogue entre la nature et l’artifice à travers la réduction de l’impact environnemental, individuel et collectif. En ayant pleinement conscience que c’est à travers une intervention rationnelle et rigoureuse que l’on obtient le maximum de flexibilité. La proposition s’explique par le fait qu’elle consiste en un « mur de soutènement habité », une logique par laquelle elle cherche à dialoguer avec le palais.

Consolidation of the Ancient Convent of Santa María de los Reyes Comment effectuer une légère intervention dans un lieu intense ? En adoptant un geste ponctuel, minutieux et sensible, conscient de l’équilibre entre l’action et la résistance. En mettant en rapport les différentes actions pour créer un (nouveau) temps. En découvrant dans la conception du sol les circonstances pour la création de l’espace. En soulignant ses particularités, y compris les plus invisibles. En traçant un tapis minéral où se croisent plusieurs pierres et éléments de mobilier qui se dédoublent entre l’itinéraire et la permanence. En dialoguant sereinement avec les deux temps, en reconsidérant la rigueur de l’exactitude historique. Vivre des textures qui, constituant la richesse de cette intervention minime, dialoguent avec l’histoire des deux interventions. Electrical Assembly Industry Comment faire une usine dans un lieu de manufacture ? En affinant l’échelle pour offrir intégration et continuité, sublimées par la matière des surfaces. En améliorant la matérialité qui, sous cette approche, prétend résoudre toutes les situations en enveloppant le bâtiment dans un matériau unique. En créant une cour qui permet de contenir le bruit physique de la vie de l’usine. En cherchant une approche industrielle qui organise la gestion de l’usine autour d’un espace contenu et rationnel. En harmonisant méticuleusement une économie de moyens dans l’exécution des particularités. En s’appropriant d’un seul matériau qui évoque une donnée visuelle distincte. En laissant visible la légèreté de la matérialisation, en prolongeant le positionnement dur et fort, rationnel et industriel. À travers les trois projets récompensés ici, le BigMat International Architecture Award exalte le domaine de travail vaste et différent des architectes espagnols dans une posture étonnante et passionnante concernant la mémoire. La capacité à trouver dans l’histoire, notamment dans sa valorisation, une posture intéressante face au fait de construire dans le temps.

COMMENTS OF THE JURY

ČESKÝ

KOMENTÁŘE POROTY

XAVEER DE GEYTER BELGIE A Building-Square Na první pohled může být tento projekt skromný a těžko pochopitelný. Z různých důvodů ale přitahuje naši pozornost. Prvním důvodeme je jeho kontext. Na svazích řeky Meuse byla na okraji města instalována železniční stanice, která zde zajišťuje spojení. Samotná železnice rozděluje spodní, hustě osídlenou část, a horní část tvořenou příměstskými čtvrtěmi. Uspořádání města pod a nad železnicí je velmi souvislé. Jsou plné dutin a okraje železnice jsou volné a nedefinované. Není zde žádný ostrý městský řez lákající nový rozvoj. Druhý důvod se týká povahy projektu. Není to pouze architektonický objekt nebo masterplán, či za takovým účelem jasně definovaný veřejný prostor. Jedná se o trajektorii, která se snaží zaměřit na existující situaci a využít její potenciál. Figurují zde náměstí, parkovací plochy, hřiště a piknikové zóny. Největším problémem byla topografie, je zde plno schodů, svahů, výtahů, laviček, teras a tunel. Jediný architektonický objekt, budova nádraží, je fyzicky oddělena od železnice, ale jasně nesmělá, vizuální kulisa pro projekt jako celek. Takže projekt už není pouhou trajektorií. To, co vidíte, není to, čeho se vám dostane. Pro hlavní náměstí je vyprojektována řada nových budov, spolu s budovou nádraží. Plán těchto budov je velmi neobvyklý: existují zde všechny veřejné prostory, ale budovy okolo náměstí stávající z domů, obchodů a sociálního vybavení přibudou později. Veřejný prostor je zde pojat jako katalyzátor pro nové plánování. Kvalita projektu spočívá na fyzickém odhalení potenciálu zóny v kontrastu s mnoha architektonickými výtvory, které ve své podstatě vypadají spíše jako oslava sebe sama.

zájmu architektů A 69 o design rodinných domů. Využívá jejich předchozích zkušeností ve smyslu vývoje organické dispozice v rámci ortogonálního systému nebo ve smyslu transparentnosti. V neposlední řadě je zkoumán fenomén reverzibility v konstrukci prototypu. Dřevěný rám domu je postaven na ocelovém nosiči rozdělujícím náklad, jenž je uložen na skalách a který lze snadno vyjmout a odstranit. Kromě toho je prototyp poetické dílo, které rozvíjí nejlepší estetickou tradici modernismu. Footbridge Sulin Most vede přes řeku Poprad, která tvoří přírodní hranici mezi Polskem a Slovenskem. Měl by být zdrojem přeshraničního rozvoje cestovního ruchu v jednom z nejkrásnějších evropských přírodních prostředí. Betonově mírně klenuté tělo mostu s brutalistickým povrchem reaguje na okolní krajinu a pozvedá ji podobně, jako to v minulosti činily kamenné mosty nebo hrady. Uzemňovací charakter konstrukce je zdůrazněn jednoduchými vertikálními drážkami betonového tělesa a dřevěným obložením podlahy a vnitřního zábradlí. Balancováním na hranici mezi originálností a banálností se autorům mostu podařilo vytvořit architekturu, která je dokonale v souladu s tímto (ne) obyčejným místem.

MARC BARANI FRANCIE MUOTO Budova vyjadřuje a přímo a účinně ukazuje energii obsaženou v programu tohoto místa. Téma vertikálního veřejného prostoru dostává podobu díky subtilnímu spojení široce prosklených prostorů a dopravy. Díky této celkové transparentnosti stojí v samém srdci projektu struktura a umožňuje mu existovat jako silný a jasný signál.

HENRIETA MORAVČÍKOVÁ ČESKÁ REPUBLIKA + SLOVENSKO

Eric Lapierre Tato operace nabízí řadu dobrých a přesvědčivých řešení

Black Flying House Studio H3T architekti získalo renomé díky realizaci malých, často dočasných, předmětů na veřejných místech. Strategii odhalit skrytý potenciál místa pomocí nového zásahu využili i ve svém posledním díle. Černý létající dům byl umístěn do opuštěného vojenského prostoru na okraji českého města Pardubice. Dřevěný archetyp domu se vznášel pod obloukem zříceného železničního mostu a nabídl potenciálnímu hostu standard nouzového úkrytu. Díky absurdní poloze a umístění získala triviální forma objektu silný sociálně-environmentální obsah. Práce byla odstraněna podle demoličního rozkazu po 39 dnech existence.

tématu velký bytový dům.

The Prototype of the House in Posazavi Prototyp postavený v bývalém žulovém lomu v malebné krajině řeky Sázavy je pokračováním dlouhodobého

Doktrína spojená s ostrou inteligencí mění tradiční vizi

Tento projekt by zcela jistě nejlépe popsal oxymóron: hustá zástavba / světlo, mříže / pružnost, racionalita / rozmanitost, beton / vývoj. Práce ve službách obyvatel, kde architekt moudře kombinuje klasickou a moderní kulturu. Lacaton & Vassal Tento projekt je emblematickou prací architektů: nabídnout více za méně, kombinovat pevnost a poezii, zdesateronásobit potenciál programu.

kulturního dědictví: je lepší naplánovat rozšíření budovy, než j přetransformovat, pokud není uzpůsobena novému použití.

COMMENTS OF THE JURY

Nabídnout řešení tolik vzdálené otázce položené během soutěže vymezuje s určitou drzostí a chladnou hlavou roli architekta. Jde o to prostřednictvím projektu spíše reformulovat položenou otázku, než se spokojit s odpovědí. Tím se citelně zvyšuje pole možného a potenciál dobrých odpovědí.

který bude fyzicky propojovat obě budovy. Spojením všech časů, zdůrazněním přínosu. Doplněním malého okna, drobného detailu, paměti. Vrácením pravdy do historické úpravy a opětovnou interpretací minulosti pro vystavění jiné doby. Jakmile objevíme dialog mezi dvěma architekty, kteří vedle sebe umístí vzájemně komunikující budovy v čase a

FRANCESCO ISIDORI ITÁLIE

v dějinách, je patrné odstupňování jejich rozhodnutí i těch

Un Monolite Archetipico Tento projekt, vítěz mezinárodní soutěže, je zasazen do komplexního městského systému v Benátkách. Budova, jejíž stavba byla dokončena na začátku roku 2013, se tyčí nad Piazzale Roma, ústředním místem Benátek a jediným přístupovým místem pro auta do benátské laguny.

Casa em Alfama

Velikost a rozměr budovy se měří v poměru k prázdnému prostoru náměstí, na které hledí, a obrovské budově parkoviště San Marco, které čítá sedm podlaží. Jednoduchá a archetypální forma je výsledkem moudré manipulace s tradiční typologií benátských průmyslových budov. Vstup do budovy vystupuje ze zdi, je více než pět metrů vysoký a otočený směrem na Piazzale Roma: tmavý stín, který přitahuje davy lidí z náměstí do vestibulu budovy, v celé své výšce. Tento přes den volně přístupný prostor nahrazuje “městský vstup” osvětlený seshora, podobně jako u průmyslových budov. Uvnitř se nachází dlouhé lineární schodiště postavené paralelně k fasádě, jenž odděluje všechny úrovně. Budova je plně pokryta deskami z preoxidované mědi. V benátské typologii je měď materiál, který se používá na obklady všech institucionálních budov (náboženských a laických). V tomto projektu se materiálnost a tvar stávají metaforou instituce: soudní palác je velkým monolitickým objemem, který vítá občany ve světlém prostoru. Porota vybrala tento projekt pro jeho kapacitu začlenit se do komplexního městského prostředí a tím vyřešit obtížný vztah mezi starými továrnami a stereometrickým objemem několikapodlažního parkoviště. Díky mimořádně prodloužené planimetrii a vrstvenému profilu je toto dílo perfektně zasazeno do urbanistického kontextu, ve kterém se nachází. Použití jednotného materiálu jak pro střechu, tak pro vnější obklad zdí, posiluje ikonický a abstraktní aspekt díla a dodává mu na nadčasovosti.

nejnenápadnějších.

Jak může malý dům na jednom místě v Lisabonu vrátit celému prostoru hodnotu? Nabídnutím přesné a jasné odpovědi na projekt, který vyzývá k revizi, schopností reaktivovat prožitkovou hodnotu v úsilí dosáhnout centrálnosti směrem k (novému) místu. Zapojením přesného měřítka, integrací a pohostinností, jež jsou zvýrazněny materiálem použitým na jemné, hladké zdi, které na tomto místě spojují různé doby. Návrhem ložnice umístěné na nejvyšším místě v domě, která poeticky disponuje čistým momentem, exkluzivním spojením s nebesy. Posiluje pocit odpočinku na frekventovaném místě ve městě. Museu de Arte Contemporanea – Arquipélago Jak vrátit hodnotu továrně a prodloužit její fyzickou morfologii? Nalezením prostoru mezi novými objemy, kterým se vtiskne určitý charakter a definuje se nový design tohoto místa. Úpravou měřítka a lehkým dotknutím se preexistence, ale nepřekročením jejích hranic. Vyjádřením vůle ponechat odhalenou tíhu vulkanické materializace tohoto místa s novými prvky postavenými ze zdánlivého, hladkého a tmavého betonu. Prodloužením umístění minerálů a zdůrazněním rozličného doteku. Investovat a dovolit, aby materiálnost odpovídala opačně ve vztahu k exteriéru, jenž je hladký a poddajný. Snažit se přijmout projekt pro nepředvídatelnost umění.

BigMat International Architecture Award prostřednictvím těchto tří oceněných projektů exemplárně ukazuje různá pole působnosti portugalských architektů, kteří zaujímají přetrvávající a pevný postoj „stavět na zastavěném”.

PAULO DAVID PORTUGALSKO + ŠPANĚLSKO

Royal Collection Museum

Museu Municipal Abade Pedrosa Jak spojit různé budovy s podobnými programy?

Vložením nového tělesa, které se jeví jako programované

Zdůrazněním prázdnoty mezi nimi, postavením tvaru s odlišnými rysy a umístěním prostřednictvím nového prvku,

INTERNATIONAL ARCHITECTURE AWARD

Jak zdokonalit hledání neviditelnosti?

a materiální prodloužení. Umožněním prolnutí se zvláštnostmi královského paláce. Spojením různých časů obnovením přesnosti historického přístupu.

Předvedením krásy všech věků. Využitím duality těžkého a lehkého, průzračného a neprůhledného. Ukázáním dialogu mezi přírodou a umělostí, prostřednictvím snížení environmentálního, individuálního a kolektivního dopadu. Vědomím zásahem s tím, že přísné racionálnosti lze dosáhnout maximální flexibilitou. Návrh se vyjasňuje díky životu “v obytné obvodové zdi”, a hledáním v této logice vztahu s palácem. Consolidation of the Ancient Convent of Santa María de los Reyes Jak se lehce dotknout intenzivního místa? Přesným, pečlivým a citlivým zásahem, který zohlední rovnováhu mezi počinem a rezistencí. Spojením různých akcí pro vytvoření (nové) doby. Objevením okolností v designu podlahy pro vytvoření prostoru. Zdůrazněním zvláštností, i těch nejméně viditelných. Načrtnutím minerálního koberce tam, kde se kříží různé kameny a prvky nábytku, jež se dělí mezi pomíjivé a věčné. Poklidným dialogem mezi oběma epochami, obnovením přísnosti historické dovednosti. Žít z textur, které jsou bohatstvím tohoto minimálního zásahu a jež rozmlouvají s historií obou zásahů.

Electrical Assembly Industry Jak vybudovat továrnu na výrobním místě? Zdokonalením měřítka, aby bylo možné nabídnout integraci a kontinuitu, podtržené materiálem použitým na realizaci povrchů. Zlepšením materiálnosti, která má za cíl vyřešit všechny situace tím, že budovu zahalí do jediného materiálu. Vytvořením dvorku, který pohltí fyzický hluk továrního života. Hledáním průmyslového zaměření, které organizuje tovární správu v rámci racionálního a plného prostoru. Pečlivým harmonizováním úspory prostředků při realizaci zvláštních prvků. Uchopit pouze jeden materiál a vyjádřit odlišné vizuální pojetí. Nechat vyniknout lehkosti materializace prodloužením tvrdého a silného, racionálního a průmyslového umístění.

El BigMat International Architecture Award prostřednictvím těchto tří oceněných projektů zdůrazňuje odlišný a široký pracovní záběr španělských architektů v překvapivém a vzrušujícím postoji k paměti. Schopnost najít v dějinách a zejména v jejich zhodnocení atraktivní postoj vůči dlouhodobým realizacím.

COMMENTS OF THE JURY

ITALIANO

COMMENTI DELLA GIURIA

XAVEER DE GEYTER BELGIO A Building-Square Da una parte questo progetto può sembrare modesto e difficile da comprendere a prima vista, dall’altra però ha attirato la nostra attenzione per diversi motivi. Il primo è il suo contesto. Sulle rive del fiume Meuse è stata costruita una stazione ferroviaria, ai limiti della città a cui offre servizio. La ferrovia stessa divide la parte inferiore e compatta della città, dai quartieri periferici superiori. Il tessuto cittadino delle due aree non è omogeneo. Entrambe le zone sono cosparse di vuoti e gli estremi stessi della ferrovia sono slegati e indefiniti. Non si tratta precisamente di una situazione urbana chiara, aperta a nuovi futuri sviluppi. Il secondo motivo è la natura stessa del progetto. Non è semplicemente un oggetto architettonico, non è una planimetria maestra e nemmeno uno spazio pubblico chiaramente definito. È un percorso che cerca di affrontare la situazione esistente e che ne coglie le potenzialità. È composto di piazze, parcheggi, parchi giochi e zone attrezzate per picnic. Inoltre, poiché la topografia è uno dei problemi principali, è zeppo di scale, rampe, ascensori, pendii, belvedere e sottopassaggi. L’unico oggetto architettonico, il padiglione della stazione ferroviaria, è stato fisicamente dissezionato dalla ferrovia, ma è chiaramente un consapevole punto cardinale di tutto il progetto. Il progetto non consiste però solo nel percorso. C’è molto di più al di là di ciò che appare a prima vista. Sono in progetto numerosi nuovi edifici, che andranno a formare la piazza principale, insieme al padiglione della stazione. La loro progettazione è decisamente insolita: al momento sono presenti tutti gli elementi dello spazio pubblico, ma più tardi seguiranno gli edifici intorno alla piazza, che saranno alloggi, negozi e strutture sociali. Lo spazio pubblico funge da catalizzatore per un nuovo programma. La qualità di quest’opera giace nella rivelazione fisica delle potenzialità della zona, in contrasto con le tante opere architettoniche che sorgono solo come auto-celebrazione.

HENRIETA MORAVČÍKOVÁ REPUBBLICA CECA + SLOVACCHIA Black Flying House Lo Studio H3T architekti è noto per la realizzazione di piccole opere, spesso temporanee, negli spazi pubblici. Anche la loro ultima opera segue la strategia di scoprire le potenzialità nascoste della piazza attraverso un nuovo intervento. La Black Flying House si trovava in una zona militare abbandonata, alla periferia della città ceca di Pardubice. L’archetipo ligneo di una casa oscillava sotto

l’arco di un ponte ferroviario in rovina e offriva al potenziale ospite il riparo di un ricovero d’emergenza. In questa posizione e ubicazione assurda, la forma triviale dell’oggetto acquisisce un potente contenuto socio-ambientale. L’opera è stata rimossa per via del mandato di demolizione, appena 39 giorni dopo la sua installazione. The Prototype of the House in Posazavi Il prototipo costruito nella vecchia cava di granito, nel pittoresco paesaggio del fiume Sázava, è il prolungamento del persistente interesse degli architetti dello studio A 69 nella progettazione di abitazioni familiari. Sfrutta le loro precedenti esperienze nello sviluppo di disposizioni organiche nel quadro dello schema ortogonale o della trasparenza. È infine importante menzionare anche il fenomeno della reversibilità, testato nella costruzione del prototipo. Il telaio in legno della casa è eretto sulla zattera di distribuzione in acciaio, appoggiata sulle rocce, che può essere facilmente smontata e rimossa. Al di là di questo prototipo, vi è un lavoro poetico che sviluppa la migliore tradizione estetica del modernismo. Footbridge Sulin Il ponte attraversa il fiume Poprad, che rappresenta una frontiera nazionale naturale fra la Polonia e la Slovacchia. Deve fungere da catalizzatore per lo sviluppo del turismo transfrontaliero in una delle aree naturali più belle d’Europa. Questo ponte in calcestruzzo, leggermente a volta, dalla superficie brutalista, reagisce al paesaggio circostante e lo migliora, come facevano i ponti o i castelli in pietra nel passato. Il carattere pratico della struttura è sottolineato dai semplici solchi verticali del corpo in calcestruzzo e dal rivestimento in legno del pavimento e della staccionata interna. A cavallo e in equilibrio fra l’originalità e la banalità, gli autori del ponte sono riusciti a creare un’architettura perfettamente in linea con questo luogo (non)ordinario.

MARC BARANI FRANCIA MUOTO L’edificio esprime e allestisce in modo diretto ed efficace l’energia contenuta nel progetto di questo luogo di vita. Il concetto dello spazio pubblico verticale prende vita grazie a un sottile assemblaggio di spazi e di circolazioni ampiamente vetrati. Questa generale trasparenza pone la struttura al centro del progetto, consentendole di esistere come segnale chiaro e potente. Eric Lapierre Quest’opera propone un insieme di soluzioni pertinenti e convincenti sul concetto di edificio denso di appartamenti.

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L’ossimoro è senza dubbio la figura retorica che meglio potrebbe descrivere questo progetto: densità/luce, schema/ flessibilità, razionalità/diversità, cemento/evoluzione. Un’opera al servizio dei cittadini, in cui l’architetto combina saggiamente la cultura classica e quella moderna. Lacaton & Vassal Si tratta di un progetto emblematico del lavoro di questi architetti: offrire di più con meno, amalgamare rigore e poesia, decuplicare le potenzialità di un progetto. La loro dottrina, abbinata a un’intelligenza incisiva, cambia la visione tradizionale del patrimonio: è più giusto prevedere l’estensione di un edificio, piuttosto che trasformarlo quando non è idoneo al suo nuovo uso. Proporre una soluzione così lontana dalla richiesta del concorso ridefinisce, con faccia tosta e sangue freddo, il ruolo dell’architetto. Si tratta di riformulare tale richiesta mediante il progetto, anziché accontentarsi di rispondere, aumentando sensibilmente il campo delle possibili e potenziali buone risposte.

