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Belgium Brazil Canada Denmark France Germany Japan Portugal Switzerland USA
DANIEL LIBESKIND
The Westside Shopping and Leisure Center | The Grand Canal Square Theater and Commercial Development in Dublin
ATSUSHI KITAGAWARA NDT One of a Kind | The Big Palette Fukushima | The Nakamura Keith Haring Collection
VITRA Design at its very best
CONTENTS 04 GOEDEFROO + GOEDEFROO ARCHITECTEN • BELGIUM 06 CANDUSSO ARQUITETOS • BRAzIL 08 5468796 ARCHITECTURE INC. • CANADA 10 JEPPE UTZON • DENMARK 12 VITRA • GERMANY 14 DANIEL LIBESKIND • SWITZERLAND 18 ATSUSHI KITAGAWARA • JAPAN 20 PLATANE BERÈS • FRANCE 22 SPACEWORKERS • PORTUGAL 24 EM2N • SWITZERLAND 26 FLANSBURGH ARCHITECTS • USA Callens & EMK . Innovative green design for office
Sun Towers Hotel
OMS Stage
Æblehaven 1
Design at its very best
The Westside Shopping and Leisure Center
The Grand Canal Square Theater and Commercial Development in Dublin
NDT - One of a kind | The Big Palette Fukushima | The Nakamura Keith Haring Collection
L’ École des Beaux-Arts de Versailles
FabLab - The Design Factory and Innovation
Toni-Areal - The largest Swiss construction site
Modeling sustainability
Hawaii Preparatory Academy (HPA) Energy Laboratory
PUBLISHING COMPANY TechLimits Avenida das Acácias 175, C 2775-342 Parede Portugal +351 21 465 8267 info@modusnews.com EDITOR-IN-CHIEF Isabel Albuquerque MANAGING EDITOR Jorge Matos CONTRIBUTING EDITOR Shelly Ginenthal CONTRIBUTORS Andreas Thierer - ComputerWorks GmbH Andreas Kling - ComputerWorks AG Bart Rammeloo - Design Express Christoph Köbelin - ComputerWorks AG David Oliveira - CAD Technology Geoff McBeath - Resolve Software Solutions Inc. John Hansen - MikroGraf AS Kazuko Uchida - A&A Co., LTD Lisa Lance - Nemetschek Vectorworks, Inc. Lucas Vandersanden - Design Express Nicole Hartman - Nemetschek Vectorworks, Inc. Thierry Beurey - CESYAM EDITORIAL TRANSLATIONS David Oliveira (Brazilian Portuguese); Bart Rammeloo (Dutch); Bart Rammeloo (French); Christoph Köbelin (German); Isabel Albuquerque (Portuguese); Juan Almansa (Spanish); Yuhiko Izumi (Japanese) DESIGN AND LAYOUT Isabel Oliveira - TechLimits Vanda Querido - TechLimits PRINT Multitema, Portugal circulation Total circulation - 20 000 Brazilian Portuguese editorial - 300 Dutch editorial - 3 000 English editorial - 5 350 French editorial - 1 000 German editorial - 4 000 Japanese editorial - 3 000 Portuguese editorial - 2 000 Spanish editorial - 1 350 ©2011 TechLimits and Nemetschek Vectorworks, Inc. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the written permission of TechLimits or Nemetshek Vectorworks, Inc. FRONT PAGE Project by Daniel Libeskind - The Grand Canal Square Theater and Commercial Development in Dublin, Theatre Hall Photograph taken by (c) Ros Kavanagh
Editorial Architektur bedeutet das Erschaffen von Lebens- und Arbeitsräumen, die die Zeit und die Geschehnisse während ihrer Entstehung widerspiegeln und nutzt die Technologien, die für die verschiedenen Stadien des kreativen Entstehungsprozesses zur Verfügung stehen. Modus leitet sich vom lateinischen Ausdruck modus operandi ab, der eine Art des Handelns bezeichnet, eine Vorgehensweise. Mag der modus operandi jedes Einzelnen auch unterschiedlich sein, so ist doch das Ziel ein gemeinsames, wie auch die gewählten Mittel und die Art der Kommunikation, mit denen Ideen und Emotionen vermittelt werden, unabhängig von einem bestimmten Fachbereich. Es sind die vielen einzigartigen, spannenden und inspirierenden Projekte von Vectorworks®-Anwendern weltweit selbst, die es uns nahelegten, einige dieser Werke einer breiteren Öffentlichkeit vorzustellen. Modus zeigt Ihnen die besten Projekte der letzten Jahre, die mit
Vectorworks entworfen, konzipiert und geplant wurden. Was die hier versammelten Werke und ihre Schöpfer vereint, sind Erfolg, individuelle Herangehensweisen, kreative Präsentationsformen der gangbaren Wege. Sie alle weisen unterschiedlichste Erfahrungen auf, die sie in ihre Arbeit einfließen lassen, und die zum einzigartigen Charakter jedes der hier gezeigten Projekte beitragen. Ein Werkzeug, viele Arbeitsweisen, angepasst an das jeweilige Werk. „Es ist die Flexibilität des Planungswerkzeugs, die heute entscheidend ist für moderne Architekten, um ihre individuellen Visionen zu verwirklichen“, sagt Sean Flaherty, CEO von Nemetschek Vectorworks, Inc. „Die technischen Innovationen der Planungsinstrumente müssen kompromisslos den Bedürfnissen der Planer folgen, damit sie weiterhin unsere Welt gestalten können.“ Elf Herangehensweisen haben wir hier versammelt, in der Hoffnung, dass sie als Inspirationsquelle dienen. Isabel Albuquerque
ISBN 978-989-97496-1-0
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Callens & EMK goedefroo + goedefroo architecten – Belgium Founded in 1990 by Sven and Gunnar Goedefroo, the firm represents the third generation of the family in the construction industry. The Belgian office goedefroo + goedefroo architecten has been producing award-winning spaces since 1990, but in recent years their work has also become notable for its outstanding results regarding sustainability. Goedefroo + goedefroo’s focus on sober architecture ties in nicely with their innovative attention to a small footprint. www.goedefroo-architecten.be
The Callens & EMK building, consisting of a 22 000 squaremeter production hall and an office block, won the 2011 IPB Challenge (industrie- en projectbouw), a competition between architects who specialize in innovative green design for office and school buildings. The building was commissioned by Callens & EMK, which chose a strategic and highly visible location along one of the busiest highways in the country, the E17. Goedefroo + goedefroo turned what could have been considered a problem into an advantage, making it an essential aspect in the building’s creation. Factoring in issues such as traffic motion, speed, and noise, the challenge was to make a static object like a building enter the sweep of passing traffic. Can a building participate in motion? What is the attitude of a building relative to the noise that traffic produces? How anonymous are those working in the building and those speeding by? Should those inside join the rush on the road or should they let it pass by? The Callens & EMK building provides protection, privacy, and intimacy, while its stainless steel skin opens like gills, necessary for the “oxygen” provision. On the outside, these gills create a look that constantly changes as one passes by. Inside, the gills allow a tunnel vision following the flow of the departing traffic, which creates privacy and a less stressful visual of the traffic. But goedefroo + goedefroo also added more than a flash of sustainability to the building, by extensively using Integrated Project Delivery (IPD). When designing the concept, integrating all project partners leads to sustainable economic decisions in the early stages. This method requires more preparation, but soon leads to shorter construction times, limited use of raw materials, and a flexible and comfortable building. Furthermore, by optimizing the production and functional organization of the client, the footprint of the building was reduced by 20% compared to the initial concept. Goedefroo + goedefroo’s innovative take on an intelligent symbiosis between architecture and techniques in terms of sunlight minimization, (rain)water recirculation, use of concrete structures for energy storing, etc., creates sustainability which also results in optimum comfort in light, temperature, acoustics, and multifunctionality.
“Sustainable construction starts with good design. The major challenge on one hand is the various elements of sustainable building and on the other the requirements of the client and its users, a combination of well thought out and integrated design.�
All photographs and image by goedefroo + goedefroo architecten
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All photographs, images and renderings by Candusso Arquitetos
Sun Towers
The team recently won acclaim in two different categories in the 7th Grande Prêmio de Arquitetura Corporativa, receiving a total of four awards for their work on the Sun Towers Hotel and the Florida Penthouses. Originally called Amazon River Palace, the Sun Towers hotel was designed to be built next to one of the most important rivers in the Amazonas, the Rio Negro. Offering both exclusive hotel and residential apartments accentuated with restaurants, a spa, a nightclub, a fitness academy, a convention center, and a high-end marina, the design is defined by large open terraces, contributing to the overall shape of the building with a built area of more then 66 000 square meters. The main apartment corridors open up to the center of the hotel, creating a dramatic, soaring lobby. Outside, residents and patrons can enjoy an elevated view of the river at the riverside bar and pool designed to take advantage of an increasingly impressive landscape. Candusso’s team used Vectorworks® Architect software to create the freeform design; they relied on the Digital Terrain Modeling capabilities to conform the building and its accompanying amenities to the rolling riverbank. Using their software’s 3D modeling capabilities, the Candusso team created a high-class space with double-high stories and a generously proportioned terrace. They used the database worksheet query functions extensively for net wall areas, and other information to get accurate measurements from the model during the study phases.