FRANCESCO ISIDORI ITALIA Un Monolite Archetipico Il progetto, risultato vincitore di un concorso internazionale, si configura come un innesto nel complesso sistema urbano della città di Venezia. L’edificio, completato all’inizio del 2013, affaccia su Piazzale Roma, luogo nevralgico di Venezia, unico punto di accesso delle automobili alla città lagunare. La scala e la dimensione dell’edificio si misurano con il grande vuoto del piazzale antistante e con l’imponente volume del parcheggio San Marco altro 7 piani. La sua forma semplice e archetipica è il risultato di una sapiente manipolazione della tipologia tradizionale degli edifici industriali veneziani. Un aggetto di oltre cinque metri rivolto verso Piazzale Roma segna l’ingresso: un’ombra scura che attrae i flussi delle persone dalla piazza fin nell’atrio interno a tutta altezza. Questo spazio, liberamente accessibile durante il giorno, funge da “ingresso urbano” illuminato dall’alto così come avviene negli edifici industriali; all’interno, una lunga scala lineare, parallela alla facciata, distribuisce tutti i livelli. L’edificio è completamente rivestito in lastre di rame preossidato. Il rame, nella tipologia veneziana, è il materiale con cui sono rivestiti tutte le coperture degli edifici istituzionali (religiosi e laici). In questo progetto la materialità e la forma diventano una metafora dell’istituzione: la casa della giustizia è un grande volume monolitico che accoglie i cittadini in uno spazio luminoso. La giuria ha scelto questo progetto per la sua capacità di innestarsi in un brano urbano complesso, risolvendo

INTERNATIONAL ARCHITECTURE AWARD

la difficile relazione tra le vecchie fabbriche e il volume stereometrico del parcheggio multipiano. La forma planimetrica estremamente allungata e il profilo a falde della copertura, rendono l’inserimento nel sito perfettamente congruo con il contesto. L’utilizzo di un unico materiale, sia per la copertura che per il rivestimento esterno delle pareti, rafforza l’aspetto iconico e astratto dell’intervento, restituendo allo stesso tempo un’atmosfera senza tempo.

PAULO DAVID PORTOGALLO + SPAGNA Museu Municipal Abade Pedrosa Come mettere in relazione diversi edifici con programmi simili? Sottolineando il vuoto che li separa, costruendo una forma con tocchi e posizioni diversi, attraverso l’edificazione di un corpo nuovo, che collega fisicamente i due edifici. Unendo tutti i tempi, evidenziando le loro sfumature. Sostituendo una piccola finestra, un minimo dettaglio, un ricordo. Riscrivendo la verità nell’adeguamento storico e reinterpretando il passato, per costruire un altro tempo. Scoprendo il dialogo fra due architetti, che posizionano gli edifici comunicanti, nel tempo e nella storia, si percepisce il sovrapporsi delle loro decisioni, anche di quelle più silenziose. Casa em Alfama Come può una casetta in un angolo di Lisbona attribuire al luogo un nuovo valore? Rispondendo in maniera chiara e precisa a un programma interessante, per la sua capacità di riattivare un valore del vissuto, nel sostegno della centralità verso un (nuovo) luogo. Inserendo a esatta scala, offrendo integrazione e ospitalità, sublimata dalla materia delle sue delicate pareti lisce, che raccolgono le diverse epoche di questo luogo. Proponendo una stanza che si trova molto in alto nella casa, che dispone poeticamente di un momento liquido, di esclusività con il cielo, rafforzando il raccoglimento in un luogo denso della città. Museu de Arte Contemporanea – Arquipélago Come reinterpretare il valore di una fabbrica e prolungarne la morfologia fisica? Trovando uno spazio fra i nuovi volumi, che acquisisce carattere e si definisce come il nuovo design di questo luogo. Adeguando la scala e toccando leggermente la preesistenza, senza superarne i limiti. Esprimendo la volontà di denudare il peso della materializzazione vulcanica di questo luogo, con i nuovi corpi edificati in cemento trasparente, liscio e scuro.

Prolungando il posizionamento minerale ed evidenziando un dato tattile differenziato.

Mettendo in relazione le diverse azioni, per creare un tempo (nuovo).

Invertire e consentire che la materialità risponda contrariamente al suo esterno, liscio e docile, cercando di accogliere un programma per l’imprevedibilità delle arti.

Scoprendo nel progetto del suolo le circostanze per la creazione dello spazio. Evidenziandone i dettagli, anche quelli più invisibili. Delineando un tappeto minerale su cui s’incrociano diverse pietre ed elementi del mobilio, che si dividono fra il percorso e la permanenza.

Il BigMat International Architecture Award, attraverso i tre progetti qui premiati, mostra in maniera esemplare il diverso campo di lavoro degli architetti portoghesi, con una persistente e rigorosa posizione sul “costruire nel costruito”.

Royal Collection Museum Come perfezionare la ricerca dell’invisibilità? Inserendo un nuovo corpo, che si afferma come estensione programmatica e materiale. Favorendo l’incrocio con le specificità del palazzo reale. Mettendo in relazione i diversi tempi e riscrivendo l’esattezza dell’adeguamento storico. Rivelando la bellezza di tutti i tempi. Giocando con la dualità fra pesante e leggero, trasparente e opaco. Mostrando il dialogo fra la natura e l’artificiosità, attraverso la riduzione dell’impatto ambientale, individuale e collettivo. Intervenendo pienamente consapevoli del fatto che attraverso una razionalità rigorosa si ottiene la massima flessibilità. La proposta si chiarisce vivendo in un “muro di contenzione abitato”, cercando in questa logica il rapporto con il palazzo. Consolidation of the Ancient Convent of Santa María de los Reyes Come offrire leggeri ritocchi in un luogo intenso? Intervenendo con un gesto preciso, attento e sensibile, consapevole dell’equilibrio fra l’azione e la resistenza.

Dialogando serenamente con le due epoche, rivisitando il rigore dell’abilità storica. Vivere delle tessiture che sono la ricchezza di questo intervento minimo, dialogando con la storia di entrambi gli interventi. Electrical Assembly Industry Come creare una fabbrica in una zona industriale? Perfezionando la scala per offrire integrazione e continuità, sublimate dalla materia delle loro superfici. Migliorando la materialità che in questo approccio mira a risolvere tutte le situazioni, avvolgendo l’edificio con un solo materiale. Creando un cortile che consente di contenere il rumore fisico della vita della fabbrica. Cercando un approccio industriale, che organizza la gestione della fabbrica intorno a uno spazio contenuto e razionale. Armonizzando meticolosamente il risparmio di mezzi nell’esecuzione delle specificità. Impadronirsi di un solo materiale, evidenziando un dato visivo diverso. Lasciando visibile la leggerezza della materializzazione, prolungando il posizionamento duro e forte, razionale e industrializzato.

Il BigMat International Architecture Award, con questi tre progetti premiati, esalta il diverso e ampio campo di lavoro degli architetti spagnoli, in un sorprendente e appassionante atteggiamento di rispetto verso la memoria. La capacità di trovare nella storia e soprattutto nella sua esaltazione, un posizionamento attraente del costruire nel tempo.

COMMENTS OF THE JURY

PORTUGUÊS

COMENTÁRIOS DO JÚRI

XAVEER DE GEYTER BÉLGICA A Building-Square Embora este projeto possa parecer modesto e difícil de perceber à primeira vista, chama, no entendo, a atenção por diferentes razões. A primeira razão é o contexto. Nas margens do Meuse, foi construída uma estação de comboio nos arredores da cidade à qual dá serviço. A via ferroviária divide a parte inferior e mais densa da zona superior e suburbana. O tecido urbano das duas zonas não é homogéneo. É preenchido com vazios. Mesmo as extremidades da via são imprecisas e indefinidas. Não se trata precisamente de uma zona urbana claramente aberta a novos desenvolvimentos. A segunda razão refere-se à natureza do projeto. No se trata apenas de um objeto arquitetónico, de um plano mestre, ou de uma zona pública claramente definida. Trata-se de um projeto que procura gerir a situação existente e consciente do seu potencial. É composto por praças, parques de estacionamento, balancés e zonas de piquenique. Além disso, como a topografia é um dos principais problemas, está cheio de escadas, declives, elevadores, desníveis, miradouros e um túnel. O único objeto arquitetónico, o pavilhão da estação ferroviária, está dissecado fisicamente pelas vias, embora seja clara e visualmente um ponto cardinal do projeto em geral. No entanto, o projeto não é apenas um percurso. É muito mais do que aquilo que parece à primeira vista. Está prevista a construção de vários edifícios novos que formarão a praça principal, juntamente com o pavilhão da estação. A planificação de todo este conjunto é pouco usual: embora existam todos os elementos do espaço público, posteriormente serão construídos edifícios à volta da praça que serão habitações, lojas e serviços sociais. O espaço público como catalisador para um novo programa. A qualidade do projeto está no aproveitamento físico do potencial da zona, em contraste com muitas obras arquitetónicas, que parecem uma alegoria da sua própria existência.

HENRIETA MORAVČÍKOVÁ REPÚBLICA CHECA + ESLOVÁQUIA Black Flying House O Studio H3T architekti ganhou fama pela realização de pequenos objetos, muitas vezes temporais, em zonas públicas. Na sua última obra, deu continuidade à estratégia de descobrir o potencial oculto de um local através de uma nova intervenção. A “black flying house” (casa voadora preta) estava situada numa zona militar abandonada

nos arredores da cidade checa de Pardubice. O arquétipo de madeira de uma casa ficava pendurado sob o arco da ponte ferroviárias destruída e oferecia ao potencial hóspede um refúgio de emergência. Numa posição e localização pouco habitual, a trivial forma do objeto adquiria uma forte componente socioambiental. A obra foi destruída após executar a ordem de demolição, 39 dias depois da sua criação. The Prototype of the House in Posazavi O protótipo construído na antiga pedreira de granito no pitoresco panorama do rio Sávaza é uma continuidade do existente interesse dos arquitetos da A 69 pela conceção de habitações familiares. Baseia-se nas experiências prévias em desenvolvimento da disposição orgânica no esquema ortogonal e no seu sentido de transparência. E finalmente, embora não menos importante, ensaia-se o fenómeno de reversibilidade dentro da construção do protótipo. A estrutura de madeira da casa ergue-se sobre uma base de aço encostada às pedras que distribui a carga, sendo simples retirá-la em parte. Além disso, o protótipo é uma obra poética que desenvolve a melhor tradição estética do modernismo. Footbridge Sulin A ponte atravessa o rio Poprad, fronteira nacional natural entre a Polónia e a Eslováquia. Deveria servir de motor para o turismo transfronteiriço num dos locais naturais mais belos da Europa. O corpo da ponte em betão, ligeiramente abobadado e com uma superfície basta, reage perante a paisagem que o envolve e melhora, da mesma forma que os castelos ou pontes de pedra no passado. O caráter terrenal da estrutura é vincado com simples marcas verticais no corpo de betão e com o revestimento de madeira do solo e dos corrimões interiores. Equilibrando a sutil linha entre o original e o banal, os autores da ponte conseguiram criar uma arquitetura perfeitamente coerente com este local (pouco) ordinário.

MARC BARANI FRANÇA MUOTO O edifício expressa e ilustra de forma direta e eficaz, a energia contida no programa deste local de vida. O tema do espaço público vertical é materializado graças a uma montagem subtil de espaços e de circulações amplamente envidraçados. Esta transparência geral coloca a estrutura no coração do projeto e permite-lhe existir como sinal potente e evidente. Eric Lapierre Esta operação propõe um conjunto de soluções pertinentes e convincentes sobre o tema do prédio de habitação espesso.

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A figura do oximoro é sem dúvida a que melhor poderia descrever este projeto: espesso / luz, grelha / flexibilidade, racionalidade / diversidade, betão / escalabilidade. Um trabalho ao serviço dos habitantes no qual a arquitetura combina habilmente cultura clássica e moderna. Lacaton & Vassal Este projeto é emblemático do trabalho dos arquitetos: oferecer mais por menos, combinar rigor e poesia, multiplicar o potencial de um programa. A sua doutrina associada a uma inteligência incisiva, altera a visão tradicional do património: é preferível prever a extensão de um prédio do que transformá-lo quando não se adapta a uma nova utilização. Propor uma solução tão afastada da questão proposta no concurso volta a centrar com ousadia e sangue frio o papel do arquiteto. Trata-se de reformular através do projeto a questão colocada, em vez de se contentar de responder à mesma, aumentando sensivelmente o campo e o potencial das possíveis boas respostas.

FRANCESCO ISIDORI ITÁLIA Un Monolite Archetipico Este programa, vencedor de um concurso internacional, apresenta-se como um enxerto no complexo sistema urbano da cidade de Veneza. O edifício, cuja construção foi acabada no princípio do ano 2013, debruça-se sobre o Piazzale Roma, um ponto nevrálgico de Veneza e o único que dá acesso às viaturas à cidade da Laguna. A escala e o tamanho do edifício contrastam com o grande vazio da praça para a qual está voltado e com o imponente volume do parque de estacionamento de San Marco, de 7 andares. A sua forma simples e arquetípica é o resultado de uma sabia manipulação da tipologia tradicional dos edifícios industriais venezianos. Um cantiléver de mais de cinco metros virado para o Piazzale Roma indica a entrada: uma sombra escura que atrai os fluxos de pessoas da praça até ao vestíbulo interno, em toda a sua altura. Este espaço, de libre acesso durante o dia, faz as vezes de “entrada urbana” iluminada desde a parte superior, da mesma forma que os edifícios industriais. No interior, uma comprida escada linear e paralela à fachada reparte todos os níveis. O edifício está completamente coberto de chapas de cobre pré-oxidado. Na tipologia veneziana, o cobre é o material com o qual se cobrem todos os telhados dos edifícios institucionais (religiosos e laicos). Neste programa, a materialidade e a forma transformam-se em metáfora da instituição: a casa da justiça é um grande volume monolítico que acolhe os cidadãos num espaço luminoso.

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O Júri escolheu este projeto pela sua capacidade de implantação num fragmento urbano complexo, resolvendo a difícil relação entre as antigas fábricas e o volume estereométrico do parque de estacionamento de vários andares. Graças à sua planimetria extremadamente comprida e ao perfil em camadas do telhado, esta obra insere-se no seu meio envolvente de forma perfeitamente congruente com o contexto. A utilização de um único material, tanto para o telhado como para o revestimento exterior das paredes, reforça o aspeto icónico e abstrato da obra, dando-lhe ao mesmo tempo, uma atmosfera intemporal.

PAULO DAVID PORTUGAL + ESPANHA Museu Municipal Abade Pedrosa Como relacionar diferentes edifícios com programas semelhantes? Sublinhando o vazio entre eles, construindo uma forma de toque e posição distintas através da construção de um corpo novo que conecta fisicamente com os dois edifícios. Agrafando os tempos todos, evidenciando as suas subtilidades. Repondo uma pequena janela, um pequeno detalhe, uma memória. Reinscrevendo a verdade no ajuste histórico e reinterpretando o passado para construir um outro tempo. Descobrindo o diálogo entre dois arquitectos que colocam os edifícios comunicantes, no tempo e na história, apercebe-se o escalonamento das suas decisões, mesmo as mais silenciosas. Casa em Alfama Como pode uma pequena casa num lugar da cidade de Lisboa reinscrever o valor do sítio? Respondendo de forma precisa e esclarecida a um programa apetecível de revisitar, pela capacidade de reactar um valor vivencial no reforço de uma centralidade para um (novo) lugar. Incorporando com a escala exacta, conferindo integração e hospitalidade, sublimada pela matéria das suas delicadas paredes, lisas, que suturam os diferentes tempos deste lugar. Propondo um quarto alagado num posicionamento altaneiro da casa, que dispõe poeticamente o momento líquido, numa exclusividade com o céu, reforça o retiro no lugar denso da cidade. Museu de Arte Contemporanea – Arquipélago Como reescrever o valor de uma fábrica e prolongar a sua morfologia física.? Encontrando um espaço entre os novos volumes ao qual se confere carácter e se define o novo desenho deste lugar.

Ajustando a escala e tocando levemente na pré-existência, não ultrapassando os seus limites. Expressando a vontade de deixar a nu o peso da materialização vulcânica deste lugar, com os novos corpos construídos em betão aparente, liso e escuro. Prolongando o posicionamento mineral e evidenciando um dado táctil diferenciado. Invertendo e possibilitando que a materialidade responda opostamente ao seu exterior, liso e dócil procurando acolher um programa para a imprevisibilidade das artes.

O BIG MAT internacional Architecture Award, através de três projectos aqui premiados, vem exemplarmente evidenciar o diferente campo de trabalho dos arquitectos portugueses para uma persistente e rigorosa postura do “construir no construído”.

Royal Collection Museum Como afinar a procura por uma invisibilidade? Introduzindo um novo corpo que se afirma como uma extensão programática e matérica. Possibilitando o cruzamento com as particularidades do palácio real. Relacionando os diferentes tempos e reinscrevendo a exatidão do ajuste histórico. Acusando a beleza dos tempos, todos. Jogando na dualidade entre o pesado e leve, o transparente e o opaco. Exibindo o diálogo entre a natureza e o artifício, através da redução do impacto ambiental, individual e coletivo.

Intervindo com um gesto pontual, cuidadoso e sensível consciente do equilíbrio entre a ação e a resistência. Relacionando as diferentes ações para criar um (novo) tempo. Descobrindo no desenho do chão as circunstâncias para a criação do espaço. Exibindo as suas particularidades, mesmo as mais invisíveis. Delineando um tapete mineral onde se cruzam diferentes pedras e elementos de mobiliário que se desdobram entre o percurso e a permanência. Dialogando serenamente com os dois tempos, revisitando o rigor do acerto histórico. Vivendo das texturas que ao serem a riqueza desta intervenção mínima dialogam com a história de ambas as intervenções. Electrical Assembly Industry Como fazer uma fábrica num lugar fabril? Afinando a escala para conferir integração e continuidade, sublimadas pela matéria das suas superfícies. Aperfeiçoando a materialidade que nesta abordagem procura resolver todas as situações envolvendo o edifício num único material. Gerando um pátio que permite conter o ruído físico da vida fabril. Procurando por uma abordagem industrial, que organiza a gestão fabril em torno de um espaço contido e racional. Harmonizando meticulosamente uma economia de meios na execução das particularidades. Apropriando-se de um único material denotando um dado visual distinto. Deixando visível a leveza da materialização, prolongando o posicionamento duro e forte, racional e industrializado.

Intervindo com a plena consciência de que através de uma racionalidade rigorosa se consegue a máxima flexibilidade. A proposta clarifica-se ao viver de um “muro de contenção habitado” procurando nesta lógica relacionar-se com o palácio. Consolidation of the Ancient Convent of Santa María de los Reyes Como tocar leve num intenso lugar?

O BIG MAT internacional Architecture Award, através de três projectos aqui premiados, vem exaltar o diferente e extenso campo de trabalho dos arquitectos espanhóis para uma surpreendente e apaixonante postura relativamente à memória. Á capacidade de encontrar na história, e sobretudo na sua valorização, uma postura aliciante face ao construir no tempo.

COMMENTS OF THE JURY

SLOVENSKÝ

KOMENTÁRE POROTY

XAVEER DE GEYTER BELGICKO A Building-Square Napriek tomu, že tento projekt sa na prvý pohľad môže zdať skromný a ťažko pochopiteľný, vzbudzuje pozornosť z rôznych dôvodov. Prvým dôvodom je jeho kontext. Na brehu rieky Másy bola postavená železničná stanica na kraji mesta, ktorému slúži. Železničná trať rozdeľuje spodnú a hustejšiu časť od časti vrchnej a prímestskej. Mestské tkanivo oboch zón nie je homogénne. Vypĺňa sa prázdnom. Dokonca aj konce trate sú nepresné a nedefinované. Dozaista nejde o mestskú zónu, ktorá by bola jasná a otvorená ďalšiemu rozvoju. Druhý dôvod referuje na druh projektu. Nejde iba o architektonický objekt alebo o majstrovský plán alebo o jasne definovanú verejnú zónu. Ide o projekt, ktorý sa snaží riešiť existujúcu situáciu a zároveň má snahu uvedomovať si, aký je jeho potenciál. Skladá z námestí, parkovacích miest, hojdačiek a rekreačných zón. Navyše, nakoľko topografia je jedným z hlavných problémov, je plný schodov, svahov, výťahov, rozdielov vo výškach, belvedérov a má jeden tunel. Jediný architektonický objekt, pavilón železničnej stanice, je fyzicky preseknutý traťou, aj keď je jasným vizuálnym kardinálnym bodom celého projektu. Avšak, projekt nie je iba dráha. Je omnoho viac ako sa na prvý pohľad zdá. Predpokladá sa výstavba viacerých nových budov, ktoré budú tvoriť hlavné námestie spolu so staničným pavilónom. Plánovanie celého tohto komplexu je málo bežné: aj keď existujú všetky prvky verejného priestoru, budovy okolo námestia budú postavené neskôr. Ide o byty, obchody a sociálne služby. Verejný priestor slúži ako katalyzátor pre tento nový program. Kvalita projektu spočíva v materiálnom využití potenciálu zóny, v kontraste s mnohými architektonickými dielami, ktoré sa javia ako alegória svojej vlastnej existencie.