Candusso Arquitetos In São Paulo, Brazil, Roberto and Renato Candusso form a father-son team. Roberto founded Candusso Arquitetos in 1976 and Renato joined him later. The firm of over 50 professionals has offices in São Paulo and Rio de Janeiro and is known for the design of more than 1 300 hotels, condominiums, residential and commercial buildings, shopping centers, and corporate spaces. www.candusso.com
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OMS stage
5468796 team photograph taken by Ian McCausland, all other photographs and images by 5468796 Architecture Inc.
“The Cube” is an open-air performance venue set against a backdrop of historic warehouses in Winnipeg’s Exchange District. The design, commissioned following an invited competition, recognizes that the stage only functions as such for a very limited time, and questions what opportunities the venue can provide during the rest of the year. In its final rendition, the stage is articulated as a multi-functional environment that shifts from a vibrant performance space to an ephemeral, interactive pavilion and focal point. The outer shell of the 28’ x 28’ cube is a dynamic membrane composed of diamond extrusions strung together to form a flexible curtain that draws back to reveal stage and structure within. The retracted skin becomes a draped and undulating ceiling landscape, providing a unique setting for performances and allowing for adjustments to the stage’s acoustics. When closed, 18 000 angled metal pieces capture and refract light or images to their outer surface, creating a unique pixel matrix. Programmable lighting shines onto the pixelated skin, offering a canvas for interactive displays that are seasonally programmed and available for active engagement by local artists. The stage in its closed position also accommodates small gatherings and exhibitions inside, both on the main floor and on an upper level performance space complete with bleacherstyle seating.
5468796 Architecture Inc. 5468796 Architecture Inc., based in Winnipeg, Manitoba, engages in all aspects of design, from furnishings to urban fabric. Established in 2007, the studio pursues innovative solutions to achieve high architectural value within modest budgetary constraints. In only four years, the office has gained national and international recognition through numerous awards and competitions, both in Canada and abroad. www.5468796.ca
An important objective for the project was to provide a secure screen which could be opened and shut for various programming. The challenge was to create a unique meshwork that would be soft enough to drape open and rigid enough to provide a solid barrier. Early studies used chain-mail as a precedent for a flexible, protective membrane that could form the venue’s envelope. A second key goal was to explore the capacity for the membrane to capture images projected upon its surface. Through prototypes we examined the size and number of elements necessary to effectively capture the projected images, as well as the appropriate depth of cells and their ability to maintain image integrity. By questioning the year-round relevance of the stage program, the team was motivated to develop a constituent part of the program (security, screen and canopy) into a new project feature. The skin thereby transcends its function as shell and takes on the new role of emblem.
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“Everything should be done for a reason Duis aute irure dolor in reprehenderit -inthe right reason. ” voluptate velit esse molestaie cillum. Tia non ob!
Jeppe Utzon Photograph by Karen Rosetzsky, all other photographs and images by Jeppe Utzon
Æblehaven 1 Jeppe Utzon Jeppe Utzon is the principal of Cold Wet & Dark in Copenhagen, Denmark, and his work includes both architecture and design. As an architect Jeppe Utzon has worked on numerous building projects, ranging from private residences to larger commercial building complexes. www.utzon.com
As the grandson of Jørn Utzon, the original designer of the Sydney Opera House, Jeppe Utzon is a third generation architect - and fourth generation designer. After completing his formal education at both the École Nationale Supérieure des Beaux-Arts in Paris and the Royal Danish Academy of Fine Arts in Copenhagen in 1999, and after extensive involvement in the family firm, Jeppe Utzon set up his own architectural practice focused primarily on classical building design and, to a lesser extent, on product design. His first design footprint was left in Australia when he created the multiple award winning Jeppe Utzon BBQ for Electrolux Home Products, an exquisite minimalist interpretation of the Australian barbecue, considered to be an object of architectural inspiration and a piece of modern art to admire. Since then he has earned design commissions at an ever-increasing rate.
Jeppe Utzon received the Australian Design Mark in 2006, was awarded the Powerhouse Museum Selection in 2006, won the Bottom Line Design Award in 2007, received an award by the Danish Arts Foundation in 2010, and was appointed Architectural Ambassador 2011-2012 for Bo Bedre - the premier Danish design magazine. The Æblehaven 1 villa was designed for a wheelchair bound owner and his wife. Inside there are no doors, walls, or steps. For someone in a wheelchair it’s easy to get around the house and exterior terrace. Everything was carefully designed to the smallest detail, including the window treatments, flooring, and the back wall closets. The west facing house was designed to catch the evening sun, and the colors of the closets and window treatments were chosen to give the interior a warm feel in the low evening sunlight. Almost everything in the house was custom made, including the exterior brick made specifically for this house, the floor, window treatments, closets, curtains, and sun protection canopy.