HENRIETA MORAVČÍKOVÁ ČESKÁ REPUBLIKA+ SLOVENSKO Black Flying House Studio H3T architekti získalo svoje renomé vďaka realizácii malých objektov, často dočasných, na verejných priestranstvách. Vo svojom poslednom diele pokračovali v stratégii odhaľovať skrytý potenciál určitého miesta prostredníctvom novej intervencie. „Black flying house“ (čierny lietajúci dom) bol umiestnený v opustenej vojenskej zóne na periférii českého mesta Pardubice. Archetyp dreveného domu bol zavesený pod oblúkom zničeného železničného mosta a ponúkal prípadnému návštevníkovi núdzový prístrešok. Triviálna forma objektu vďaka

nezvyklému umiestneniu a lokalizácii získala silný sociálny a environmentálny obsah. Stavba bola zničená po vykonaní príkazu na demolíciu, 39 dní po jej vytvorení. The Prototype of the House in Posazavi Prototyp postavený v starom žulovom kameňolome v pôvabnom okolí rieky Sázavy je pokračovaním existujúceho záujmu architektov A 69 o dizajn rodinných domov. Vychádza z predošlých skúseností z rozvoja organického rozloženia v ortogonálnej schéme a z jeho zmyslu pre transparentnosť. A nakoniec, ale nie menej dôležité, dokazuje fenomén zvratnosti pri výstavbe prototypu. Drevená štruktúra domu stojí na železnom základe, ktorý leží na kameňoch a rozkladá jej váhu. Vďaka základu je jednoduché rozobrať ho po častiach. Navyše, prototyp je poetickým dielom, ktoré rozvíja najlepšiu estetickú tradíciu secesie. Footbridge Sulin Most prechádza cez rieku Poprad, ktorá je prírodnou hranicou medzi Poľskom a Slovenskom. Mal by slúžiť ako motor cezhraničného cestovného ruchu v jednej z najkrajších prírodných zón Európy. Telo mierne klenutého mostu zo železobetónu, spočívajúceho z jedinej jednoduchej hrubej plochy, reaguje na okolitú krajinu a vylepšuje ju rovnakým spôsobom ako to robili hrady alebo kamenné mosty v minulosti. Zemský charakter štruktúry je naznačený jednoduchými vertikálnymi značkami v tele železobetónu a vnútorným dreveným obkladom dlažby a zábradlia. Autorom sa vďaka dosiahnutej rovnováhe tenkej línie medzi originalitou a banálnosťou podarilo vytvoriť architektúru absolútne koherentnú s týmto (nie) bežným miestom.

MARC BARANI FRANCÚZSKO MUOTO Budova vyjadruje a priamo, jasne a účinne ilustruje energiu projektu tohto životného priestoru. Vďaka citlivej montáži štedro zasklených priestorov a priechodov dostáva podobu motív vertikálneho verejného priestoru. Celková transparentnosť určuje štruktúru ako jadro projektu a účinkuje ako mocná a zrejmá značka. Eric Lapierre Tento projekt navrhuje súbor primeraných a presvedčivých riešení tematiky obytných blokov. Bezpochyby, najlepšie by sme projekt opísali oxymoronom: hutný / svetlý, mreže / flexibilnosť, racionalita / heterogénnosť, betón / plastickosť. Ide o dielo, ktoré je určené slúžiť bývajúcim, kde architekt rozumne kombinuje klasickú a modernú kultúru.

COMMENTS OF THE JURY

Lacaton & Vassal Ide o emblematický projekt práce architektov: ponúknuť čo najviac z mála, kombinovať prísnosť s poéziou, znásobiť potenciál programu. Jeho doktrína spojená s ostrou inteligenciou mení tradičný pohľad na dedičstvo: je lepšie predvídať rozšírenie budovy ako ju transformovať, keď nevyhovuje novému použitiu. Návrh riešenia, tak vzdialený otázke položenej v súťaži, drzo a chladnokrvne sústreďuje pozornosť na úlohu architektúry; ide o prehodnotenie položenej otázky prostredníctvom projektu namiesto uspokojenia sa s jej zodpovedaním, čím sa značne rozširuje pole možností a potenciál dobrých odpovedí.

FRANCESCO ISIDORI TALIANSKO Un Monolite Archetipico Tento program, ktorý už vyhral jednu medzinárodnú súťaž, sa prezentuje ako transplantát do zložitého komunálneho systému mesta Benátky. Budova, ktorej výstavba bola dokončená začiatkom roku 2013, nakúka na Piazzale Roma, neuralgické miesto Benátok a jediný prístupový bod pre autá do mesta lagúny. Mierka a veľkosť budovy sa merajú s veľkou prázdnotou námestia, na ktoré pozerá a s impozantným objemom parkoviska San Marco, ktoré má 7 poschodí. Jej jednoduchá a archetypová forma je výsledkom múdrej manipulácie tradičnej typológie benátskych priemyselných budov. Viac ako päť metrový previs, ktorý čelí Piazzale Roma označuje vstup: tmavý tieň, ktorý priťahuje tok ľudí z námestia do vnútorného vestibulu, v celej svojej výške. Tento priestor, voľne prístupný počas dňa, funguje ako „vstup do mesta“, osvietený zhora, tak ako to býva v priemyselných budovách. V jeho vnútri sa medzi všetkými úrovňami rozdeľuje dlhé lineárne schodisko paralelné s fasádou. Celá budova je pokrytá doskami z preoxidovanej mede. V benátskej typológii je meď materiál, ktorým sa pokrývajú všetky strechy oficiálnych budov (cirkevných aj laických). V tomto programe sa vzhľad a forma menia na metaforu inštitúcie: dom spravodlivosti je veľkým monolitickým objemom, ktorý prijíma občanov vo svetlom priestore. Porota vybrala tento projekt pre jeho kapacitu implantovať sa do zložitého mestského zlomku, vyriešiť náročný vzťah medzi pôvodnými fabrikami a stereometrickým objemom viacposchodového parkoviska. Vďaka svojmu prehnane predĺženému pôdorysu a viacvrstvovému profilu strechy, toto dielo sa zaraďuje do svojho okolia v úplnej kongruencii s kontextom. Použitie jediného materiálu, tak na strechu ako na vonkajšie obloženie stien, posilňuje ikonický a abstraktný vzhľad diela a zároveň mu dodáva nadčasovú atmosféru.

INTERNATIONAL ARCHITECTURE AWARD

PAULO DAVID PORTUGALSKO + ŠPANIELSKO Museu Municipal Abade Pedrosa Ako spojiť rôzne budovy s podobným konceptom? Zdôraznením prázdna medzi nimi, vytvorením formy, ktorá má odlišný nádych a postoj. Postavením nového telesa, ktoré sa fyzicky spája s oboma budovami. Spájaním všetkých časov, zdôraznením každej nuansy. Obnovením jedného okienka, malého detailu, pamäte. Znovu zapísaním pravdy do historickej úpravy a novou interpretáciou minulosti na vybudovanie inej doby. Vďaka objaveniu dialógu medzi dvoma architektmi, ktorí umiestnili budovy komunikujúce v čase a v histórii, môžeme vnímať stupňovanie ich rozhodnutí, dokonca aj tých najtichších. Casa em Alfama Ako môže malý dom umiestnený niekde v Lisabone transkribovať hodnotu miesta? Tak, že dáva presnú a jasnú odpoveď na program, ktorý láka k jeho revízii, vzhľadom k svojej schopnosti reaktivovať obývaciu hodnotu posilnením centrálnosti na dosiahnutie (nového) priestoru. Tak, že začleňuje s presnou mierkou, dosahujúc integráciu a pohostinnosť, sublimované hmotou so svojimi jemnými hladkými stenami, ktoré kombinujú rôzne doby v tomto priestore. Tak, že navrhuje umiestnenie spálne vo veľmi vysokej polohe domu, ktorá poeticky disponuje tekutým momentom, exkluzívnosťou v nebi, posilňujúc odpočinok v tejto hustej lokalite mesta. Museu de Arte Contemporanea – Arquipélago Ako zmeniť hodnotu fabriky a predĺžiť jej fyzickú morfológiu? Nájdením priestoru medzi novými objemami, ktorému dodáme ráz a definujeme nový dizajn tohto miesta. Upravením škály a miernym dotýkaním sa už existujúceho, bez toho, že by sa presiahli jeho limity. Vyjadrením snahy nechať obnaženú váhu vuklanického spodobenia priestoru vďaka novým telesám postaveným z okázalého betónu, hladkého a tmavého. Predĺžením minerálneho umiestnenia a zdôraznením odlišného hmatového údaju. Invertovať a dovoliť, aby hmotná podstata reagovala opačne ako jej vonkajšok, hladký a poddajný. Hľadať prijatie programu koncipovaného pre nepredvídavosť umenia.

BigMat International Architecture Award prostredníctvom týchto troch odmenených projektov ukážkovo dokazuje rôzne polia práce portugalských architektov, ktorých pretrvávajúci a striktný postoj je „stavať v postavenom“.

Royal Collection Museum Ako zdokonaliť hľadanie neviditeľnosti? Tak, že sa vsunie nové teleso, ktoré sa bude javiť ako programové a hmotné predĺženie. Umožnením kríženia s osobitosťou kráľovského paláca. Vytváraním vzťahov medzi rôznymi časmi a prepisovaním presnosti historického nastavenia. Tak, že sa zdôrazní krása všetkých dôb. Hraním sa s dualitou medzi ťažkým a ľahkým, priehľadným a matným. Zviditeľnením dialógu medzi prírodou a umelým výtvorom, znížením dopadu na individuálne ako aj kolektívne prostredie. Tak, že sa intervenuje s plným vedomím, že vďaka prísnej racionalite sa dosiahne maximálna flexibilita. Návrh pochopíme, keď si uvedomíme, že existuje v „obývanom ochrannom múre“ a vychádzajúc z tejto logiky hľadá nadviazať vzťah s palácom. Consolidation of the Ancient Convent of Santa María de los Reyes Ako citlivo intervenovať v prenikavom priestore? Tak, že sa intervencia realizuje len príležitostným gestom, citlivým a opatrným, s vedomím rovnováhy medzi akciou a odporom. Spájaním rôznych akcií na vytvorenie (nového) času. Objavením okolností na vytvorenie priestoru v návrhu povrchu. Zvýraznením osobitností, aj tých najmenej viditeľných. Načrtnutím minerálneho koberca, kde sa križujú rôzne kamene s prvkami nábytku, ktoré sa rozdvojujú na cestu a na zotrvanie.

Kľudným dialógom s oboma dobami, s nahliadaním do úspešného prísneho historického riešenia. Žiť z textúr, ktoré vedú dialóg s príbehom obidvoch zákrokov, nakoľko bohatosť pri tomto zákroku je minimálna. Electrical Assembly Industry Ako spraviť závod na výrobnom mieste? Presným nastavením mierky, vďaka čomu je možné ponúknuť integráciu a kontinuitu, sublimované materiálom plôch. Zlepšením hmotnej podstaty, ktorej zámerom v tomto prístupe je vyriešiť všetky situácie obalením budovy jediným materiálom. Vytvorením dvora, ktorý umožňuje zachytiť fyzický ruch výroby. Hľadaním priemyselného fokusu, ktorý organizuje výrobné riadenie v miernom a racionálnom priestore. Dôkladnou harmonizáciou hospodárenia s prostriedkami pri realizácií jeho osobitostí. Zmocniť sa jediného materiálu, označením odlišného vizuálneho údaja. Odhalením ľahkosti realizácie vďaka predĺženiu tvrdého, silného, racionálneho a priemyselného umiestnenia.

BigMat International Architecture Award prostredníctvom týchto troch ocenených projektov vyzdvihuje rôznorodé a rozmerné pracovné pole španielskych architektov, ktorých postoj voči pamäti je prekvapujúci a strhujúci. Schopnosť nájsť v histórii – a najmä prostredníctvom jej valorizácie, atraktívny postoj k budovaniu v čase.

COMMENTS OF THE JURY

SPANISH

COMENTARIOS DEL JURADO

XAVEER DE GEYTER BÉLGICA A Building-Square Aunque este proyecto pudiera parecer modesto y difícil de entender a primera vista, sin embargo llama la atención por distintas razones. La primera razón es su contexto. En las orillas del río Meuse, se construyó una estación de tren en la periferia de la ciudad a la que da servicio. La vía férrea divide la parte inferior y más densa de la zona superior y suburbana. El tejido urbano de las dos zonas no es homogéneo. Se rellena con vacíos. Incluso los extremos de la vía son imprecisos e indefinidos. No se trata precisamente de una zona urbana clara abierta a nuevos desarrollos. La segunda razón hace referencia a la naturaleza del proyecto. No se trata solo de un objeto arquitectónico, o de un plan maestro, o de una zona pública claramente definida. Se trata de un proyecto que intenta gestionar la situación existente y ser consciente de su potencial. Está compuesto de plazas, plazas de aparcamiento, columpios y zonas de picnic. Además, como la topografía es uno de los problemas principales, está repleto de escaleras, pendientes, ascensores, desniveles, belvederes y un túnel. El único objeto arquitectónico, el pabellón de la estación ferroviaria, está físicamente diseccionado de las vías, aunque es clara y visualmente un punto cardinal del proyecto en general. Sin embargo, el proyecto no es solo un recorrido. Es mucho más de lo que aparenta a simple vista. Está prevista la construcción de varios edificios nuevos que formarán la plaza principal, junto con el pabellón de la estación. La planificación de todo este conjunto es poco usual: aunque existan todos los elementos del espacio público, posteriormente se construirán los edificios de alrededor de la plaza que son viviendas, tiendas y servicios sociales. El espacio público como catalizador para un nuevo programa. La calidad del proyecto radica en el aprovechamiento físico del potencial de la zona, en contraste con muchas obras arquitectónicas, que parecen una alegoría de su propia existencia.

HENRIETA MORAVČÍKOVÁ REPÚBLICA CHECA + ESLOVAQUIA Black Flying House Studio H3T architekti ha ganado renombre por la realización de pequeños objetos, a menudo temporales, en zonas públicas. En su última obra, se ha continuado la estrategia de descubrir el potencial oculto de un lugar a través de una nueva intervención. La «black flying house» (casa voladora negra) estaba situada en una zona

militar abandonada en la periferia de la ciudad checa de Pardubice. El arquetipo de madera de una casa colgaba bajo el arco del puente ferroviario destruido y ofrecía al potencial huésped un refugio de emergencia. En una posición y localización poco habitual, la trivial forma del objeto adquiría un fuerte contenido socioambiental. La obra se destruyó tras ejecutar la orden de demolición 39 días después de su creación. The Prototype of the House in Posazavi El prototipo construido en la antigua cantera de granito en el pintoresco entorno del río Sávaza es una continuación del existente interés de los arquitectos de A 69 en el diseño de viviendas familiares. Se basa en las experiencias previas sobre desarrollo de la disposición orgánica en el esquema ortogonal y sobre su sentido de transparencia. Y finalmente, aunque no por ello menos importante, se prueba el fenómeno de reversibilidad dentro de la construcción del prototipo. La estructura de madera de la casa se erige sobre una base de acero acostada en las rocas que distribuye la carga haciendo que fuera sencillo quitarla en partes. Además de esto, el prototipo es una obra poética que desarrolla la mejor tradición estética del modernismo. Footbridge Sulin El puente cruza el río Poprad, frontera nacional natural entre Polonia y Eslovaquia. Debería servir de motor del turismo transfronterizo en uno de los emplazamientos naturales más bellos de Europa. El cuerpo del puente de hormigón ligeramente abovedado con una superficie basta reacciona ante el paisaje que lo rodea y lo mejora, al igual que los castillos o puentes de piedra en el pasado. El carácter terrenal de la estructura se ve marcado con sencillas marcas verticales en el cuerpo del hormigón y con el revestimiento de madera del suelo y las barandillas por dentro. Equilibrando la sutil línea entre lo original y lo banal, los autores del puente lograron crear una arquitectura perfectamente coherente con este lugar (poco) ordinario.

MARC BARANI FRANCIA MUOTO El edificio expresa e ilustra de manera directa y eficaz la energía contenida en el planteamiento de este espacio de vida. El tema del espacio público vertical se materializa gracias a un montaje sutil de espacios y de circulación ampliamente acristalados. Esta transparencia general sitúa la estructura en el centro del proyecto y le permite existir como señal potente y evidente. Eric Lapierre Esta operación propone un conjunto de soluciones apropiadas y convincentes sobre el tema de los bloques de viviendas.

COMMENTS OF THE JURY

Sin lugar a dudas, el oxímoron es lo que mejor describiría este proyecto: compacto / luz, rejilla / flexibilidad, racionalidad / diversidad, hormigón / escalabilidad. Una obra al servicio de los habitantes donde el arquitecto combina sabiamente la cultura clásica y moderna. Lacaton & Vassal Este proyecto es emblemático del trabajo de los arquitectos: ofrecer más con menos, combinar rigor y poesía, multiplicar el potencial de un programa. Su doctrina unida a una inteligencia incisiva, cambia la visión tradicional del patrimonio: es preferible prever una ampliación para un edificio que transformarlo cuando no se adapta a su nuevo uso. Proponer una solución tan alejada de la pregunta planteada durante el premio, recentra con descaro y sangre fría el papel de la arquitectura; se trata de reformular mediante el proyecto la pregunta planteada, en vez de contentarse con responderla, aumentando sensiblemente el campo de posibilidades y el potencial de buenas respuestas.

FRANCESCO ISIDORI ITALIA Un Monolite Archetipico Este programa, ganador de un concurso internacional, se presenta como un injerto en el complejo sistema urbano de la ciudad de Venecia. El edificio, cuya construcción se terminó a principios de 2013, se asoma al Piazzale Roma, un lugar neurálgico de Venecia y el único punto de acceso para los coches a la ciudad de la Laguna. La escala y el tamaño del edificio se miden con el gran vacío de la plaza a la que mira y con el imponente volumen del aparcamiento de San Marco, con sus 7 alturas. Su forma sencilla y arquetípica es el resultado de una sabia manipulación de la tipología tradicional de los edificios industriales venecianos. Un voladizo de más de cinco metros encarado al Piazzale Roma indica la entrada: una sombra oscura que atrae a los flujos de personas desde la plaza hasta el vestíbulo interno, en toda su altura. Este espacio, de libre acceso durante el día, hace las veces de “entrada urbana” iluminada desde arriba, al igual que en los edificios industriales. En su interior, una larga escalera lineal y paralela a la fachada reparte todos los niveles. El edificio está completamente cubierto de planchas de cobre preoxidado. En la tipología veneciana, el cobre es el material con el que se recubren todas las cubiertas de los edificios institucionales (religiosos y laicos). En este programa, la materialidad y la forma se convierten en metáfora de la institución: la casa de la justicia es un gran volumen monolítico que acoge a los ciudadanos en un espacio luminoso.

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El Jurado eligió este proyecto por su capacidad de implantarse en un fragmento urbano complejo, resolviendo la difícil relación entre las antiguas fábricas y el volumen estereométrico del aparcamiento de varios pisos. Gracias a su planimetría extremadamente alargada y al perfil en capas de la cubierta, esta obra se inserta en el entorno de manera perfectamente congruente con el contexto. El uso de un único material, tanto para la cubierta como para el revestimiento exterior de las paredes, refuerza el aspecto icónico y abstracto de la obra, entregándole a la vez una atmósfera intemporal.

PAULO DAVID PORTUGAL + ESPAÑA Museu Municipal Abade Pedrosa ¿Cómo relacionar diferentes edifícios con programas similares? Subrayando el vacío entre ellos, construyendo una forma de toque y posición distintos a través de la construcción de un cuerpo nuevo que conecta físicamente con los dos edificios. Grapando los tiempos todos, evidenciando sus sutilidades. Reponiendo una pequeña ventana, un pequeño detalle, una memoria. Reinscribiendo la verdad en el ajuste histórico y reinterpretando el pasado para construir otro tiempo. Al descubrir el diálogo entre dos arquitectos que colocan los edificios comunicantes, en el tiempo y en la historia, se percibe el escalonamiento de sus decisiones, incluso las más silenciosas. Casa em Alfama ¿Cómo puede una pequeña casa en un lugar de la ciudad de Lisboa reinscribir el valor del sitio? Respondiendo de forma precisa y aclarada a un programa apetecible de revisar, por la capacidad de reactivar un valor vivencial en el refuerzo de una centralidad hacia un (nuevo) lugar. Incorporando con la escala exacta, confiriendo integración y hospitalidad, sublimada por la materia de sus delicadas paredes, lisas, que sutura los diferentes tiempos de este lugar. Proponiendo un cuarto inundado en un posicionamiento altísimo de la casa, que dispone poéticamente el momento líquido, en una exclusividad con el cielo, refuerza el retiro en el lugar denso de la ciudad. Museu de Arte Contemporanea – Arquipélago ¿Cómo reescribir el valor de una fábrica y prolongar su morfología física? Encontrando un espacio entre los nuevos volúmenes al que se confiere carácter y se define el nuevo diseño de este lugar. Ajustando la escala y tocando ligeramente en la preexistencia, no sobrepasando sus límites.

Expresando la voluntad de dejar a desnudo el peso de la materialización volcánica de este lugar, con los nuevos cuerpos construidos en hormigón aparente, liso y oscuro. Prolongando el posicionamiento mineral y evidenciando un dado táctil diferenciado. Invertir y posibilitar que la materialidad responda contrariamente a su exterior, liso y dócil buscando acoger un programa para la imprevisibilidad de las artes.

El BIG MAT internacional Architecture Award, a través de tres proyectos aquí premiados, viene ejemplarmente evidenciar el diferente campo de trabajo de los arquitectos portugueses para una persistente y rigurosa postura del “construir en el construido”.

Royal Collection Museum ¿Cómo afinar la búsqueda de una invisibilidad? Introduciendo un nuevo cuerpo que se afirma como una extensión programática y material. Posibilitando el cruce con las particularidades del palacio real. Relacionando los diferentes tiempos y reinscribiendo la exactitud del ajuste histórico. Acusando la belleza de los tiempos, todos. Jugando en la dualidad entre lo pesado y ligero, lo transparente y lo opaco. Mostrando el diálogo entre la naturaleza y el artificio, a través de la reducción del impacto ambiental, individual y colectivo. Interviniendo con la plena conciencia de que a través de una racionalidad rigurosa se logra la máxima flexibilidad. La propuesta se aclara al vivir de un “muro de contención habitado” buscando en esta lógica relacionarse con el palacio. Consolidation of the Ancient Convent of Santa María de los Reyes ¿Cómo tocar leve en un intenso lugar?

Interviniendo con un gesto puntual, cuidadoso y sensible consciente del equilibrio entre la acción y la resistencia. Relacionando las diferentes acciones para crear un (nuevo) tiempo. Descubriendo en el diseño del suelo las circunstancias para la creación del espacio. Viendo sus particularidades, incluso las más invisibles. Delineando una alfombra mineral donde se cruzan diferentes piedras y elementos de mobiliario que se desdoblan entre el recorrido y la permanencia. Dialogando serenamente con los dos tiempos, revisitando el rigor del acierto histórico. Vivir de las texturas que al ser la riqueza de esta intervención mínima dialogan con la historia de ambas intervenciones. Electrical Assembly Industry ¿Cómo hacer una fábrica en un lugar fabril? Afinando la escala para conferir integración y continuidad, sublimadas por la materia de sus superficies. Mejorando la materialidad que en este enfoque busca resolver todas las situaciones envolviendo el edificio en un solo material. Generando un patio que permite contener el ruido físico de la vida fabril. Buscando un enfoque industrial, que organiza la gestión fabril en torno a un espacio contenido y racional. Armonizando meticulosamente una economía de medios en la ejecución de las particularidades. Apropiarse de un solo material denotando un dato visual distinto. Dejando visible la ligereza de la materialización, prolongando el posicionamiento duro y fuerte, racional e industrializado.

El BIG MAT Internacional Architecture Award, a través de tres proyectos aquí premiados, viene ejemplarmente a evidenciar el diferente y extenso campo de trabajo de los arquitectos españoles para una sorprendente y apasionante postura con respecto a la memoria. La capacidad de encontrar en la historia, y sobre todo en su valorización, una postura aliciente frente al construir en el tiempo.

COMMENTS OF THE JURY

BIGMAT INTERNATIONAL ARCHITECTURE AWARD GRAND PRIZE Frac (Regional Contemporary Artwork Collection) of the North Region Lacaton & Vassal [Architecture]

WINNING PROJECTS LOCATION OF THE WINNING PROJECTS IN THE BIGMAT COUNTRIES

CATEGORY PRIZE Public Condenser MUOTO [Architecture]

NATIONAL PRIZE. PORTUGAL Abade Pedrosa Municipal Museum Álvaro Siza Vieira / Eduardo Souto de Moura [Architecture]

NATIONAL PRIZE. SPAIN Royal Collection Museum Mansilla + Tuñon Architects [Architecture]

CATEGORY PRIZE House in Alfama Pedro Matos Gameiro [City and Landscape]

9 14

CATEGORY PRIZE Arquipélago Contemporary Arts Centre João Mendes Ribeiro Arquitecto Lda Menos é Mais [Restoration] PUBLIC PRIZE Quinta da Tilia Pedro Mauricio Borges [Architecture]

CATEGORY PRIZE Factory of Electrical Assembly José María Sánchez García Arquitectos [Sustainability and innovative use of material] 12

CATEGORY PRIZE Consolidation and Adaptation of the Ancient Convent of Santa Maria de los Reyes and its Gardens MGM, Morales de Giles Arquitectos S.L.P. [Restoration]

NATIONAL PRIZE. BELGIUM A Building-square Multiple Architecture & Urbanisme [Architecture]

13 2

NATIONAL PRIZE. CZECH REPUBLIC The Prototype of the House in Posazavi A69 – Architekti [Architecture]

CATEGORY PRIZE 86 Collective Housing Units Éric Lapierre Experience [Architecture]

HONORIFIC SPECIAL MENTION YOUNG ARCHITECTS Black Flying House H3T Architekti [Ephemeral Architecture]

NATIONAL PRIZE. ITALY Law Court Offices in Venice C+S Architects [Architecture]

NATIONAL PRIZE. SLOVAKIA Footbridge Sulin ZeroZero [City and Landscape]

FRAC (REGIONAL CONTEMPORARY ARTWORK COLLECTION) OF THE NORTH REGION LACATON & VASSAL

BIGMAT INTERNATIONAL ARCHITECTURE AWARD GRAND PRIZE ARCHITECTURE

BIGMAT INTERNATIONAL ARCHITECTURE AWARD

INTERNATIONAL GRAND PRIZE. FRANCE

Frac (Regional Contemporary Artwork Collection) of the North Region Lacaton & Vassal ARCHITECTURE

Project title Frac (Regional Contemporary Artwork Collection) of the North Region Location Dunkirk, France Completion 2013 Office Lacaton & Vassal www.lacatonvassal.com Authors Anne Lacaton, architect Jean-Philippe Vassal, architect Collaborators Secotrap (Structure, mechanical systems) Cesma (Metal Structure) VPEAS (cost) VulcanĂŠo (Fire security consultant) Florian De Pous (Chief project at Lacaton & Vassal) Type of work Public Photographs Philippe Ruault

The North region Frac is located on the site of Dunkirk port in an old boat warehouse called Halle AP2. The Halle AP2 is a singular and symbolic object. Its internal volume is immense, bright, impressive. Its potential for uses is exceptional. To implement the FRAC as a catalyst for the new area, and also keep the Halle in its entirety is the basic idea of our project. To achieve this concept, the project creates a double of the Halle, of the same dimension, attached to the existing building, on the side which faces the sea, and which contains the program of the FRAC. The new building juxtaposes delicately without competing nor fading. The duplication is the attentive response to the identity of the Halle. Under a light and bioclimatic envelope, a prefabricated and efficient structure determines free, flexible and evolutionary platforms, with few constraints, fit to the needs of the program. The transparency of the skin allows one to see the background vision of the opaque volume of the artworks reserves. The public footbridge which crosses the building becomes a covered street entering the Halle and the internal facade of the FRAC. Tha Halle AP2 will remain a completely available space, which can work either with the FRAC, as an extension of its activities (exceptional temporary exhibitions, creation of large scale works, particular handlings) or independently to host public events (concerts, fairs, shows, circuses, sport) and which enriches the possibilities of the area. The functioning of each of the buildings can be separate or combined. The architecture of the Halle and its current quality make sufficient minimal, targeted and limited interventions. Owing to the optimization of the project, the budget is sufficient for realization of the FRAC and the setting up of conditions and equipment for public use of the Halle AP2. The project thus creates an ambitious public resource, of flexible capacity, which allows work at several scales from everyday exhibitions to large-scale artist events, of regional but also European and international resonance, which consolidates the revitalization of the port of Dunkirk.

INTERNATIONAL ARCHITECTURE AWARD INTERNATIONAL GRAND PRIZE. FRANCEâ&#x20AC;&#x192;

NORTH SEA

CHANNEL

S O LE

AL CH M

BEA

FRAC

BAIN

WAY

GATE

HARBOR GRAND LARGE

NEIGHBORHOOD GRAND LARGE

Site plan

INTERNATIONAL ARCHITECTURE AWARD

INTERNATIONAL ARCHITECTURE AWARD INTERNATIONAL GRAND PRIZE. FRANCEâ&#x20AC;&#x192;

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ridge +31,27m

BELVEDERE sixth floor +21,00m

FORUM

Fifth floor +15,75m

BLACK HALL

HALLE AP2 INTERIOR STREET

EXHIBITION HALL 2

PUBLIC MEDIATION

Fourth floor +12,25m

ADMINI -STRATION

Third floor +8,75m

Second floor +5,25m

CAFÉ

EXHIBITION HALL 1

Ground floor +0,00m

Cross section. Exhbition

CROSS SECTION - EXHIBITION

10 m

ridge +31,27m

section - exhibition - Regional Contemporary Artwork Collection of the North region / Dunkerque, France on & Vassal Architects MEETING BELVEDERE 2

seventh floor +26,25m

R+6 +26,25

ROOM

sixth floor +21,00m

FORUM STORAGE Fifth floor +15,75m

Fifth floor +15,75m

STORAGE

A1 7600kg

Fourth floor +10,50m

STORAGE

ADMINI -STRATION

BLACK HALL

Fourth floor +12,25m

Third floor +8,75m

EXHIBITION HALL 2

STUDIO

Second floor +5,25m

TRANSIT

EXPERIMENTATION / MEDIATION

TRANSIT

Second floor +5,25m

EXHIBITION HALL 1

Longitudinal section

Ground floor +0,00m

LONGITUDINAL SECTION

10 m

STUDIO 94m2

TRANSIT 201m2

A1 EXHIBITION HALL 1 307m2

TRANSIT 260m2

ENTRANCE HALL

Logistical

LOGISTICAL Access > ACCESS

LOADING DOCK 207m2

CAFÉ FRAC 220m2

Main Entrance < MAIN ENTRANCE

HALLE AP2 1817m2

Ground floor

GROUND FLOOR PLAN 0

+0,00m (5,45 NGF)

10 m

INTERNATIONAL ARCHITECTURE AWARD INTERNATIONAL GRAND PRIZE. FRANCE

INTERNATIONAL ARCHITECTURE AWARD

INTERNATIONAL ARCHITECTURE AWARD INTERNATIONAL GRAND PRIZE. FRANCEâ&#x20AC;&#x192;

INTERNATIONAL ARCHITECTURE AWARD

6th floor +21,00M

4th floor +10,50M

5th floor 6th +15,75M 6th floor floor

+21,00M 6th 6th floor floor +21,00M 6th floor floor +21,00M 6th +21,00M +21,00M +21,00M

4th floor 4th floor +10,50M 4th 4th floor floor +10,50M 4th floor floor +10,50M 4th +10,50M +10,50M +10,50M

5th floor floor 5th

+15,75M 5th floor 4th +15,75M floor 5th floor 5th floor floor +15,75M 5th +12,25M +15,75M +15,75M +15,75M

4th 4th floor floor +12,25M 4th 4th floor floor +12,25M 4th +12,25M 4th floor floor +12,25M +12,25M +12,25M

3rd floor +8,75M

PUBLIC

EXHIBITION HALL WELCOME / INFORMATION

3rd floor floor 3rd +8,75M 3rd floor 3rd floor +8,75M 3rd floor +8,75M 3rd floor +8,75M +8,75M +8,75M

2nd floor +5,25M

ADDITIONAL SPACES PUBLIC

PUBLIC

PUBLIC ACCESS PUBLIC PUBLIC

PUBLIC

EXHIBITION HALL PUBLIC

EXHIBITION HALL

EXHIBITION HALL EXHIBITION HALL Exhibition Hall / MEDIATION EXPERIMENTATION EXHIBITION HALL WELCOME INFORMATION EXHIBITION/ WELCOME / HALL INFORMATION

WELCOME WELCOME / / INFORMATION INFORMATION Welcome / Information WELCOME / INFORMATION ADDITIONAL SPACES WELCOME / INFORMATION ADDITIONAL SPACES

LABORATORY ADDITIONAL ADDITIONAL SPACES SPACES Additional Spaces ADDITIONAL SPACES PUBLIC ACCESS ADDITIONAL SPACES PUBLIC ACCESS

PUBLIC PUBLIC ACCESS ACCESS Public Access PUBLIC ACCESS

ADMINISTRATION EXPERIMENTATION / MEDIATION MEDIATION PUBLIC ACCESS EXPERIMENTATION /

2nd 2nd floor floor +5,25M 2nd floor 2nd floor +5,25M 2nd floor +5,25M 2nd floor +5,25M +5,25M +5,25M

Ground floor 0,00M Ground Ground floor floor 0,00M Ground floor Ground floor 0,00M Ground floor 0,00M Ground floor 0,00M 0,00M 0,00M

AXONOMETRIC OF ARTWORKS AND VISITORS FLOWS AXONOMETRIC AXONOMETRIC AXONOMETRIC AXONOMETRIC AXONOMETRIC AXONOMETRIC

OF OF OF OF OF OF

ARTWORKS ARTWORKS ARTWORKS ARTWORKS ARTWORKS ARTWORKS

AND AND AND AND AND AND

VISITORS VISITORS VISITORS VISITORS VISITORS VISITORS

FLOWS FLOWS FLOWS FLOWS FLOWS FLOWS

EXPERIMENTATION EXPERIMENTATION / / MEDIATION MEDIATION Experimentation / Mediation EXPERIMENTATION / MEDIATION EXPERIMENTATION / MEDIATION LABORATORY

LABORATORY WORKLaboratory OF ART LABORATORY LABORATORY LABORATORY LABORATORY

ADMINISTRATION Administration GOODS RECEIPT LOADING /

ADMINISTRATION

ADMINISTRATION ADMINISTRATION PREPARATION ROOM ADMINISTRATION ADMINISTRATION WORK OF WORKSTORAGE OF ART ART WORK OF WORKWORK OF ART ARTOF ART WORK OF RECEIPT WORKGOODS OF ART ART GOODS RECEIPT LOADING LOADING / /

PREPARATION ROOM GOODS RECEIPT LOADING / ELEVATOR GOODS RECEIPT LOADING /

PREPARATION ROOM Goods Receipt Loading / GOODS RECEIPT LOADING /

PREPARATION ROOM GOODS RECEIPT LOADING /

PREPARATION ROOM STORAGE PREPARATION ROOM ROOM Preparation Room PREPARATION STORAGE STORAGE GOODS STORAGE

HANDLING

STORAGE ELEVATOR STORAGE Storage ELEVATOR

ELEVATOR ELEVATOR GOODS HANDLING /

ELEVATOR GOODS HANDLING ELEVATOR Elevator GOODS HANDLING ADDITIONAL ACCESS GOODS HANDLING HANDLING GOODS GOODS HANDLING HANDLING /

GOODS Goods Handling GOODS HANDLING /

ADDITIONAL ACCESS GOODS HANDLING / GOODS HANDLING /

ADDITIONAL ACCESS GOODS HANDLING / ADDITIONAL ACCESS GOODS HANDLING /

/ Aditional Goods Handling ADDITIONAL ACCESS LOGISITICS / EQUIPMENT ROOMAccess ADDITIONAL ADDITIONAL ACCESS ACCESS LOGISITICS / //EQUIPMENT EQUIPMENT ROOMRoom Logistics Equipment LOGISITICS ROOM LOGISITICS / EQUIPMENT ROOM LOGISITICS / EQUIPMENT ROOM LOGISITICS LOGISITICS / / EQUIPMENT EQUIPMENT ROOM ROOM

Axonometric of artworks and visitor flrows

INTERNATIONAL ARCHITECTURE AWARD INTERNATIONAL GRAND PRIZE. FRANCE

INTERNATIONAL ARCHITECTURE AWARD

INTERNATIONAL ARCHITECTURE AWARD INTERNATIONAL GRAND PRIZE. FRANCEâ&#x20AC;&#x192;

A BUILDING-SQUARE MULTIPLE ARCHITECTURE & URBANISME

NATIONAL PRIZE BELGIUM ARCHITECTURE

BIGMAT INTERNATIONAL ARCHITECTURE AWARD

NATIONAL PRIZE. BELGIUM

A Building-square Multiple Architecture & Urbanisme ARCHITECTURE

Project title A Building-square Location Herstal, Belgium Completion 2015 Office Multiple Architecture & Urbanisme www.multiple.be Authors Abdelmajid Boulaioun, architect Collaborators Livia de Bethune (SUM project) Jean-Philippe Jasienski (Multiple) Stéphane Massicot (Multiple) Marc Rouserez (Multiple) Ana Siwik (Multiple) Richard La (ARCADIS) Type of work Public Photographs Filip Dujardin

In Herstal, an old city block made of hangars and abandoned houses left room for set spaces such as a new train station, housing and shopping facilities laid out around a new public square. The project also includes the refurbishment of a park containing urban vegetable gardens for the inhabitants of the city. The station has been viewed as an opportunity to create a link between two different levels of the city: the lower (the square, the dense urban fabric) and the upper (the trains, the hillsides, the park). The concept of the building-square integrates two main stakes: it generates an intermediate level, a belvedere and articulates the different levels of the public space. Different elements connect the different parts of the city. Stairs and ramps create links to different levels and paths and regenerate a green landscape of the hillsides. The tower of the station finds its scale by visually connecting all the different levels of the project. It acts as a landmark for the city, allowing the passengers to directly find their bearings. The tower contains the “direct” vertical circulations such as the elevator and stairs.

Rhythm, light and material. Materiality has been conceived as a structuring element of the project. The station is built in red self-compacting exposed concrete. The lateral sides of the building have a raw texture left by the timber formwork. This character is bound to the inherent identity of the project, a building made out of a sloping ground. The front facade is smooth and is addressed to the users of the public space. All the technical complexity of the project is integrated to create this very simple and raw expression which supports the generation of very simple and well-defined public spaces. The public square is made of cast concrete with white quartz aggregates, giving a luminous character to the square. The benches are made of white concrete. All the materials have been chosen for their sustainability in the intensive use of the public space. In conclusion, the project aims to be both modest and very ambitious at the same time in relation to its surroundings and to set a new frame for public spaces in order to support new urban life.

INTERNATIONAL ARCHITECTURE AWARD NATIONAL PRIZE. BELGIUM

uare »

dered as the opportunity wo different levels of the the dense urban fabric) he hillsides, the park).

A - PARK

g-square integrates two

ate level, a belvedere evels of the public space o connect the different d ramps create links to and regenerate a green The tower of the station g visually all the different s as a landmark for the ers to directly find their ns the « direct » vertical vator and stairs.

B - THE STATION SQUARE

sustainable project with

hought as a structuring e station is built in red concrete. The lateral a raw texture left by the aracter is bond to the ect, a building made out

and is addressed to the

xity of the project is o create this very simple is support to generate ed public spaces. made of cast concrete ates giving a luminous he benches are made of erials have been chosen rding the intensive use of

jects aims to be both Site plan s at the same time to its w frame for public spaces an life.