You can see 10 million colours. now You can give them all a name. NCS - Natural Colour SystemŽŠ, from NCS Colour AB, is a unique colour system created to meet the needs of architects, designers and industry. For architects and designers, NCS is a common colour language, with a range of tools and solutions that enable creativity and accuracy in specification and communication throughout the design process. Discover more at www.ncscolour.com or info@ncscolour.com
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Vitra
design at its very best
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01| Panton Chair Classic Design Verner Panton, 1959/60 0006555 Photografer: Hans Hansen © Vitra 02| VitraHaus, Architecture Herzog & de Meuron, 2010 Architecture, Campus, Home Collection, Iwan Baan, V Fullbuyout, Photography Iwan Baan, © Vitra 03| VitraHaus, Architecture Herzog & de Meuron, 2010 Architecture, Campus, Photography © Vitra 04| Ronan & Erwan Bouroullec Alcove Work, Office Weil am Rhein Photographer: Marc Eggimann, Fullbuyout, © Vitra
Project Vitra began in 1957 when the company started producing the furniture of Charles and Ray Eames and George Nelson in Basel, Switzerland, and neighboring Weil am Rhein, Germany. In the years since then, the company, now known as Vitra, has grown significantly. Vitra continues to build and further develop classic furniture designs that influence the entire industry. It employs renowned designers to create entirely new furniture concepts, and its interior design department produces furniture for complete working and living environments. Today, Vitra has a global presence and is known for its products as well as its cultural initiatives, which manifest themselves in the Vitra Design Museum, the VitraHaus, as well as in the company’s own unique architecture. The teams at Vitra depend on software to help them visualize functional office spaces and even entire ergonomically adapted work environments while still in the planning phase, keeping costs and expenses under control at all times. They also use graphic libraries of their entire furniture collection extensively.
After years of using various CAD applications and watching its partners do the same, Vitra realized the necessity of finding a uniform platform that could provide graphically attractive drawings and interior design plans. “Some of our work could be realized by means of the previously employed software, but much of it could not,” remembers Toni Piskac, Head of Interior Design Services at Vitra. The often very technical programs required long training periods, had problems interfacing with databases and libraries, and produced unsatisfactory output. Vitra’s interior design customers expect to receive a plan that allows them to concretely visualize how the interior designincluding furniture, upgrades, lighting, and acoustics-would look in a room or building. This step occurs even before designers answer the questions of whether the envisaged design components would all fit together and if people would feel comfortable in such an environment. Vectorworks software and CINEMA 4D proved to be suitable for realizing all these requirements.
“To accomplish its award-winning work and optimize its workflows, Vitra is passionate about using the Vectorworks® Architect software. “
Vitra GmbH Vitra is a furniture manufacturer committed to the development of sound, intelligent, inspired, and sustainable solutions for office, home, and public spaces. The architecture of the Vitra Campus, the Vitra Design Museum, the design workshops, publications, collections, and archives are integral parts of Project Vitra. They open up new perspectives to the company and add the necessary depth to all of its creative endeavors. www.vitra.com
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Westside
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01| The Westside Shopping and Leisure Center, The Shopping Centre full of visitors, Photograph by (c) bitterbredt 02| The Westside Shopping and Leisure Center, Photograph by (c) bitterbredt 03| The Westside Shopping and Leisure Center, Westside over the A1 Highway, Photograph by (c) bitterbredt 04| Daniel Libeskind, Photograph by llan Besor
The Westside Shopping and Leisure Center: Destination within a Destination Spanning over 120 000 square meters, The Westside Shopping and Leisure Center is more than a site for recreation—it is a city unto itself. At the time of its inception in 2005, it was the largest private construction site in Switzerland. Located in Bern-Brünnen, the award-winning design includes 55 shops, 10 restaurants and bars, a bath, a hotel, a multiplex cinema, a senior residence, a wellness center, and a number of apartments. The mix of services ensures that the center is active both day and night. Libeskind got the idea from an unlikely source—the Marx Brothers. He explains, “Westside was actually inspired by the 1941 Marx Brothers‘ film The Big Store. They move into a store, and after the store closes, they start using the beds and the kitchen. I thought, ‘This is the right idea.’ People should live there. It shouldn’t be just an abstract experience. People should own it —emotionally and intellectually. They should feel that this is their home.” Westside was conceived in a design scheme called “Nexus,” the Latin word for “connection.” It operates as an independent
city connected to the outside environment, but is also selfsufficiently organized. Linked to the tram and the BERNMOBIL transport network, Westside also has its own completely integrated traffic and parking system. It claims prime real estate just above the A1 highway, creating a wide gateway into the city. It is also artfully integrated into the surrounding climate with natural effects like a multi-layered Robinia wood façade that mirrors the rural countryside to the west. The ground plan features hard right angles that are softened by inclined walls. There are upper and lower rooms plastered in white, open alleys, and two plazas that mark the passage of time with shadows from their roof cuts. One plaza represents the day, and opens to the landscape and the bath. The other is the night, connecting to both the cinema and hotel and offering space for dining and other nightlife. Crystal blocks in the shopping center function as vertical platforms, rising through the straight right angles to welcome natural light. The building features a variety of partly dark, tanned window cuts as well. At night these light up, so the building fades away and the cuts become the design.