1/ Flower Gardens 2/ Playground 3/ Lawn Bowling 4/ Picnic Area 5/ Vegetable Gardens 6/ Gently slopping pathways 7/ Landscaped Bank 8/ Connecting Staircase 9/ Parking Area 10/ Former train station transformed into a business incubator

11/ Pedestrian Underpass 12/ Landscaped Bank 13/ Access Ramp for Disabled 14/ Connection with Bordering Neighborhoods 15/ Balcony Overlooking the city 16/ New Station Square 17/ Housing + Businesses 18/ Terrace C - EQUIPMENTS + PUBLIC PLACES

General plan Total interventions A+B+C (from 2008 to 2015) connection of the upper parc through the railway tunnel and the belvedere station, towards the square Marexhe

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19/ Shared Space 20/ New corner building with social equipment on the ground floor 21/ New Street Layout 22/New Parking Area for Residents

INTERNATIONAL ARCHITECTURE AWARD NATIONAL PRIZE. BELGIUMâ&#x20AC;&#x192;

INTERNATIONAL ARCHITECTURE AWARD

Tea

East side elevation General section

rc, the train platforms, the belvedere on the city, the new square 0

Square elevetion 0

Square elevation

Ground floor 00

5m 5

Ground floor plan

INTERNATIONAL ARCHITECTURE AWARD NATIONAL PRIZE. BELGIUMâ&#x20AC;&#x192;

INTERNATIONAL ARCHITECTURE AWARD

INTERNATIONAL ARCHITECTURE AWARD NATIONAL PRIZE. BELGIUMâ&#x20AC;&#x192;

THE PROTOTYPE OF THE HOUSE IN POSAZAVI A69 â&#x20AC;&#x201C; ARCHITEKTI

NATIONAL PRIZE CZECH REPUBLIC ARCHITECTURE

BIGMAT INTERNATIONAL ARCHITECTURE AWARD

NATIONAL PRIZE. CZECH REPUBLIC

The Prototype of the House in Posazavi A69 – Architekti ARCHITECTURE

Project title The Prototype of the House in Posazavi

A prototype of a family house is built in a former granite quarry in Posazavi.

Location Ledeč nad Sázavou, Czech Republic

The purpose of this built project is to check structural, typological, and user qualities of the prototype.

Completion 2015

The house is located on the edge of a rock above a lake. The project preserves grown trees, emphasizes the view to the water, and allows access to the meadow in the middle of a forest.

Office A69 - Architekti www.a69.cz Authors Prokop Tomášek, architect Boris Redčenkov, architect Jaroslav Wertig, architect Michal Nohejl, architect Collaborators Jan Škopek (Engineer) Miroslav Fejfar (Engineer) Radek Brandejs (Statics Engineer) Type of work Private Photographs Tomás Rasl

A simple cubic mass measuring 15x15x4 m contains interior spaces formed in a more complex manner. The organically molded labyrinth of the interior living space allows more day- and sunlight, vistas out and through from the depth of the layout. The house hovers over the landscape. It is not founded in traditional fashion. A steel load-distributing modular raft is bedded on existing granite blocks - remnants of mining. A 2x4 timber frame is erected on the raft. The roof structure is nailed on truss work. The roof is flat finished with extensive green. The ventilated facade is made of wood. Windows are aluminum. A sliding glass wall connects the living area with an outdoor terrace on the meadow. The interior is monochromatic, using different shades of white — a neutral frame for colors of the forest at different periods of a day and year. The house is DIY. It can be taken apart. It may disappear without a trace.

INTERNATIONAL ARCHITECTURE AWARD NATIONAL PRIZE. CZECH REPUBLIC

Site plan

SITUACE site plan

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m 1:1000

INTERNATIONAL ARCHITECTURE AWARD NATIONAL PRIZE. CZECH REPUBLICâ&#x20AC;&#x192;

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SW facade

JZ FASÁDA facade SW

m 1:200

Ground floor

INTERNATIONAL ARCHITECTURE AWARD NATIONAL PRIZE. CZECH REPUBLIC

INTERNATIONAL ARCHITECTURE AWARD

INTERNATIONAL ARCHITECTURE AWARD NATIONAL PRIZE. CZECH REPUBLICâ&#x20AC;&#x192;

LAW COURT OFFICES INÂ VENICE C+S ARCHITECTS

NATIONAL PRIZE ITALY ARCHITECTURE

BIGMAT INTERNATIONAL ARCHITECTURE AWARD

NATIONAL PRIZE. ITALY

Law Court Offices in Venice C+S Architects ARCHITECTURE

Project title Law Court Offices in Venice Location Venice, Italy Completion 2012 Office C+S Architects web.cipiuesse.it Authors Maria Alessandra Segantini, architect Carlo Cappai, architect Collaborators Davide Testi (Architect C+S) Barbara Acciari (Architect C+S) Monica Moro (Architect C+S) Studio CM Technimont spa (Detailed, Strutural and Plant Engineer) Studio Greggio (Detailed, Strutural and Plant Engineer) Progin (Detailed, Strutural and Plant Engineer) Type of work Public Photographs Alessandra Bello Pietro Savorelli

Venice has often been resistant to modernity. As Manfredo Tafuri writes in Venice and the Renaissance, “Venice is a problem for the ‘moderns.’ Fascinated by a crystallized continuity, which has been mistaken for banal organic unity – perhaps to be regained – they cannot tolerate the challenge that Venice hurls out to them. And they multiply their violent and faithless attempts, with sadistic traits that are barely hidden beneath the masks of phrases like ‘respectful project,’ ‘the past as friend,’ and the ‘new Caprice’ – masks of mummification of ephemeral revitalization.” The LCV project responds to this challenge. Questioning the given site and program during the competition phase, in which architects were expected to work only on the adaptive reuse of a series of 19thcentury buildings within an abandoned tobacco factory, we decided to introduce a new building. We designed a physical adapter in a unique, leftover open space in the dense urban landscape of Piazzale Roma. LCV aims to be an adapter between programs, scales, typologies, and, from a broader perspective, between historical memory and the contemporary. While its scale is based on the huge void of Piazzale Roma, which is the car entrance to the city, and the Grand Canal, spanned here by Santiago Calatrava’s bridge, LCV responds to the dense Venetian urban system beyond the plaza. The new program proposes a hybrid typology: a building housing the lawcourt offices; an infrastructure housing the technology systems that form the top of LCV and will eventually serve the entire rehabilitated factory complex; and an interior piazza, a seven-story-high public entrance hall for the new system of public spaces that the restoration of the complex will return to the city. The introduction of a five-foot-wide technical space between the facade and the interior allowed us to work with light, which in Venice is always scattered when bouncing on the water. Through a soft technical solution, whereby the small exterior perforations become more generous windows on the interior, the seven-story atrium space changes with every moment’s light and climate condition, activating the building as much as its users do. The interior space, while supporting the different programs, is perceived as a teza, a typical Venetian empty space between two parallel structural walls and covered by a pitched roof. The teza is a stereometrically simple volume with various uses, including housing, storage, and boat parking.

INTERNATIONAL ARCHITECTURE AWARD NATIONAL PRIZE. ITALY

Site plan

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A-A

D -D

B-B A-A

E-E

C-C

B-B

D -D C-C

20 m

E-E D -D

E-E

10 m

INTERNATIONAL ARCHITECTURE AWARD NATIONAL PRIZE. ITALYâ&#x20AC;&#x192;

20 m

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ABADE PEDROSA MUNICIPAL MUSEUM ÁLVARO SIZA VIEIRA EDUARDO SOUTO DE MOURA

NATIONAL PRIZE PORTUGAL ARCHITECTURE

BIGMAT INTERNATIONAL ARCHITECTURE AWARD

NATIONAL PRIZE. PORTUGAL

Abade Pedrosa Municipal Museum Álvaro Siza Vieira / Eduardo Souto de Moura ARCHITECTURE

Project title Abade Pedrosa Municipal Museum Location Santo Tirso, Portugal

The project includes the arrangement and equipping of a wing of a Monastery of São Bento, and a new wing to be built. Located in the center of Santo Tirso, it is a global project for framing the monastery and the surrounding space.

Completion 2016 Office Álvaro Siza – Arquitecto Lda www.sizavieira.pt Souto Moura Arquitectos SA Authors Álvaro Siza Vieira, architect Eduardo Souto de Moura, architect Collaborators José Carlos Oliveira (Architecture coordinator) Pedro Gueres Oliveira (Architecture coordinator) Jorge Nures de Silva and Filipa Abrer (Structural Engineer) Alexander Martins (Electricity, Comunications and Secury Engineer) Raul Besca (HVAC Engineer) Raquel Fernandes (Hydraulics Engineer) Type of work Public Photographs Luis Ferreira Alves

INTERNATIONAL ARCHITECTURE AWARD NATIONAL PRIZE. PORTUGAL

ABADE PEDROSA MUNICIPAL MUSEUM IN SANTO TIRSO

BIG MAT’17

Arch. Álvaro Siza Vieira and Arch. Eduardo Souto de Moura

International Architecture Award Architecture PT3939

Site plan

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ABADE PEDROSA MUNICIPAL MUSEUM IN SANTO TIR

BIG MAT’17

Arch. Álvaro Siza Vieira and Arch. Eduardo Souto de M

International Architecture Award Architecture PT3939

BIG MAT’17

ABADE PEDROSA MUNICIPAL MUSEUM IN SANTO TIRSO

ABADE PEDROSA MUNICIPAL MUSEU

Arch. Álvaro Siza Vieira and Arch. Eduardo Souto de Moura

Arch. Álvaro Siza Vieira and

International Architecture Award Architecture PT3939

Contructive detail

BIG MAT’17 ABADE PEDROSA MUNICIPAL MUSEUM IN SANTO TIRSO

ABADE PEDROSA MUNICIPAL MUSEUM IN SANTO TIRSO

Arch. Álvaro Siza Vieira and Arch. Eduardo Souto de Moura International Architecture Award

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FOOTBRIDGE SULIN ZEROZERO

NATIONAL PRIZE SLOVAKIA CITY AND LANDSCAPE

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Footbridge Sulin ZeroZero CITY AND LANDSCAPE

Project title Footbridge Sulin Location Sulin, Slovak Completion 2015 Office ZeroZero www.zerozero.sk Authors Irakli Eristavi, architect Pavol Silla, architect Collaborators Andrej Jackanin (Structural Engineer) Jerzy Bajer (Structural Engineer) Tadeusz Wojciechowski (Structural Engineer) Type of work Public Photographs Daniela Dostálková Jaroslav Val´ko

The site selected for the new pedestrian crossing point is located in the vicinity of the existing border crossing zone. The new crossing connects the village of Zegiestow on the Polish side with the village of Sulin in Slovakia. Zegiestow is characterized by well-developed tourism with a rich tradition. The nearby mineral water spring, Sulinka, and the opportunity to establish a link with the hiking trails on the Slovak side is naturally expected to attract tourists towards the Slovak side of the Poprad River. The architectural concept of the bridge is based on a binary composition. It consists of two separate elements: an arc and a line, united in a single entity. Apart from being symbolic and iconic, the design was determined by the requirement to bridge the Poprad River as well as the floodplain on the right bank. Arching over the watercourse, with supports on both sides, forms one element, while bridging of the flooded area on the Polish side by a continuous beam represents another. The combination of these two elements forms the bridge that culminates over the midstream, which is the border between the two independent states, both of them part of a united Europe. The bridge design is characterized by a varying vertical and horizontal profile. The load-bearing structure of the bridge consists of a continuous open beam profile. Railings on both sides of the bridge are made of reinforced poured concrete walls. The surface of these walls in provided with a vertical trapezoidal groove pattern. This finish has rendered the outer face more plastic, communicating with the sublime texture of the surrounding forest and, at the same time, making the bridge look lighter. On the inside, the reinforced concrete walls of the bridge are cladded with hardwood planks. The deck was designed in a similar fashion – like “a walkable wooden carpet”. Integrated into this internal cladding is an illumination system that uses LED light fixtures.

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ROYAL COLLECTION MUSEUM MANSILLA + TUÑON ARCHITECTS

NATIONAL PRIZE SPAIN ARCHITECTURE

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Royal Collection Museum Mansilla + Tuñon Architects ARCHITECTURE

Project title Royal Collection Museum Location Madrid, Spain Completion 2015 Office Mansilla + Tuñon Architects www.emiliotunon.com Authors Emilio Tuñon Álvarez, architect Luis Moreno Mansilla, architect Collaborators Carlos Brage Tuñón (Architect) Alfonso Gómez Gaite (Structural Engineer) JG Asociados (Mechanical Engineer) Santiago Esteban Hernán (Quantity Surveyor) Luis Baena Núñez (Building Engineer) Type of work Public Photographs Luis Asín Lapique

From an urban perspective, the project is based on two planning principles: on the one hand, the Royal Collection museum should be part of the natural-artificial landscape of Madrid’s western edge, and on the other hand, it is necessary to maintain the open, public nature of La Almudena Square and preserve the views of the gardens beneath the western lip of the city. The Museum, in its linear structure as an inhabited containment wall, seeks to reduce the objective (physical) and subjective (collective unconscious) environmental impact on the monumental plinth of the Royal Palace. The aim is to have a building that is invisible from La Almudena Square by occupying a buried space that does not yet to exist. The Royal Collection Museum contains the plinth of the Royal Palace, constructing a linear space that follows the lines of the Palace itself. A simple, compact building, a construction that is aware that maximum flexibility and potential is only possible within a strict order, using the materials of the Royal Palace and its dignified construction as a feature, with a modern layout that is heavy yet light, opaque yet transparent. The three exhibition levels, equal yet different, hold three distinct collections: first: tapestries, second: paintings, sculptures and various items and third: carriages. Each space is organized like a warehouse of 110x16 meters, flanked by the remains of the Arab wall to the east and a monumental lattice composed of massive granite pillars open to the west above the Campo del Moro Royal Gardens. The views across the gardens are the space between the structures, just as the pillars are matter between voids. The space is the rhythm of the beams, and the installations are the interface between what holds the building up. Structure, lighting, views, space, and infrastructure all have blurred edges and exchanged attributes. The Royal Collections Museum is a plinth for the Palace from the outside; a frame for views of the gardens and the interior features. The most important part already exists; our job is to make it visible.

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ITECTS

a. Royal Collections Museum b. Access I +640,23 m c. La AlmudenaSquare d. Royal Palace e. Almudena Cathedral f. Gardens of Campo del Moro I +608,19 m

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CATEGORY PRIZE

Public Condenser MUOTO ARCHITECTURE

Project title Public Condenser Location Gif-sur-Yvette, France Completion 2016 Office MUOTO www.studiomuoto.com Authors Gilles Delalex, architect Yves Moreau, architect Collaborators Y Ingénierie (Engineer) Bolling & Grohamnn (Structural Engineer) Novorest (Engineer) Alternative (Acoustician) Type of work Public Photographs Maxime Delvaux Myriam Tirler

The project is a public facility, situated on the new campus of Paris-Saclay. The building hosts a mix of activities, including indoor and outdoor sports, facilities, a restaurant, coffee shop and various public spaces: a pedestrian square, street terraces, park areas for deliveries, bikes and cars. The building is organized vertically with its different activities superimposed on one another, using the roof as a panoramic playground for football and basketball games. The different areas are linked by an open staircase that allows for independent accesses. The building takes the form of an urban shelf, a vertical public space that is accessible to all campus visitors, day or night. It is shared facility, encouraging the encounter of various populations living close to one another but rarely meeting. The restaurant, coffee shop and sports activities are made accessible to students, company employees, teachers, and researchers. It aims at creating a meeting point for everyone by mixing activities that are usually separate. The building has been conceived as a minimal structure, using rough materials and robust and long lasting techniques. Technology is used minimally to provide a place that will last in time, with no need for complicated maintenance. In response to the low construction budget, detailing has been kept to a minimum. This economical approach has allowed for the inclusion of a generous public square in the construction price, ensuring that the planted pedestrian connection of the building provides a minimal footprint.

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ground floor plan

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86 Collective Housing Units Éric Lapierre Experience ARCHITECTURE

Project title 86 Collective Housing Units Location Lyon, France

This housing project of 86 dwellings is based on a reflection about thick housing buildings, 21m in this case. This compactness allows for creating a singular spatiality within the typical small French housing surfaces, while satisfying strict requirements for energy consumption.

Completion 2014 Office Éric Lapierre Experience www.ericlapierre.com Authors Eric Lapierre Type of work Private Photographs Eric Lapierre

A concentric concrete structure of walls defines a series of thresholds and the displaying of different functions. One result is the absence of a corridor in the floor plan, consisting of a series of rooms. Some of those are inner ones, and others are outside ones and displayed with no hierarchical relationships. Double height living rooms are linked to double height outside rooms. The latter ones are also linked to single height outside rooms located above the kitchens and giving on to the upper level bedrooms. Thus, apartments are surrounded by outside spaces with thickness that confers them a true interiority.

Only the concentric concrete walls – core and facades – are structural. All the perpendicular walls are solely separators, allowing for the building to evolve over time and during operational phases, to adapt to the changing demands during conception. The structure is continuous from the car park to the roof. The economies arising from this rationality allow for the funding of the glazed ceramic facades, giving a strong sustainability to the buildings.

INTERNATIONAL INTERNATIONAL ARCHITECTURE ARCHITECTURE AWARD NATIONAL AWARD FIRST CATEGORY PRIZE SPAIN PRIZE 127 127

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Arquipélago Contemporary Arts Centre João Mendes Ribeiro Arquitecto Lda Menos é Mais RESTORATION

Project title Arquipélago Contemporary Arts Centre Location Riveira grande, Azores, Portugal Completion 2015 Office João Mendes Ribeiro Arquitecto Lda www.joaomendesribeiro.com Menos é Mais www.menosemais.com Authors João Mendes Ribeiro, architect (Joao Mendes Ribeiro Arq) Cristina Guedes, architect (Menos é Mais) Francisco Vieira de Campos, architect (Menos é Mais) Collaborators Adalgisa Lopes, Jorge Teixeira Dias, Ines Mesquita, Filipe Catarino (Project Managers) Rita Martins, António Ferreira da Silva, Cláudia Santos, Joana Figueiredo, João Branco (JMR) Cristina Maximino, João Pontes, Luís Campos, Ana Leite Fernandes, Mariana Sendas, Pedro Costa, Inés Ferreira, João Fernandes Diogo Laje, Óscar Ribas, Ricardo Cardoso (Estudio GOMA) Type of work Public Photographs José Campos

The Arquipélago – Contemporary Arts Centre seeks to unite the different scales and times of its parts.It is a transdisciplinary project whose mission is to disseminate, create and produce emerging culture: a space of exchange and interface for people, knowledge and events. The design of Arquipélago maintains the industrial character of the whole and highlights the dialogue between an existing building (former alcohol/tobacco factory) and the new construction (arts and culture center, storage facilities, multipurpose hall/performing arts, laboratories, artist studios). The Arquipélago project acquires its identity through the quiet variation between the preexisting buildings and the two new ones. The containment strategy of the facilities’ implementation enhances the spatial efficiency and hierarchical functionality of the different areas of the existing factory complex. The new buildings absorb the required functionalities, with special conditions that are not compatible with the spatiality of the preexisting buildings. The project does not exaggerate the differences between the old and the new buildings. On the contrary, it seeks to unite the different scales and times of its parts throughout a pictorial manipulation of the form and materiality of the buildings – the existing constructions are marked by the volcanic stone masonry and the new buildings are characterized by an abstract form, without reference or allusion to any language, built in concrete with local basalt inert material continuously working with the variation of surfaces, textures and roughness, complementing the mass of the buildings with the emptiness of the patios. The design is committed to the quality of what exists, showing the typological variations – new buildings are placed next to the existing ones in a serene manner – underlining the architectonical memory of a given period and the new addition, without damaging or subverting the spatial and constructive structures of the whole. Context and contiguity contribute to the autonomy of the object. The new program reinvents the existing building, making it a meaningful space in a peripheral region in the middle of the Atlantic Ocean. It also adds meaning to the social and cultural context where it is built. A new public space is materialized in a central square/patio where art feels comfortable and blurs the frontiers between private and public spheres, leisure and work, art and life.

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Transverse sections

TRANSVERSE SECTIONS

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GROUND FLOOR PLAN

1. MUSEUM SHOP AND BOOKSTORE 8. ENTRANCE HALL AND RECEPTION

2. TECHNICAL AND ARTISTIC SUPPORT AREA AND LABORATORIES 3. AUDITORIUM AND MULTI-PURPOSE AREA 4. EXHIBITION 5. STORAGE 6. WORKSHOP AND CARPENTRY 9. FACTORY MUSEUM CENTRE 10. SOUNDPROOF STUDIO 11. DOCUMENTATION AND LIBRARY CENTRE 12. EDUCATIONAL SERVICES 13. CAFETARIA

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1. Museum shop and bookstore 2. Technical and artistic support area and laboratories 3. Auditorium and multi-purpose area 4. Exhibition 5. Storage 6. Workshop and carpentry 7. Exhibition assembly and disassambly 8. Entrance hall and reception 9. Factory museum centre 10. Soundproof studio 11. Documentation and library centre 12. Educational services 13. Cafetaria

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House in Alfama Pedro Matos Gameiro CITY AND LANDSCAPE

Project title House in Alfama Location Lisbon, Portugal Completion 2016 Office Pedro Matos Gameiro www.matosgameiro.com Authors Pedro Matos Gameiro, architect Collaborators Paulo Dias (Architect) Francisco Cunha Abilio Silva Francesco Mariani Joao Varela Joao Paulo Cardoso (PRPC engenheiros lda) Joao Mira (Ohmsor lda) Augusto Macedo (espaço Energia lda) Rui Baptista (Espaço Energia lda) Type of work Private Photographs Daniel Malhao Ana Isabel Santos Paulo Dias

Up on Alfama, near the Monastery of St Vincent de Fora and the National Pantheon, there is a little square, which marks a pause in the steep slope leading down to the river. This operation involves the rehabilitation of one of the buildings on the edge of the neighborhood, a rare example of a medieval building in an area dominated by buildings that have arisen since the earthquake of 1755. It was a simple residence, which had resulted from the break-up of a larger palace complex that still exists. Over the years, the occupation of this small building gradually led to the construction of new walls that defined interior subdivisions, resulting in a house served by two courtyards. The house was extended and altered, and the courtyards were gradually occupied. This intervention aims to clarify the internal argument of the complex, reinforcing its inner meaning. If the courtyards determine the organization, the spaces between them are what form the focus of the program. The operation has resulted in four outdoor spaces, interspersed with narrow sheltered areas. The whole complex, with its unroofed appearance, gives the idea of a ruin; suggests containment, with the nature and parsimony of monastic cells; and also evokes pleasure, given the way the courtyards are available to be used as outdoor rooms, stripped of any immediate function. One of these outdoor rooms is filled with water, closing a cycle which, in the labyrinth of connections, is perpetuated.

INTERNATIONAL INTERNATIONAL ARCHITECTURE ARCHITECTURE AWARD NATIONAL AWARD FIRST FIRST CATEGORY PRIZE PRIZE BELGIUM 139 SPAIN PRIZE 139 139

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Factory of electrical assembly José María Sánchez García Arquitectos SUSTAINABILITY AND INNOVATIVE USE OF MATERIAL

Project title Factory of electrical assembly Location Don Benito, Spain Completion 2015 Office Jose María Sánchez García Arquitectos www.jmsg.es Authors José María Sánchez García, architect Collaborators Mariló Sánchez, project architect Enrique García Margallo, engineer Juan Pedro Cortés, structures Álvaro Muñoz Carrero, quantity Surveyor Type of work Private Photographs Roland Halbe

The project for this electrical assembly factory transforms the industrial landscape of Don Benito, overcoming its anodyne setting through the use of three strategies to build up a new lexicon: Embracing Floor Plan. As opposed to the traditional type of industrial building plus esplanade in the front, the building occupies the whole square plot, liberating a courtyard inside whose dimension is determined by the maneuvering radius -15m- of trailer trucks. Inside, the ring circulation path creates a sequence of linked spaces that enable users to undertake a continuous walk around the building. Displaced Geometries. The displacement of the position of the courtyard – 30x30m – from the center of the square plot – 45x45m – generates two different bay widths: 6m, for administration and office spaces; 9m, for industrial premises. Vertically, the extrusion of four 10m-high volumes that rotate at right angles helps create a sequence of industrial crenels that house a sequence of mezzanines and clear spaces, addressing the functional demands of the building. Industrial Vernacularism. The structure, a lightweight metal frame, is covered with corrugated steel sheets as a refined reference to the local context. Though mainly characterized as a hermetic volume, the ingenious resolution of all openings -doors and windows- as displaced rectangular cuts, addresses control of sunlight through the perforation of the sheet panels and distorts the scale of construction, exhibiting a well-balanced use of resources in the execution of all details. Light Façade. The Factory’s façade solves the necessary embedment of the bearing structure, insulation and finishes through a double strategy of efficiency and reduction of means. On one side, the radical decision to use the same material, miniwave galvanized steel sheet paneling, both externally and internally, simplifies the design and execution of the project, and transforms a povera material into the defining element of light and space. On the other, the numbering and systematization of openings, doors and windows, as standardized cuts for measurements, proportion and technical solutions, allows for reducing the number of construction details employed.

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Consolidation and adaptation of the ancient convent of Santa María de los Reyes and its gardens MGM, Morales de Giles Arquitectos S.L.P. RESTORATION

Project title Consolidation and adaptation of the ancient convent of Santa María de los Reyes and its gardens Location Seville, Spain Completion 2015 Office MGM, Morales de Giles Arquitectos S.L.P. www.moralesdegiles.com Authors Sara de Giles, architect José Morales Sánchez, architect Collaborators Paco Duarte y asociados (Structures) Insur JG (Mechanical, electric & plumbing services) Francisco Alcoba (Surveying) Juan José Guerrero Álvarez (Gardering) Francisco Sánchez Caballero (Security and Health) Type of work Public Photographs Jesús Granada

The Andalusia Office for Architecture and Housing held a contest of ideas to rehabilitate and extend the former Convent of Santa Maria de los Reyes, currently in use, in part, for exhibitions and conferences. The idea was to convert it into a museum and exhibition area for architecture and engineering, and to add areas for administration, training and research. The project seeks to bring across one of the most interesting spatial qualities one may encounter in the variegated, compact and dense historic core of Seville. The proposal expounds upon the duality between an ample, suggestive and imaginary interior space, and the simultaneous concealing of the architecture on the street side. Inside, an empty space is opened up, an air pocket in the compact construction of the city, configured by the territory surrounding the convent, the patio of the cloister and the garden; three spaces connected by a zigzagging itinerary. In these cases, the architecture falls somewhere between excavation and suggestion, between architectonic immateriality and the organic nature of the plant world, between the shadows cast by the geometry of the neighboring buildings and the desire to evoke a space of sensations. At the same time, the project seeks to coalesce the architecture as private and public space, one that is dreamt of and described, built and evoked. The project sticks together and abuts things, traverses and measures the casuistry of the interior world of the party walls, looking out over a wide diversity of spaces, at once multiple and integral. In this itinerary, the relationships with the pre-existing building are erected through the party walls and a calibrated perspectival relationship of some places with others. The view of the existing building towards the extension, and vice versa, is a constant of the formalization of the proposal; of the more imposing building to the more vegetable, immaterial edification. A space delimited by the old city wall, whose footprint is suggested by the alignment of the houses that today condition and delimit the area of intervention (the mansion or convent made use of this vacant area of vegetable gardens as a spatial complement of the whole). The project expresses this gentle, vegetable world of an accumulation of periods and of architectural interventions with the material definition of the extension resolved by means of a sculpted skin of aluminum slats, which seek over time to blend in with the trees and spontaneous vegetation. This is a sinuous, zigzagging itinerary from which the visitor looks out over an interior world that is ripe for discovery. Worth highlighting is the position of the hall for lectures and functions related to the exhibitions, the foyer and the cafeteria in their immediate visual relationship to the garden. INTERNATIONAL INTERNATIONAL INTERNATIONAL ARCHITECTURE ARCHITECTURE ARCHITECTURE AWARD AWARDNATIONAL CATEGORY AWARD FIRST FIRST PRIZE CATEGORY PRIZE PRIZE PORTUGAL BELGIUM 151 SPAIN PRIZE 151 151

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HONORIFIC SPECIAL MENTION YOUNG ARCHITECTS

Black Flying House H3T Architekti EPHEMERAL ARCHITECTURE

Location Pardubice, Czech Republic Completion 2016 Office H3T Architekti www.h3t.cz Authors Vit Šimek, architect Štěpán Řehoř, architect Darina Bartková, architect Martina Kubešová, architect Tomáš Madro, architect Collaborators Robert Krejči (H3T architekti) Tomáš Bařinka (H3T architekti) Type of work Public Photographs BoysPlayNice

Suspended under the arch of an old railway bridge, the black flying house attracts attention, entices you to visit and raises questions. It is a small installation composed of a living space with a stove and a sleeping loft. The object is suspended by steel cables. It is accessible via a ladder that has been deliberately hidden from sight. It’s a bit of a conundrum that encourages passersby to think. The formal solution is simple. The resulting picture almost picturesque. The house is located just 15 minutes walking from the city center of Pardubice. We picked the place after one of our colleagues showed us this unique and mysterious abandoned military area. Over the years, it lost its former use as a military training ground and become derelict. It has a great potential to become an important recreational zone for future generations. Locals are already rediscovering its secrets – strolling through the forest, walking their dogs – even though the area is still owned by the army and is officially closed to the public. The atmosphere of the surrounding landscape and old bridges inspired us to create an intervention that may surprise visitors and enliven their otherwise stereotypical walk. Subsequently it can provoke more questions – who built it, what’s inside, how to get there. Our project may, in a way, demonstrate the hidden potential of the area. We hoped that our project would give birth to unexpected little stories and interesting experiences. Unfortunately, after 39 days, the house had to be uninstalled.

INTERNATIONAL ARCHITECTURE INTERNATIONAL INTERNATIONAL AWARD ARCHITECTURE ARCHITECTURE HONORIFIC SPECIAL AWARD AWARD MENTION NATIONAL CATEGORY FIRST YOUNG FIRST PRIZE PRIZE PRIZE ARCHITECTS PORTUGAL BELGIUM 157 SPAIN 157 157

158

INTERNATIONAL ARCHITECTURE AWARD

INTERNATIONAL ARCHITECTURE AWARD HONORIFIC SPECIAL MENTION YOUNG ARCHITECTSâ&#x20AC;&#x192;

159

0 5

160

INTERNATIONAL ARCHITECTURE AWARD

25 m

Elevation

Section

2.5 m

1.7 m

Plan

INTERNATIONAL ARCHITECTURE AWARD HONORIFIC SPECIAL MENTION YOUNG ARCHITECTSâ&#x20AC;&#x192;

161

162

INTERNATIONAL ARCHITECTURE AWARD

BIGMAT INTERNATIONAL ARCHITECTURE AWARD

PUBLIC PRIZE

Quinta da Tilia Pedro Mauricio Borges ARCHITECTURE

Location Canada da Abelheira, Capelas, S. Miguel, Azores, Portugal Completion 2015 Office Pedro Mauricio Borges Authors Pedro Mauricio Borges, architect Collaborators João André Simões, architect team leader Paulo Vaz, architec Diana Pinto, architect José María Cymbron, engineer Diogo Jácome, landscape architect Type of work Private Photographs Fernando Guerra

Quinta da Tília – building around a linden (tília) The house sits east the great linden that names the cultivated property. Within a linear organization, the house unfolds in two directions starting parallel to the contiguous stone wall and then bending to the south to embrace the tree’s shadow circle. In the middle of the house, the living room opens to the yard under the tree and, in the opposite side, to the view of the north coast of the island. The wooden framed livingroom extends to the south looking for the sun. A broad skylight in the ceiling unveils the tree crown that appears like a wide parasol. This dematerialization and transparency intend to bring the tree inside the house. The house gets its red color from the tin roof finishing. The roof structure is made of local Cryptomeria wood. Like the Linden, the Cryptomeria is an imported species. The Cryptomeria japonica was massively used in the first half of the 20th century to forest the island and is nowadays an identity sign of the Azorean landscape.

INTERNATIONAL INTERNATIONALINTERNATIONAL ARCHITECTURE ARCHITECTUREAWARD ARCHITECTURE AWARDNATIONAL CATEGORY AWARD FIRST FIRST PRIZE PRIZE PUBLIC PRIZE PORTUGAL BELGIUM 163 SPAIN PRIZE 163 163

164

INTERNATIONAL ARCHITECTURE AWARD

50 m

1000 m

INTERNATIONAL ARCHITECTURE AWARD PUBLIC PRIZEâ&#x20AC;&#x192;

165

166

INTERNATIONAL ARCHITECTURE AWARD

Section A

Section B

Plan

INTERNATIONAL ARCHITECTURE AWARD PUBLIC PRIZEâ&#x20AC;&#x192;

167

SELECTED PROJECTS

ARCHITECTURE

BE 3671 899

Maison Schaap

BE 3740 1148

Fire Station in Charleroi

Location

Martelange, Belgium

Location

Charleroi, Belgium

Completion 2014

Completion 2016

Office Atelier d´architecture Pierre Hebbelinck www.pierrehebbelinck.net

Office Philippe Samyn and Partners www.samynandpartners.com

Authors

Pierre Hebbelinck

Authors

Philippe Samyn

Type of work

Private

Type of work

Public

Photographs François Brix

Photographs

Charly Dean Marie-Françoise Plissart Simon Schmitt Quentin Olbrechts Ghislain André

BE 3740 1149

Siège Social d’AGC GLASS Europe

BE 3905 1496 Tubize

Location

Louvain-la-Neuve, Belgium

Location

Tubize, Belgium

Completion 2014

Completion 2017

Office Philippe Samyn and Partners www.samynandpartners.com

Office Atelier 229 www.a229.be

Authors

Philippe Samyn

Type of work

Private

Authors

Renaud Van Espen Romein Rodesh

Type of work

Public

Photographs

Alexis De-Bosscher

Photographs Marie-Françoise Plissart Jean-Michel Byl

ARCHITECTURE SELECTED PROJECTS

169

CZ 3746 1153 New Pavilion of the Elementary School Líbeznice Location

Líbeznice, Czech Republic

Completion 2015 Office Projektil Architekti S.R.O. www.projektil.cz Authors

Adam Haliř Ondřej Hofmeister

Type of work

Public

CZ 3944 1271

PASK the Pavilion of Glass

Location

Klatovy, Czech Republic

Completion 2014 Office Atelier 25 S.R.O. www.martinkoznar.cz www.bizaarch.cz Authors Martin Koznar Jiri Biza Type of work

Public

Photographs

Ivan Nemec Peter Fabo Karel Novacek Archive museum

CZ 4016 1540 Gallery of Print

CZ 4016 1543

House with a Swimming Pool

Location

Roudnice nad Labem, Czech Republic

Photographs Andrea Thiel Lhotáková

České Budějovice, Czech Republic

Completion 2015

Completion 2012

Office Ivan Kroupa Architects www.ivankroupa.cz

Authors

Ivan Kroupa Tomas Zemek

Authors

Ivan Kroupa Anna Svehlikova

Type of work

Private

Type of work

Private

Photographs

Ivan Kroupa Jonas Kryzl Jana Moravcova

Photographs

Jan Kudej

170

INTERNATIONAL ARCHITECTURE AWARD

CZ 4092 1588 The Belfry in Vlasské Boudy

FR 3659 975

Complexe de loisirs

Location

La Seyne-sur-Mer, France

Velká Úpa, Czech Republic

Completion 2015

Completion 2016

Office ABM Architekti S.R.O. www.krakorova.webnobe.cz

Office Data Architectes www.dataarchitectes.com

Authors

Jana Krákorová

Type of work

Public

Photographs

Andrea Lhotáková Tomáš Polák

Authors

Leonard Lassagne Colin Reyner Sylvia Bourgoin

Type of work

Private

Photographs

Javier Callejas

FR 3682 1143

79 Collective Housing Units

FR 3684 888

Seaport/Alleon

Location

Bègles, France

Location

Bordeaux, France

Completion 2015

Completion 2016

Office LAN www.lan-paris.com

Office Beckmann- N’thépé www.b-nt.biz

Authors

Benoit Jallon Umberto Napolitano

Authors

Françoise N’thépé Aldric Beckmann

Type of work

Private

Type of work

Private

Photographs

Julien Lanoo

Photographs

Olivier Amsellem

ARCHITECTURE SELECTED PROJECTS

171

FR 3767 1045 Gymnase, trois logements et un CIO Location

Clamart, France

Completion 2016 Office Dominique Coulon et Associés www.coulon-architecte.fr Authors

Dominique Coulon

Type of work

Public

Photographs

Eugeni Pons

FR 3995 1364 UNESCO Headquarters Entrance Location

Paris, France

Completion 2015 Office Laurence Carminati & Yann Kermomnes Architectes Authors Laurence Carminati www.carminati.eu Yann Kermomnes www.keromnes.eu Type of work

Public

Photographs

RSI Studio

172

INTERNATIONAL ARCHITECTURE AWARD

FR 3906 1238 Regional Chamber of Commerce and Industry Location

Amiens, France

Completion 2012 Office Chartier-Corbasson Architectes www.chartier-corbasson.com Authors

Thomas Corbasson Karine Chartier

Type of work

Public

Photographs

Romain Meffre Yves Marchand Luc Boegly Thomas Corbasson

IT 3714 891 School Bouldering and Climbing Center Brunico Location

Brunico, Italy

Completion 2016 Office Stifter + Bachmann www.stifer-bachmann.com Authors

Helmut Stifter Angelika Bachmann

Type of work

Public

Photographs

Renè Riller

IT 3754 994

Reale Group Office Building

IT 3878 1346

Casa sull’altopiano Ibleo

Location

Torino, Italy

Location

Noto, Italy

Completion 2016

Office Iotti + Pavarani Architetti www.iotti-pavarani.com

Office Morana+Rao Architetti www.morana-rao.com

Artecna www.artecna.com

Authors

Andrea Morana Luana Rao

Authors

Marco Pavarani, Iotti+Pavarani Architetti Roberto Tosetti, Artecna

Type of work

Private

Photographs

Francesco Caristia

Type of work

Private

Photographs

FG+SG fotografía de arquitectura

IT 3976 1329

Nestlé Headquarters

Location

Assago, Italy

PT 3554 1462

I3S – Institute of Health Research and Investigation – University of Porto

Location

Porto, Portugal

Completion 2014 Office Park Associati SRL www.parkassociati.com Authors

Michele Rossi Filippo Pagliani

Type of work

Private

Photographs

Andrea Martiradonna

Completion 2016 Office SERÔDIO FURTADO & ASSOCIADOS www.serodiofurtado.com

ARQUITECTOS LDA

Authors

João Pedro Alves de Guimarães Serôdio Isabel Lacximy Neves Furtado Serôdio

Type of work

Public

Photographs

Luis Ferreira Alves

ARCHITECTURE SELECTED PROJECTS

173

PT 3670 1086 Huts in the river

PT 3670 1096 EDP Headquarters

Location

Comporta, Portugal

Lisbon, Portugal

Completion 2013

Completion 2015

Office AIRES MATEUS & ASSOCIADOS, LDA www.airesmateus.com

Authors

Manuel Aires Mateus Francisco Aires Mateus

Authors

Manuel Aires Mateus Francisco Aires Mateus

Type of work

Private

Type of work

Private

Photographs

Nelson Garrido Juan Rodriguez

Photographs

Juan Rodriguez Aires Mateus EDP Polycord

PT 3808 1060 National Coach Museum

PT 3875 1396

Red House

Location

Vendas de Azeitão, Portugal

Lisbon, Portugal

Completion 2015

Completion 2016

Office BAK GORDON ARQUITECTOS www.bakgordon.com

Office EXTRASTUDIO - ARQUITECTURA, URBANISMO E DESIGN extrastudio.pt/en

MMBB www.mmbb.com.br Authors

Ricardo Bak Gordon, Bak Gordon Arquitectos Paulo Mendes da Rocha Marta Moreira, MMBB

Type of work

Public

Photographs

Fernando Guerra

174

INTERNATIONAL ARCHITECTURE AWARD

Authors

João Ferrão João Ribeiro

Type of work

Private

Photographs Fernando Guerra FG+SG EXTRASTUDIO

SK 3642 1033 House in a house

SK 3713 875

Phoenix Zeppelin Headquarters

Location

Banska Bystrica, Slovakia

Bernolákovo, Slovakia

Completion 2016

Completion 2011

Office Plural www.plural.sk

Office Paulíny Hovorka Architekti www.plural.sk

Authors

Martin Jančok

Type of work

Private

Photographs

Daniela Dostálková

Authors

Branislav Hovorka Martin Paulíny Štefan Moravčík

Type of work

Private

Photographs

Branislav Hovorka

SK 4079 1485 Škôlka nad vinicou

ES 3778 1039 Casa 1014

Location

Limbach, Slovakia

Granollers, Spain

Completion 2015

Office Architekti.sk www.architekti.sk

Office H Arquitectes www.harquitectes.com

Authors

Matúš Polák Martin Rezník Juraj Makový

Type of work

Public

Authors

Xavier Ros David Lorente Josep Ricart Roger Tudó

Photographs

Tomáš Manina

Type of work

Private

Photographs

Adrià Goula

ARCHITECTURE SELECTED PROJECTS

175

ES 3858 1173

Ramon and Mar’s Pavilion

Location

Barcelona, Spain

Completion 2016 Office Vora Arquitectura www.vora.cat Authors

Pere Buil Toni Riba

Type of work

Private

Photographs

Adrià Goula

CITY AND LANDSCAPE

BE 4086 1606 Molenbeek City Hall

CZ 3958 1538 Open Air Auditorium AmFík

Location

Brussels, Belgium

Kadaň, Czech Republic

Completion 2017

Completion 2011

Office Pierre Blondel Architectes www.pblondel.be

Office MGA. Ing. Arch. Michal Fier www.triarchitekti.cz

Authors

Pierre Blondel

Type of work

Public

Authors

Michal Fišer Jana Ilková

Photographs

Julien De Bock Pierre Blondel Architectes

Type of work

Public

Photographs

Tomáš Rasl Václav Vlasák Michal Fišer

176

INTERNATIONAL ARCHITECTURE AWARD

IT 3584 798

Tramway Terminal

IT 3947 1335

Cycling & Pedestrian Track “Lotus Flower”