Daniel Libeskind From his roots in postwar Poland, Daniel Libeskind has risen to become one of the world’s most recognized architects and designers, as well as a prominent contemporary thinker. His ascent had many interesting turns. After relocating to Israel, Libeskind’s family came to the U.S. on one of the last immigration boats in 1959, and he became a U.S. citizen in 1965. Libeskind was a musical virtuoso as a child, even winning a highly coveted America-Israel Cultural Foundation scholarship. However, as a young adult, he shifted his focus to architecture and earned his architecture degree from the Cooper Union for the Advancement of Science and Art in New York City in 1970 and his postgraduate degree in History and Theory of Architecture at the School of Comparative Studies at Essex University in England two years later. After many years as an architecture professor and theorist, Libeskind finally saw his first design realized at the age of 52-the 1998 opening of the Felix Nussbaum Haus in Osnabrück, Germany-and by 1999 he gained international prominence for his design of the Jewish Museum in Berlin. He most recently won international attention and respect when he was named master planner for the rebuilding of the World Trade Center site in New York City in 2003. Libeskind’s work was recognized in Time Magazine’s “The Best of 1998 Design Awards.” Libeskind and his wife, Nina, founded Studio Daniel Libeskind in 1989 in Berlin, and upon winning the World Trade Center design competition, Studio Daniel Libeskind (SDL) moved its headquarters to its current location in New York City-two blocks south of the original World Trade Center site in lower Manhattan. In 2003, they also opened Architekt Daniel Libeskind AG (ADL) in Bern, Switzerland to build the Westside project in Bern-Brünnen and also to handle their growing European business. Relocated to Zürich in 2004, this branch now employs between 10 and 40 people. Libeskind also maintains an office in Milan, Italy. Libeskind and his firm have created a wide variety of works, ranging from small- to largescale projects. Their realized work includes the creation of public and private spaces, as well as objects and projects with an informationtechnology focus. Notably, the firm has garnered international attention for its striking museums and spectacular urban designs. Libeskind often provides the initial artistic sketch in ink to his design teams, who then work with CAD/BIM and traditional 3D models to realize his vision. With his extraordinary designs, he has become an icon to the next generation of architects, as well as to those who are actively creating the futures of cities and culture. Studio Daniel Libeskind has its headquarters in New York, USA, and offices in Zürich, Switzerland, and in Milan, Italy. Daniel Libeskind’s work has been featured on the cover of Time Magazine, Newsweek, Architectural Record, and the Wall Street Journal, among other publications. www.daniel-libeskind.com
“Fundamental to my thinking and motivation is that buildings and urban projects are crafted with perceptible human energy and they speak to the larger cultural community in which they are built.”
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“I think that everything good that’s produced in the world is produced through [love]. You’re in love with [a site’s] uniqueness; therefore, you cannot just treat it like a commodity and do something on it that can be done in any other place — you have to do something that grows out of the roots of the place… it’s an evolution…you have to start with a vision, with a community, with emotion… and, as time goes on, embody it… in every detail of the building.”
Libeskind’s Thinking Of his evolution in thought over the years, Libeskind remarks, “I would not say my philosophy has changed, but developments in technology, politics, culture, and personal experience all contribute to your new perspectives. I am actively engaged in the design of buildings that are capable of transmitting, in an exciting and innovative manner, historical and cultural material to a contemporary audience using the latest in twenty-first century technology.” It’s an exciting future, and Libeskind hopes to continue to create more exciting spaces. “I think there is a Renaissance in architecture today. More people are interested in architecture and its cultural value, especially with respect to sustainable and ecological issues, creating a higher standard for the field. The public’s heightened sense of awareness and involvement is a benefit to us all,” he notes. When more people are passionate about architecture, then it can be better realized and better enjoyed. Libeskind’s work, too, has inspired future generations to embrace architecture. And that is a beautiful thing.