Location

Venice, Italy

Location

Massarosa, Italy

Completion 2015

Office Map Studio - Magnani Pelzel Architetti Associati www.map-studio.it

Office Microscape Architecture Urban Design Architetti Associati www.micrscape.it

Authors

Francesco Magnani Traudy Pelzel

Authors

Patrizia Pisaniello Saverio Pisaniello

Type of work

Public

Type of work

Public

Photographs

Alessandra Bello

Photographs

Pietro Savorelli

ES 3858 1176

Born Market Surrounding Area

Location

Barcelona, Spain

Completion 2013 Office VORA ARQUITECTURA www.vora.cat Authors

Pere Buil Toni Riba

Type of work

Public

Photographs

Adrià Goula

CITY AND LANDSCAPE SELECTED PROJECTS

177

EPHEMERAL ARCHITECTURE

CZ 3915 1426

The Nest

IT 3574 920

ALBUM - A Collection of 10 Photos

Location

Strančice, Czech Republic

Location

Milan, Italy

Completion 2015

Completion 2016

Office

Jan Tyrpekl

Authors

Jan Tyrpekl

Office SET architects www.set-architects.com

Type of work

Public

Photographs

Jan Tyrpekl

Authors

Onorato di Manno Andrea Tanci Lorenzo Catena

Type of work

Private

Photographs

Simone Bossi

IT 3813 1165

Allestimento della Mostra Innesti/Grafting

IT 3901 1610

Aequilibrium

Location

Venice, Italy

Location

Venice, Italy

Completion 2014

Completion 2016

Office Cino Zucchi Architetti SRL www.zucchiarchitetti.com

Office C+S web.cipiuesse.it

Authors

Cino Paolo Zucchi

Type of work

Public

Authors

Maria Alessandra Segantini Carlo Cappai

Photographs

Cino Zucchi

Type of work

Public

Photographs

Matteo Benigna

178

INTERNATIONAL ARCHITECTURE AWARD

IT 3991 1391

Caritas Pavilion at Expo 2015

PT 3651 822

Pavilhão POVERA

Location

Milan, Italy

Location

Almada, Portugal

Completion 2015

Office PIUARCH www.piuarch.it

Office ATELIER JOÃO QUINTELA TIM SIMON www.atelierjqts.com

Authors

Francesco Fresa German Fuenmayor Gino Garbellini Monica Tricario

Authors

João Quintela Tim Simon

Type of work

Public

Type of work

Public

Photographs

Diana Quintela

Photographs

Andrea Martiradonna

PT 3862 1410

Sunwheel

ES 3600 902

Capilla eucarística en Madrid

Location

Porto, Portugal

Location

Madrid, Spain

Completion 2016

Completion 2012

Office MORADAVAGA www.moradavaga.com

Office RESETLAND www.resetland.com

Authors

Pedro Cavaco Leitão Manfred Eccli

Authors

Eduardo Delgado Orusco Javier Viver

Type of work

Public

Type of work

Public

Photographs

Javier Viver

Photographs Moradavaga

EPHEMERAL ARCHITECTURE SELECTED PROJECTS

179

ES 3898 1446 El Ciempiés Location

Logroño, Spain

Completion 2016 Office PICADODEBLAS ARQUITECTOS SLP www.picadodeblas.com Authors

Rubén Picado María José de Blas

Type of work

Public

Photographs

Picado de Blas José María Cutillas

INTERIOR DESIGN

BE 3766 1216

Charles Malis

Location

Molenbeek-Saint-Jean, Belgium

Completion 2016 Office Mamout Architects www.mamout.be

FR 3910 1262

History Museum - Archaeological Site of the Old Port

Location

Marseilles, France

Completion 2013 Office

Studio Adeline Rispal

Authors

Sébastien Dachy Stéphanie Willocx Stéphane Dachy

Authors Adeline Rispal www.adelinerispal.com Roland Carta www.carta-associes.com

Type of work

Public

Type of work

Public

Photographs

Studio Fifty Fifty

Photographs

Serge Demailly

180

INTERNATIONAL ARCHITECTURE AWARD

IT 3806 1013 Progetto per un Nuovo Showroom Monomarca Location

Milan, Italy

Completion 2016 Office MIDE architetti www.midearchitetti.it Authors

Fabrizio Michielon Sergio de Gioia

Type of work

Public

Photographs

Alessandra Bello

PT 4038 1490 Espaço 355 Location

São João da Madeira, Portugal

Completion 2012 Office 10DEDOSVALENTES www.10dedosvalentes.com Authors

Tiago Reis de Oliveira

Type of work

Private

Photographs

Pedro Afonso

SK 3874 1228 FACH

ES 4054 1482 Ctrl+Green

Location

Bratislava, Slovakia

Madrid, Spain

Completion 2016

Office Ilja Skoček Martin Skoček www.martinskocek.sk

Office RUIZESQUIROZ ARQUITECTOS www.aulets.net

Authors

Martin Skoček Ilja Skoček

Authors

Josean Ruiz Esquíroz Marta Muñoz

Type of work

Private

Type of work

Private

Photographs

Peter Jurkovič

Photographs

Imagen Subliminal Miguel de Guzmán

INTERIOR DESIGN SELECTED PROJECTS

181

RESTORATION

BE 3671 898

Mons Memorial Museum

BE 3728 882

MAD

Location

Mons, Belgium

Location

Brussels, Belgium

Completion 2015

Completion 2017

Office Atelier d´architecture Pierre Hebbelinck www.pierrehebbelinck.net

Office V+ www.vplus.org

Authors

Pierre Hebbelinck

Type of work

Public

Rotor architect www.rotordb.org

Photographs

François Brix

Authors

Jörn Bihan, V+ Thierry Decuypere, V+ Melanie Tamm, Rotor architect

Type of work

Public

Photographs

Maxime Delvaux

BE 3839 1076 Ateliers pour artistes en residence

BE 3905 1493 UMONS

Location

Liège, Belgium

Mons, Belgium

Completion 2013

Completion 2015

Office Atelier d´architecture AUID www.aiud.be

Office Atelier 229 www.a229.be

Authors

Gil Honoré

Type of work

Public

Authors

Renaud Van Espen Grégoire Houyet

Photographs

Maxime Delvaux Atelier Philippe Jowa & Slateur Mutsch

Type of work

Private

Photographs

Rita Cuggia

182

INTERNATIONAL ARCHITECTURE AWARD

BE 3959 1521

Berceau

BE 3972 1367 BC3 Clos Brugmann

Location

Brussels, Belgium

Location

Brussels, Belgium

Completion 2014

Completion 2016

Office Vanden Eeckhoudt Creyf Architectes www.vandeneeckhoudtcreyf.be

Office MA2 www.ma2.be

Authors

Laurence Creyf Nicolas Vanden Eeckhoudt

Authors

Francis Metzger

Type of work

Private

Type of work

Private

Photographs

Serge Brison

Photographs Vandeneeckhoudtcreyfarchitectes

CZ 3867 1246 The Complex of Café Fara

FR 3986 1557 Docks Malraux

Location

Klentnice, Czech Republic

Strasbourg, France

Completion 2015

Completion 2014

Office Atelier Štěpan S.R.O. www.atelier-stepan.cz

Office Associés

Authors

Marek Štěpán

Type of work

Private

Authors Georges Heintz www.heintz.archi

Photographs

Štěpán Vrzala

Cabinet d’Architecture Georges Heintz et

Type of work

Private

Photographs

Philippe Ruault

RESTORATION SELECTED PROJECTS

183

IT 3809 1009

Opificio Golinelli, Citadel for Knowledge Culture

Location

Bologna, Italy

Completion 2015 Office Diverserightestudio www.diverserighestudio.it Authors

Simone Gheduzzi Nicola Rimondi Gabriele Sorichetti

Type of work

Private

Photographs

Giovanni Bortolani

IT 4050 1463

Restauro Castello del Doria a Dolceacqua

Location

Dolceacqua, Italy

Completion 2015 Office LD+SR www.lda-studio.com Authors

Luca Dolmetta Silva Rizzo Paola Pilotto Danilo Cupioli Mauro Cevoli

Type of work

Public

Photographs

A. Bosio

PT 3670 1159

House in Time

PT 3791 963

Casa em Janeanes

Location

Montemor-o-Novo, Portugal

Location

Serra de Janeanes, Portugal

Completion 2014

Completion 2013

Office AIRES MATEUS & ASSOCIADOS, LDA www.airesmateus.com

Office BRANCO-DEL RIO ARQUITECTOS www.branco-delrio.com

Authors

Manuel Aires Mateus Francisco Aires Mateus

Authors

João Branco

Type of work

Private

Type of work

Private

Photographs

Nelson Garrido

Photographs

do mal o menos Eduardo Nascimento João Fôja

184

INTERNATIONAL ARCHITECTURE AWARD

PT 4040 1592 Casa do Rosário

SK 3827 1052 Partizánska

Location

Porto, Portugal

Bratislava, Slovakia

Completion 2016

Completion 2015

Office DEPARQUITECTURA LDA www.depa.pt

Office Studený Architekti www.ksastudeny.sk www.ksa.cz

Authors

Luís Pedro Pires Sobral Carlos Miguel da Luz Vicente Azevedo João Filipe Miraldo Crisóstomo Maria Margarida de Albuquerque Leitão

Type of work

Private

Photographs

José Campos

SK 4081 1667 Old Power Plant Location

Piestany, Slovakia

Completion 2014 Office Adom. M Studio www.designfactory.sk www.mgarch.sk Authors

Zuzana Zacharová Martin Paško Michal Ganobjak Vladimír Hain

Type of work

Private

Photographs

Pato Safko

Authors

Ján Studený David Kopecký

Type of work

Private

Photographs

Olja T. Stefanovic

ES 3729 1016

Rehabilitación para sala de exposiciones Convento de Santo Domingo

Location

Huéscar, Spain

Completion 2016 Office ELISA VALERO www.elisavalero.com Authors

Elisa Valero Ramos Antonio Jiménez Torrecillas

Type of work

Public

Photographs

Antonio Luis Martínez

RESTORATION SELECTED PROJECTS

185

ES 3758 914 Museum of history at the Oliva Artés factory

ES 3768 924

Rehabilitation of a country house in La Tallada

Location

Girona, Spain

Barcelona, Spain

Completion 2015

Completion 2016

Office BAAS Arquitectura www.baas.cat

Office ARQUITECTURA-G www.arquitecturag.wordpress.com

Authors

Jordi Badia

Type of work

Public

Photographs

Marcela Grassi

Authors

Jonathan Arnabat Vila Aitor Fuentes Mendizábal Igor Urdanpilleta Placencia

Type of work

Private

Photographs

José Hevia

ES 3778 1041

Casa 1302

ES 3826 1138

House of wine Pla i Llevant

Location

Terrassa, Spain

Location

Felanitx, Spain

Completion 2016

Completion 2017

Office H ARQUITECTES www.harquitectes.com

Office AULETS www.aulets.net

Authors

Xavier Ros David Lorente Josep Ricart Roger Tudó

Authors

Bartomeu Riutord Francisco Cifuentes Sebastià Martorell Ernest Bordoy

Type of work

Private

Type of work

Public

Photographs

Adrià Goula

Photographs

José Hevia

186

INTERNATIONAL ARCHITECTURE AWARD

ES 3848 1106

Casa Entremuros

Location

Olot, Spain

Completion 2012 Office RCR ARANDA PIGEM VILALTA ARQUITECTES www.rcrarquitectes.es Authors

Rafael Aranda Quiles Carme Pigem Barceló Ramon Vilalta Pujol

Type of work

Private

Photographs

Hisao Suzuki

SUSTAINABILITY AND INNOVATIVE USE OF MATERIAL

FR 4072 1524 Creation of a Forest Shelter

IT 3903 1586

Expo2015 Service Areas

Location

Milan, Italy

Bertrichamps, France

Completion 2015

Office

Office Onesitestudio SRL www.onesiteestudio.it

Studiolada Architectes

Authors Christophe Aubertin www.studiolada.fr Type of work

Public

Photographs

Nicolas Waltefaugle Nicolas Robin Thomas Lecorguillé Christophe Aubertin

Authors

Giancarlo Floridi Angelo Lunati

Type of work

Private

Photographs

SUSTAINABILITY AND INNOVATIVE USE OF MATERIAL SELECTED PROJECTS

187

BIOGRAPHIES JURY MEMBERS

SCIENTIFIC COORDINATION

JESÚS APARICIO AWARD PRESIDENT

JESÚS DONAIRE AWARD SECRETARY

Doctor of Architecture and Professor of Architectural Projects at the Superior Technical School of Architecture of Madrid (ETSAM)

Doctor of Architecture and Associate Lecturer in Architectural Projects at the Superior Technical School of Architecture of Madrid (ETSAM)

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

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

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

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

BIOGRAPHIES JURY MEMBERS

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VOCALS

XAVEER DE GEYTER BELGIUM JURY MEMBER Architect. Founding partner of XDGA. Guest professor at ETH Zürich. Winner of the BigMat’13 International Architecture Grand Prize Xaveer De Geyter is the director of XDGA, an internationally oriented Brussels based office practising architecture, urbanism and landscape design on different scales and levels. XDGA has participated to a large number of international competitions allowing the office to build up an extensive portfolio that shows its critical approach to architecture. XDGA internationally rewarded projects include, amongst others, the five housing towers in Breda (Mies Van de Rohe nomination), the Îlot Saint Maurice urban plan in Lille (Prix de l’urbanisme de France), the Kitchen tower in Brussels (BIGMAT AWARD, Grand International Prize 2013 and the Belgian Award for Architecture 2013 in the category public building). This year, Xaveer De Geyter was awarded the Flemish biennial Cultural Award for Architecture 2015. Ongoing XDGA projects include the refurbishment of the subway station and public square Place Rogier in Brussels, the new headquarters for the province of Antwerp, a care centre for the elderly in Antwerp, the regeneration of the MacDonald warehouse in Paris, and the master plan Paris-Saclay. More info: www.xdga.be

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HENRIETA MORAVČÍKOVÁ CZECH REPUBLIC AND SLOVAK JURY MEMBER Architect, architectural historian and editor Henrieta is head of the Department of Architecture at the Institute of Construction and Architecture, Slovak Academy of Sciences, and also full professor of architectural history at the Faculty of Architecture, Slovak University of Technology in Bratislava. Her field of interest is 20th and 21st century architecture, focusing on the Modern Movement and architectural heritage. She was previously editor in chief of the magazine Arch, the only Slovak critical monthly publication on architecture (1997 – 2009), and she is currently editor in chief of Architektúra & Urbanizmus, a journal of architectural and town planning theory. She has published several monographs, hundreds of studies and critiques on twentieth century architecture and prepared numerous architecture exhibitions. She is coauthor of the essential monograph on Slovak architecture “20th Century Architecture in Slovakia” (2002) and edited the first synoptic monograph on Slovak architecture titled “Architecture in Slovakia: concise history” (2005). Her last book, titled “Friedrich Weinwurm, Architect” (2014) was awarded the International DAM Architectural Book Award for the best architectural books of 2015.

INTERNATIONAL ARCHITECTURE AWARD

MARC BARANI FRANCE JURY MEMBER Architect and founding partner of MARC BARANI ARCHITECTES. Grand Prix de l’Architecture 2013 After studying architecture and scenography, Marc expanded his training by pursuing anthropology, which took him to Nepal for a year. The Atelier Barani architecture studio focuses on projects involving public buildings and urban infrastructures. The studio has adopted a multidisciplinary approach from the very outset and frequently features architects, scenographers, designers and landscape designers, depending on the type of project in question. Marc taught architecture for 15 years. In 2013, he won the “Grand Prix National de l’Architecture” (French National Price of Architecture). Since 2015, he has been heavily involved with the Ministry of Culture and Communication in helping to shape and devise the New National Strategy for Architecture.

VOCALS

FRANCESCO ISIDORI ITALY JURY MEMBER Architect and founding partner of Labics Francesco Isidori (1971) graduated from Sapienza University in Rome in 1999 and in 2006 he received a PhD in Architectural Composition and Architectural Theory from the same university. He is regularly invited to give lectures and to hold design workshops at several international universities. He has been visiting critic at Cornell University in Rome and Ithaca, New York (2003, 2008, 2011 and 2014). In 2003 he founded Labics alongside Maria Claudia Clemente. Labics is an architecture and urban planning firm that combines the theoretical approach with applied research. Labics has won several competitions, including the CDU in Milano (2003) the MAST in Bologna (2006) and “Città del Sole” in Rome (2007). Labics has been invited to take part in several international exhibitions, including the 11th, 12th and 14th Venice Architecture Biennale and the recent “Make City” festival in Berlin (2015).

PAULO DAVID PORTUGAL AND SPAIN JURY MEMBER Architect, AICA Prize 2007 and Alvar Aalto Medal 2012 Degree in Architecture in 1989 from the Architecture School of the Technical University of Lisbon. AICA Prize | Career Prize from the International Art Critics Association | Ministry of Culture, 2007 Alvar Aalto Medal | Winner | Helsinki, Finland, 2012 Guest lecturer at several universities, with highlights including the architecture workshop delivered at École d’Architecture de Nancy in 2010; the II Master Internazionale di Livello in Waterscape at Università di Sassari in Alghero in 2014; the Máster Universitario en Arquitectura, 2013-2015, at Universidad Nebrija in Madrid; the Arquitectura Santiago workshop at Escuela de Arquitectura of Universidad Católica in Santiago (Chile) in 2015; plus his contributions at Scuola di Architettura Urbanistica Ingegneria delle Construzioni attached to Politecnico di Milano (Milan) in 2016. His work has been published and featured in several national and international exhibitions, including the 15th Venice Architecture Biennale held in 2016.

BIOGRAPHIES JURY MEMBERS

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BIOGRAPHIES WINNING PROJECTS

LACATON & VASSAL BIGMAT INTERNATIONAL ARCHITECTURE AWARD GRAND PRIZE Anne Lacaton born in France in 1955. Graduated from the School of architecture of Bordeaux in 1980. Visiting professor in different universities: 2000-2017: Madrid, Oslo, EPFL Lausanne, Harvard GSD, TU Delft. Professor at ETH Zürich, since July 2017 Jean Philippe Vassal born in Casablanca, Morocco in 1954. Graduated from the school of architecture of Bordeaux in 1980. Worked as urban planner in Niger (West Africa) from 1980 to 1985. Visiting professor in different universities: 2000-2012: Düsseldorf, TU Berlin, EPFL Lausanne. Professor at the UDK in Berlin since 2012. Office Lacaton & Vassal based in Paris, has an international practice, working on various programs of public buildings, housing and urban planning. The main works completed by the office: a contemporary art center, the FRAC in Dunkerque, France, the Palais de Tokyo, Paris, Site for contemporary creation, the architecture school in Nantes, the Café of the Architektur Zentrum in Vienna, the transformation of modernist social housing estates, as Tour Bois le Prêtre in Paris and Cité du Grand Parc, Bordeaux ** and a number of housing projects in France such as the House Latapie, Bordeaux, the House in the trees, on Arcachon Bay, the “Cité Manifeste” in Mulhouse and Social housing and student housing in Paris. All the projects are based on a principle of generosity and economy, serving the life, the uses and the appropriation, with the aim of changing the standard.

MULTIPLE ARCHITECTURE & URBANISME ABDELMAJID BOULAIOUN

A69 – ARCHITEKTI, S.R.O. BORIS REDČENKOV / PROKOP TOMÁŠEK / JAROSLAV WERTIG

NATIONAL PRIZE. BELGIUM

NATIONAL PRIZE. CZECH REPUBLIC

After earning his Masters degree in Architecture and Urbanism from Saint-Luc Architecture in Brussels in 1996, Abdelmajid Boulaioun joined SUM Office for Architecture and Urbanism, where he contributed to several large projects, including the development of the masterplan of Eilandje in Antwerp.

Immediately after their graduation from the Faculty of Architecture of the Czech Technical University in Prague, the architects Boris Redčenkov (1969) and Prokop Tomášek (1969) founded the studio Atelier 69 – architekti in Cheb in 1994. In 1997, a third partner, architect Jaroslav Wertig (1969) joined the team. In 2003, the original association Atelier 69 – architekti was transformed into A69 – architekti, s.r.o. A69 – architekti, s.r.o. has several dozen projects and realisations to its credit in various locations in the Czech Republic. Among the most significant buildings and award-winning designs are the Dr. Peták Sanatorium in Františkovy Lázně, Triplex Residential Complex in Karlovy Vary, Pedestrian zone in Cheb and Centre for Technical Education in Ostrov. In 1999, they won first prize in an invitation-only competition for Villa Park Strahov, later A69 won international competition for Central Park Prague and Hotel at Narodni street. A69 – architekti likewise has an impressive record in the design of private houses with a definitive creative personality, such as Villa Lea (Wallpaper Award 2006), Mountain Apartment House (2014), UmmaGumma House (2014) and EggO House (2006). Works of the studio are regularly awarded in national and international competitions.

In 1998 he founded ARJM Achitecture, focusing on the realisation of public buildings and facilities. Notable projects include the library of Boechout in Antwerp, a school in Ostend, a school in Managua (Nicaragua), the Herstal train station, the masterplan for the center of Merelbeke and the masterplan of the new harbour of Nieuwpoort. In 2016, ARJM Architecture changed its name to MULTIPLE Architecture & Urbanism. In addition to his practise, Abdelmajid Boulaioun has been teaching architecture in the Masters programme at the Université Catholique de Louvain (UCL) since 2005.

A69 architects also leads workshops and lectures both in Czech Republic and abroad. They are one of the most published Czech architectural studios publishing in prestigeous magazines and websites all around the world.

www.lacatonvassal.com

BIOGRAPHIES WINNING PROJECTS

193

C+S ARCHITECTS CARLO CAPPAI, MARIA ALESSANDRA SEGANTINI NATIONAL PRIZE. ITALY Carlo Cappai and Maria Alessandra Segantini are the directors of C+S, based in Venice (Treviso) and London. With a degree with honour in architecture at the University of Architecture of Venice, they are Registered Architects both in Italy and the UK. Among others, Cappai and Segantini’s works have been exhibited at the MoMA in New, in the 15th Venice Architecture Biennale and at the MIT in Boston, where they are also visiting professors. They have been awarded with the the Gold Medal of Italian Architecture 2012- special prize, the In-Opera Award 2012, the Selection in the European Mies van der Rohe Award 2009 and the Sfide 2009 Award of the Italian Ministry of Environment, the AR+D Award 2008, Honourable Mention. Cappai and Segantini have lectured internationally at the MoMA, Cornell, Syracuse, Columbia and MIT Universities, Cambridge, UEL and Bath in the UK, the EPFL in Switzerland, the TU in Delft, among others.

ÁLVARO SIZA EDUARDO SOUTO DE MOURA

ZEROZERO IRAKLI ERISTAVI, PAVOL SILLA

NATIONAL PRIZE. PORTUGAL

NATIONAL PRIZE. SLOVAKIA

Álvaro Joaquim Melo Siza Vieira was born in Matosinhos (near Porto), in 1933.

Irakli Eristavi (b. 1969, Tbilisi, Georgia) graduated from the Faculty of Architecture at the STU in Bratislava (1993). After living briefly in London, Berlin and Bratislava and doing studies at the Institute of Housing Studies Rotterdam in 2000, he founded zerozero in Presov in 2002. Residential complex CMYK in Prešov designed by zerozero was widely published abroad. In 2008 zerozero designed the Sideways installation for the Czech-Slovak pavilion at the Venice Biennale. In 2010 zerozero won Europan 10, Ajka, Hungary. Their largest commission to date the European Cultural Capital 2013 Kulturpark project in Košice was awarded by main local architectural prizes in 2014.

From 1949-55 he studied at the School of Architecture, University of Porto. He taught at the School of Architecture (ESBAP) from l966-69 and was appointed Professor of “Construction” in 1976; he taught at the School of Architecture of Porto. He is a member of the American Academy of Arts and Science, “Honorary Fellow” of the Royal Institute of British Architects, AIA/American Institute of Architects, Académie d’Architecture de France and European Academy of Sciences and Arts and American Academy of Arts and Letters. Eduardo Souto de Moura was born on the 25th of July, 1952, in Oporto, Portugal. He studied architecture at the School of Fine Arts in Oporto, receiving his degree in 1980. In 1974 he collaborated in the architectural practice of Noé Dinis. From 1975 to 1979 he collaborated in the architectural practice of Álvaro Siza. From 1981 to 1991, he was assistant professor in his alma mater, and later began to serve as professor in the Faculty of Architecture in the University of Oporto. Own office since 1980. He has been visiting professor at the architectural schools of Paris-Belleville, Harvard, Dublin, ETH Zurich, Lausanne and Mantova. He has participated in numerous seminars and given many lectures both in Portugal and abroad. His work has appeared in various publications and exhibitions. In 2011 he received the Pritzker Prize, in 2013 the Wolf Prize and in 2017 the Piranesi Prize.

194

INTERNATIONAL ARCHITECTURE AWARD

Works of zerozero were published and exibited in many european countries. Irakli Eristavi is visiting teacher at Facoulty of Arts, TU Košice, Slovakia from 2005. Pavol Šilla (b. 1981, Prešov,Slovakia) graduated from the Faculty of Art, Technical University in Košice, Slovakia. (2005). After studies in 2005 he joined zerozero. Residential complex CMYK in Prešov designed by zerozero was widely published abroad. In 2008 zerozero designed the Sideways installation for the Czech-Slovak pavilion at the Venice Biennale. In 2010 zerozero won Europan 10, Ajka, Hungary. Their largest commission to date the European Cultural Capital 2013 Kulturpark project in Košice was awarded by main local architectural prizes in 2014. Works of zerozero were published and exibited in many european countries. Pavol Šilla is visiting teacher at Facoulty of Arts, TU Košice, Slovakia from 2009.

MANSILLA + TUÑON ARCHITECTS EMILIO TUÑÓN, ARCHITECT

MUOTO GILLES DELALEX / YVES MOREAU

NATIONAL PRIZE. SPAIN

CATEGORY PRIZE

Emilio Tuñón, Gold Medal of Merit in Fine Arts from the Spanish Government, is chair professor in the Architecture School of Madrid (ETSAM), and has been visiting professor at several universities: Hasselt University (2015), Princeton University School of Architecture (2008, 2009, 2010), Harvard Graduate School of Design (2006), Ecole Polytechnique Fédérale de Lausanne (2005), etc.

MUOTO is an architectural office based in Paris, founded by Gilles Delalex and Yves Moreau in 2003. Its activities cover the fields of architecture, urbanism, design and scientific research. Muoto means form in Finnish.

In 1992, Emilio Tuñón and Luis M. Mansilla (1959-2012) established the architecture firm Mansilla + Tuñón Arquitectos, office dedicated to the confrontation of theory, and academic practice, with design and building activity. They have received the Mies van der Rohe Award 2007 and the Spanish National Architecture Award 2003, among other awards. In 1993 they created the thought exchange cooperative CIRCO M.R.T. coop., for which they publish a bulletin of the same name. This bulletin has been awarded the following awards: FAD Award (2007) and Iberoamerican Architecture and Engineering Biennial Publication Prize (2002).

Muoto’s work often features minimal structures made of rough materials, as a means to combine different activities, and merge economical as well as aesthetic issues. Vertical diversity as an articulation between building and city scales is a recurrent figure in Muoto’s projects. The office has been rewarded by several prizes, such as Holcim Awards 2014, Equerre d’Argent 2016, and Bauwelt 2017. Gilles Delalex is a French architect. He studied architecture in Grenoble and Montreal. He holds a Master in urban planning and a Doctorate of Arts from Alvar Aalto University Helsinki. He is a professor at the School of Paris-Malaquais, where he heads the department “Theory, History and Project”. Since 1998, he has been a research fellow at the Liat Lab focusing on modernity and infrastructures.

ÉRIC LAPIERRE CATEGORY PRIZE Éric Lapierre is architect and theoretician of architecture. He is the founder and principal of Éric Lapierre Experience (ELEx), his Paris based organization that coordinates both his activities as builder, writer and curator. ELEx buildings have gained international recognition through many awards and publications. They aim at keeping architecture as a sophisticated cultural medium in the contemporary ordinary condition. Éric Lapierre teaches design and theory of architecture at École Polytechnique Fédérale de Lausanne (EPFL) and at ENSA Marne-la-Vallée Paris Est, and, and has been guest teacher at Accademia di Architettura di Mendrisio, Université de Montréal (UdM), Université du Québec à Montréal (UQAM), and KU Leuven in Ghent. Among other books, Éric Lapierre has edited Identification d’une ville – Architectures de Paris, 2002; Guide d’architecture de Paris 1900-2008, 2008; Le Point du Jour A Concrete Architecture, 2011; Architecture Of The Real, 2004.

Yves Moreau is a Dutch-Belgian architect. He studied at the Ecole des Arts de Saint Luc in Brussels and graduated from Chalmers Teknista Högskala, Göteborg. Between 2000 and 2001, he collaborated with Blå Arkitektur Landskap, in Sweden. Between 2001 and 2006, he worked with Christian Dior and Dominique Perrault. In 2008 he was awarded the Nouveaux Albums des Jeunes Architectes and Paysagistes.

BIOGRAPHIES WINNING PROJECTS

195

JOÃO MENDES RIBEIRO FRANCISCO VIEIRA DE CAMPOS & CRISTINA GUEDES CATEGORY PRIZE João Mendes Ribeiro (Coimbra,1960) is a Portuguese architect. He graduated in 1986 from the University of Porto and in 2009 took his PHD from University of Coimbra. Since 1991 he has been teaching Architectural Design in the same university. His work has been awarded with prizes such as Highly Commended at AR Emerging Architecture Award 2000, Premis FAD d’Arquitectura i Interiorisme 2004 and 2016, Gold Medal for Best Stage Design at the Prague Quadrennial 2007, BIAU Award 2012 and 2016, RIBA Award for International Excellence 2016. Shortlisted for the Mies Van der Rohe Award 2001 and 2015 and finalist for the RIBA International Prize 2016. Francisco Vieira de Campos and Cristina Guedes created their studio Menos é Mais, in Oporto in 1994. They want to do More with Less, especially when resources are scarce. They tried to make obvious the “economy” of means and the “richness” in the emotional involvement of the users.

PEDRO MATOS GAMEIRO

JOSÉ MARÍA SÁNCHEZ GARCÍA

CATEGORY PRIZE

Lourenço Marques, Mozambique, 1970.

José María Sánchez García was born in Don Benito (Badajoz) in 1975. He graduated from the Madrid School of Architecture (ETSAM)in 2002, and in 2016 was awarded a Doctorate in Architecture by the ETSAM for his thesis entitled, ‘The Bath Case’.

PhD in Architecture by the University of Granada, Spain, in 2014. Licensed architect by the Universidade de Lisboa School of Architecture, Portugal, in 1994. Associate Professor at the Department of Architecture of the University of Évora, Portugal, since 2004. Invited teacher and invited critic in several universities in Portugal, Spain, Belgium and in the UK. Author of architectural projects since 1997, has been appointed and distinguished in several juris and awards, and has participated in conferences and exhibitions regarding his work, which has been widely published in Portugal, Spain, Belgium, UK, Germany, Slovaquia, Slovenia, Poland, Argentina, Brasil, China, Hong Kong and South Korea.

Both architects teach FVC (FAUP) and CG (FAAULP) and have been invited to international conferences, jury’s awards, seminars and exhibitions all over the world. Recently they were awarded the FAD 2016 (Barcelona), BIAU 2016 (São Paulo) and were shortlisted for the Mies Van der Rohe Award in 2015 and the RIBA International Prize in 2016.

196

INTERNATIONAL ARCHITECTURE AWARD

He is Associate Professor of Design at the Madrid School of Architecture, Visiting Professor at the Academy of Architecture in Mendrisio (Switzerland), and Visiting Professor at the ETH University in Zurich. His work has received prizes in Spain and abroad, and has been displayed in many exhibitions. 2016: First Prize Ibero-American Biennale of Architecture and Urbanism / First Prize Spanish Biennale of Architecture and Urbanism Prize / First Prize COAM Luis Moreno Mansilla Award, Madrid / First Prize AD Architectural Digest, Conde Nast / First Prize Veteco-Asefave / Special Prize Ateg Galvanization in Construction, Madrid. 2014: First Prize BSI Swiss Architectural Award, Switzerland / First Prize 6th Enor Grand Prix. 2011: 9th Philippe Rotthier European Architecture Prize, Belgium / Runner-up AR + D Architecture Review Awards, London / First Prize Spanish Biennale of Architecture and Urbanism. 2010: First Prize VetecoAsefave Awards / Special Mention 2010 FAD Architecture Awards, Barcelona / First Prize Ibero-American Biennale of Architecture and Urbanism / 2009: Honourable Mention 9th Spanish Biennale of Architecture and Urbanism / First Prize 9th Enor Architecture Prize / Architectural Record’s Design Vanguard Award, New York / First Prize AR+D Architecture Review Awards, London

MGM MORALES DE GILES ARQUITECTOS

H3T ARCHITEKTI VÍT ŠIMEK / ŠTĚPÁN ŘEHOŘ

CATEGORY PRIZE

HONORIFIC SPECIAL MENTION YOUNG ARCHITECTS

Lisbon, 1963

Studio H3T architects was founded by Vit Šimek and Štěpán Řehoř in 2009. Studio’s work deals with all possible aspects of architecture, finding optimal solutions, incorporating their own specific topics and developing knowledge and craftsmanship skills. Their projects are often temporary and located in unexpected context that eventually generates an interesting situation and creates a new opportunity.

PhD in Architecture Theory and History from Coimbra University, with dissertation on “The Design of Territory and Construction of Landscape in São Miguel, Azores, in the Second Half of the 19th Century”, 2008.

José Morales Sánchez, Seville, 1960 Graduate from E.T.S.A Seville, 1985 Lecturer, Architectural Projects Department, E.T.S.A. Seville, from 1986 Professor, Architectural Projects Department, E.T.S.A. Seville, from 2004 FAD Award of Thought and Criticism, in 2006 Sara de Giles Dubois, Seville, 1972 Graduate from E.T.S.A Seville, 1998 Lecturer, Architectural Projects Department, E.T.S.A. Seville, from 1999 Award-Winning Competitions: 2016: Learning Center of the University Paris-Saclay (with Beaudouin Architects).París / Extension IBVM IRLANDESAS School’s Kindergarten. Seville. 2010: Hotel in Fregenal de la Sierra. Badajoz / Contemporary Architecture Foundation and San Pablo Block. Córdoba. 2008: ICTAM Hospital. 2007: Córdoba College of Architects Renovation / Urban Renovation of Ronda de Marrubial. Córdoba / Conversion of a Learning and Information Resource. Seville. 2006: Building Portos de Galicia. Santiago de Compostela / Liberty Space. Seville. 2005: Restoration and environmental conditioning of Parque de Miraflores North expansion. Seville. 2004: Institute of Secondary Education in Galisteo. Cáceres / Consolidation of the Ancient Convent of Sta María de los Reyes, Seville. 2001: New Public Library in Jerez de La Frontera. Cádiz. 2000: Lecture Halls for Pablo de Olavide University, Seville (+ Miguel Hernández) / Urban plan for Pablo de Olavide University, Seville (+ Miguel Hernández). 1998: Centre for the Theatrical Arts in Nijar. Almería / EUROPAN V. Social Housing on Monte Hacho. Ceuta. 1995: Renovation to Ramos Carrión Theatre and Environs. Zamora

PEDRO MAURÍCIO BORGES PUBLIC PRIZE

Degree in Architecture from the Faculty of Architecture of Lisbon Technical University, FAUTL, 1986.

Assistant Professor in the Architecture Department of the Faculty of Sciences and Technology of Coimbra University, FCTUC. Portuguese Official Representation team in the São Paulo Biennial of Architecture with a School for GuinéBissau, 2009. 2002 Secil Architecture Award with the Pacheco de Melo House, São Vicente Ferreira, São Miguel, Azores. Revelation Prize in the National Architecture Awards, First Works, 1998, ex-aequo, with the Pavilion of the Regional Secretariat for Agriculture and Fishing, Azores Fair, Santana, São Miguel, Azores.

BIOGRAPHIES WINNING PROJECTS

197

CREDITS

Published by BigMat International SA Edited by Jesús Aparicio Jesús Donaire BigMat International SA Coordination Carlos Izquierdo Alberto Luengo Translations Marcella Bracco Virginia Cabañas Design gráfica futura Printed and bound by Composiciones RALI, S.A. Paper 135 gram matt coated Typography Montserrat

© of the edition BIGMAT INTERNATIONAL, S.A. 42-44 Avenue de la gare L-1610 Luxembourg Tel: +352 28 4878 1075 www.bigmat.com © of the images The authors of the photographs © of jury images Pablo Tribello © of cover image Vincent Urbani All rights reserved. The total or partial reproduction of this book, its inclusion in a computer system or its transmission by electronic, mechanical or other means, by photocopy or recording, is forbidden without the copyright holders’ prior authorization in writing. ISSN: 2535-8847 Printed in Spain Bilbao 2017

Acknowledgments: We would like to thank architect Jesús Aparicio for the development and scientific coordination of the BigMat International Architecture Award 2017. More information: BigMat International Architecture Award www.architectureaward.bigmat.com BMIAA: BigMat International Architecture Agenda www.bmiaa.com Twitter: @BMIAAGENDA Facebook: BMIAA BigMat International Architecture Agenda

BIGMAT INTERNATIONAL ARCHITECTURE AWARD 2017

BIGMAT INTERNATIONAL ARCHITECTURE AWARD GRAND PRIZE Lacaton & Vassal

NATIONAL PRIZES

CATEGORY PRIZES

BIGMAT FRANCE 14 Boulevard Poissonnière 75009 PARIS Phone: +33 1 53 32 80 30 Website: www.bigmat.fr

MUOTO

BIGMAT ITALY Centro Direzionale Colombirolo Via Roma, 74 l-20060 Cassina De’Pecchi, MILAN Phone: +39 02 95 34 48 36 Website: www.bigmat.it

José María Sánchez García Arquitectos

BIGMAT IBERIA Avenida de los Pirineos, 7°, 1ª planta E - 28700 San Sebastián de los Reyes, MADRID Phone: +34 916 23 71 60 Website: www.bigmat.es

PUBLIC PRIZE

BIGMAT INTERNATIONAL 42-44 Avenue de la gare L-1470 LUXEMBOURG Phone: +352 28 4878 1075 Website: www.bigmat.com

Éric Lapierre Experience João Mendes Ribeiro Arquitecto Lda. Menos é Mais Pedro Matos Gameiro

MGM, Morales de Giles Arquitectos S.L.P. HONORIFIC SPECIAL MENTION YOUNG ARCHITECTS H3T Architekti

Pedro Mauricio Borges

BIGMAT INTERNATIONAL ARCHITECTURE AWARD 2017

BIGMAT INTERNATIONAL ARCHITECTURE AWARD GRAND PRIZE Lacaton & Vassal

NATIONAL PRIZES

CATEGORY PRIZES

BIGMAT FRANCE 14 Boulevard Poissonnière 75009 PARIS Phone: +33 1 53 32 80 30 Website: www.bigmat.fr

MUOTO

BIGMAT ITALY Centro Direzionale Colombirolo Via Roma, 74 l-20060 Cassina De’Pecchi, MILAN Phone: +39 02 95 34 48 36 Website: www.bigmat.it

José María Sánchez García Arquitectos

BIGMAT IBERIA Avenida de los Pirineos, 7°, 1ª planta E - 28700 San Sebastián de los Reyes, MADRID Phone: +34 916 23 71 60 Website: www.bigmat.es

PUBLIC PRIZE

BIGMAT INTERNATIONAL 42-44 Avenue de la gare L-1470 LUXEMBOURG Phone: +352 28 4878 1075 Website: www.bigmat.com

Éric Lapierre Experience João Mendes Ribeiro Arquitecto Lda. Menos é Mais Pedro Matos Gameiro

MGM, Morales de Giles Arquitectos S.L.P. HONORIFIC SPECIAL MENTION YOUNG ARCHITECTS H3T Architekti

Pedro Mauricio Borges

BMIAA'17 Catalogue

Articles inside

BIGMAT '17 JURY MEMBERS

SELECTED PROJECTS

BIGMAT'17 PUBLIC PRIZE

HONORIFIC SPECIAL MENTION FOR YOUNG ARCHITECTS

CATEGORY PRIZE

SPAIN NATIONAL PRIZE

SLOVAKIA NATIONAL PRIZE

PORTUGAL NATIONAL PRIZE

ITALY NATIONAL PRIZE

CZECH REPUBLIC NATIONAL PRIZE

BELGIUM NATIONAL PRIZE

LACATON & VASSAL