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Grand Canal
05| The Grand Canal Square Theater and Commercial Development in Dublin, Facade detail day, Photograph by (c) Jarek Matla Photography 06| The Grand Canal Square Theater and Commercial Development in Dublin, Exterior Plaza, Photograph by (c) Jarek Matla Photography 07| The Grand Canal Square Theater and Commercial Development in Dublin, Theatre 1, Photograph by (c) Ros Kavanagh
The Grand Canal Square Theater and Commercial Development in Dublin: Making an Entrance Libeskind has a knack for creating dramatic spaces, so when he won the competition for designing a cultural center to anchor the redeveloped Dublin Harbor in 2003, he extended the concept of theater well beyond the building, fashioning many stages that build to a peak. For instance, the urban waterfront piazza that creates a grand entrance is a stage itself, framed by a five-star hotel and residences on one side and an office building on the other. From its rooftop terrace, one has a commanding view of the sparkling Dublin Harbor. The 10 870-squaremeter theater is a dramatic backdrop and viewing platform for the outdoor piazza stage, which can host gatherings and other public events. The multi-level lobby rises above the plaza, setting another stage that’s illuminated at night and leads to the theater, the most grand of all stages. With 2 100 seats, it can showcase musical productions ranging from amplified shows to operas and ballets. Connecting the Liffey quayside and the Grand Canal Square, the development also includes 34 839 square meters of leasable, sustainable office and retail space. Their twin façades boast glazed multi-story atriums and landscaped roofs, and provide state-of-the-art work spaces. The theater, which is the centerpiece, is constructed from reinforced concrete and steel, with stainless steel rain screen panels that feature strips of high-performance glazing. The curtain wall also has high-performance glass and exposed polyester, powder-coated, pre-fabricated steel box sections. When the theater opened in 2010, ADL won the Real Estate Award (REA) “Best European Scheme” and the 2010 Trophy Award of Saint-Gobain Gyproc in “Innovation” for its work. Libeskind’s vision with this project was to construct “a powerful cultural presence expressed in dynamic volumes and sculpted to project a fluid and transparent public dialogue with the cultural, commercial, and residential surroundings, whilst communicating the various inner forces intrinsic to the theater. This composition creates an icon that mirrors the joy and drama emblematic of Dublin itself.” The design team at ADL realizes Libeskind’s visions by using the Vectorworks® Architect software in both their design development and construction document phases.
interior design Š www.i29.nl
Realize Your Most Inspired Visions Nemetschek Vectorworks, Inc. is building software solutions for design professionals around the world that are intuitive, flexible, and practical. Using the most powerful technology, our products give designers the freedom to model anything they can imagine, while presenting it with precision. To locate your country’s distributor, visit www.vectorworks.net/international. Vectorworks is a registered trademark of Nemetschek Vectorworks, Inc. All rights reserved.
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Atsushi Kitagawara With offices in Tokyo, Japan, and Berlin, Germany, Atsushi Kitagawara has experience in urban planning, landscape design, and furniture design. Transforming his love of poetry, philosophy, music, and the contemporary arts into an architectural style trademark, Kitagawara has become one of Japan’s most prized architects.
One of a kind
NDT - One of a kind Kitagawara designed the stage set for “One of a Kind”, a modern ballet in three acts performed world wide in 1998, 1999, and 2000. Jiri Kylian, world-famous choreographer and artistic director of Netherlands Dance Theatre, was commissioned to produce this commemorative work for the 150th anniversary of the Constitution by the Dutch government and invited Kitagawara to design his stage. The work was presented first at The Hague, and then traveled to Opera Garnier in Paris, Lincoln Center in New York, and other venues. It was highly acclaimed throughout the world and received the Bessie Award in 2000.
Big Palette Big Palette Fukushima Completed in 1998 and covering 23 000 square meters, the technologically advanced design of the Big Palette Fukushima features a column-free 5 500 square meter multi-purpose exhibition hall and a 1 000 square meter international conference hall that can seat up to 1 000 people, along with space for conference rooms and service facilities.
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01| Atsushi Kitagawara Photograph by Atsushi Kitagawara Architects Inc. 02| NDT One of a kind Photograph by Futoshi Hoshino 03| 04| 05| Big Palette Fukushima Photograph by Shigeru Ohno 06| Nakamura Keith Haring Collection Art Museum Photograph by Takumi Ota
Named for its iconic roof, the Big Palette Fukushima was created as an oasis reflecting beauty and well-being onto the busy urban environment of Koriyama, Japan. Kitagawara designed the structure to capture the essence of water, “the incubator of all life.” The building represents “a single body of water” that hovers over the Koriyama Basin; it’s a fluid and harmonious shape that enhances and embraces the natural body of water. Atsushi Kitagawara won the Architectural Institute of Japan’s top honor award, Japan’s most prestigious architectural award with this building’s design.
“Architecture is an incubator of high creativity with the potential to provide better solutions to meet requirements, satisfy conditions, and create programs that stimulate the human imagination and generate new meaning. Like the poetry of Stéphane Mallarmé, architecture opens our eyes to brand new ideas. Architecture, like other forms of art, makes hopes and dreams possible.”
Haring Collection Nakamura Keith Haring Collection Art Museum This museum and spa complex sits quietly in a lush forest 1 000 meters above sea level at the foot of Mt. Yatsugatake, an ancient active volcano in Kobuchizawa, Japan. When they designed the building, Kitagawara and his team were mindful of the surrounding trees, designing a one-story building to protect them. The flat roof is crowned by a large curved block with bold red flourishes reminiscent of the energetic and primitive artwork inside. It’s the first museum ever to exclusively showcase the works of the brilliant Keith Haring, a New York City artist who passed away when he was just 31 years old. The rooms track his life and art in a chronological journey, aptly named “Chaos,” “Space of Premonition,” and “Hope.” This location receives some of the longest hours of daylight anywhere in Japan, and Kitagawara capitalized on this opportunity. He effectively captured the “Light and Dark” that characterized Haring’s life and work and the 1980s New York art scene that embraced him. After entering the space, one follows the road of darkness into the “Chaos” room. After walking through a blue door, the last room is flooded with light, representing “Hope.”
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All photographs and images by Platane Berès
Beaux Arts Platane Berès Located in Paris, France, Platane Berès sees the world of Architecture in two ways-first as an industrial process, and second as an artisanal process in which every building is a prototype. He believes that with the first you can structure, build repetition, find economy, and use all that the industry offers; with the second you can merge industry and artisanship. www.platane-ilic.com
L’ École des Beaux-Arts de Versailles Vitra is a furniture manufacturer committed to the development of In the town of Versailles, France, much of the architecture stands as it was hundreds of years ago, when Louis XVI surveyed the streets from the windows of his vast château. That all changed recently when Platane Berés and his team at Platane Architecture won a competition to transform a building in the heart of this quaint town. Called l’École des Beaux Arts de Versailles or The Versailles School of Fine Arts, this space is located less than 500 meters from The Château of Versailles. Berés and his team took on the challenge of updating the 300 square meter Sculpture and Painting Department’s façade and opening it up to the town, while still retaining a historic feel to the building. Since many of the buildings are sheathed in stone, Berés included stone - but used it in an entirely different way, putting his indelible mark
on the town. His vision was to suspend six 2 x ½ meter, two-ton rectangles of stone from a hidden steel structure to create the illusion that they were floating. And he envisioned these large blocks of stone to be splayed with bubble-like protrusions. Here’s where the BIM process became so important. Without it, Berés would not have been able to realize his vision to create such a unique and difficult structure. With it, he was able to go directly from concept to manufacturing, and bring the distinctive, freeform elements of the building to life. Berés and his team rented a five-axis CNC milling machine; this was the first time in Europe that a computer-controlled mill was used to carve stones for a modern project. Berés tested exporting STL (stereo lithography) files from several BIM packages, and found the Vectorworks® functionality worked best. With the unique ability to transfer the data to the CNC driver and directly fabricate large, heavy stones, the team saved the town a significant amount of money, since hiring a stone carver would have cost three times more - and taken much longer. From start to finish, it was an 18-month project. The firm also cut its costs by creating the construction documentation directly from the model, integrating coordinated plans, sections, elevations, and 3D views. This reduced time and expenses by an additional 30 percent.
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“As a creative company, we seek a touch of innovation and sensory excitement in our work, appealing to the sensibilities of our customers in a new way of viewing space as an instrument of communication, planning, and interaction with public sentiment.”
All photographs, renderings and images by Spaceworkers®
Spaceworkers Located in Paredes, Portugal, the Spaceworkers® project arises from a common desire of three mentors, Carla Duarte, Henrique Marques, and Rui Dinis, to create a “brand” capable of representing a horizontal approach across fields as diverse as Architecture, Economics, Design, and Furniture. www.spaceworkers.pt
Fab Lab In their award-winning designs, Spaceworkers avoids the obvious in a path where form clearly follows emotion. To meet its clients’ needs, the firm creates a compromise between the formal and functional options and the overall cost, with a balance of added value. The Design Factory and Innovation in Paredes, Portugal, becomes a “factory” for the city… a space to communicate, know, and learn - in a fun way. The Design Factory has a live design interpretation center as well as a Fab Lab (fabrication laboratory, a fast public prototyping center). It is a building that must maintain a dialogue with the city, an organic block, which gently lands on a square. The result is a kind of constant challenge to the senses, appealing to discovery, experimentation, and a new way of experiencing an amazing city. It’s a space where the site’s physical boundaries blend into the shape’s geometry and permeability zones, reinforcing the desired fluidity of the surrounding urban space. The building presents itself as a massive form, modeled on the
basis of the foreign relations it creates, which is easily recognized and able to stimulate the curiosities of passers-by, in a constant game of seduction between “hide” and “show”. The interior was conceived as a continuous functional spiral around a huge central void, exploring the idea of transparency, diluted in a lacy structure (suggesting the branches of trees in a dense forest), making the perception of possible different spaces in a constant invitation to movement and discovery of visible spaces. The form of the building, empty inside, reflects the form in which the building interacts not only with the city but also with the external elements responsible for the thermal changes inside. This patio, along with deciduous trees, regulates the interior of the building, helping control sun exposure and substantially reducing the energy needed to cool or heat the interior spaces. The building has a radiant heating and cooling system instead of the normal use of air conditioning, further reducing the energy needed and, consequently, the CO2 footprint.
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EM2N Mathias Müller and Daniel Niggli founded EM2N in 1997. EM2N’s goal is to produce architecture that is both powerful and personal, with the capability of developing its own character. www.em2n.ch 40
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All photographs, renderings and images by EM2N
Toni-Areal The largest Swiss construction site EM2N opened its office in 1997 in Zürich, Switzerland. The firm first won several competitions for cultural, educational, and residential buildings in Zürich and, among others, worked on several large-scale projects like the Viaduct Arches refurbishment and the Toni-Areal. EM2N has received many awards for its projects, including the Chicago Atheneum International Architecture Award for Theater 11 and the best.architects`09 award by zinnobergruen for the Public Records Office Canton Basel-Landschaft. Zurich West, and the Toni-Areal in particular, is rapidly evolving from an industrial district into a new urban space. Toni, a former milk-processing factory, is being transformed into a platform for education and culture. In 2013 the renovated building will become a new home for the Zurich University of Arts (ZHdK) and for two departments of the Zurich University of Applied Sciences (ZHAW). The converted building will also include private culture and event areas and 90 apartments in a total volume of 520 500 cubic meters, all planned with Vectorworks® software. Within this urban development, the Toni-Areal represents a central building block, combining several educational institutions previously located in 44 different locations. The challenge was to develop a concept for a built
structure almost the size of an entire neighborhood. The issue is the coexistence of different functions within such a building and their impacts on urban space. The design proposes tackling the building with a kind of inner urbanism. The existing system of ramps in the north is read as a vertical boulevard and reinterpreted as the main artery. At the interface between the high- and low-rise development EM2N positioned a large hall conceived as a public space. These two elements are linked by a cascading sequence of halls and stairs. Inner addresses are created which locate individual functions like buildings in the city. At the same time the building becomes a component for urban planning in somewhat barren surroundings. The unconventionally built outline conditions make this project an architectural challenge. To create an open framework for the campus activities, EM2N worked with different degrees of precision, scales, and tonalities, from huge public spaces to intimate and private areas. The building as a city, the city as a building.
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“It doesn’t scream ‘sustainable building’, It is just real architecture, appropriate to its climate and context.” David A. Croteau, AIA, LEED AP, Principal at Flansburgh Architects
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Flansburgh Architects Flansburgh Architects is an architectural firm specializing in the design of academic, civic, and residential projects. Principals of the firm include David A. Croteau, AIA, LEED AP; Duncan P. McClelland, AIA, NCARB, LEED AP; and Jorge M. Cruz, AIA, LEED AP. Mr. Croteau was lead designer on the HPA Energy Lab project, and Christopher Brown, AIA, was Project Architect. www.faiarchitects.com
Flansburgh Architects, of Boston, Massachusetts in the United States, is a leader in sustainable school design. The firm has received over 100 awards for design excellence and completed approximately 275 educational projects throughout the United States and abroad. Flansburgh’s philosophy is guided by the belief that well-designed buildings can improve the quality of people’s lives. A strong respect for context, a commitment to sustainability, an eagerness to learn, and a close, collaborative working relationship with clients are fundamental to the firm’s design approach. The firm’s most recent achievement in environmental design is the award-winning Hawaii Preparatory Academy (HPA) Energy Laboratory in Kamuela, on the Big Island of Hawaii. The fully sustainable, net-zero-energy building has achieved LEED Platinum certification and is the first school in the world to meet the International Living Building Institute’s ‘Living Building Challenge’. The Energy Lab was conceived as a high school science building dedicated to the study of alternative energy. The completed building houses a learning environment that fosters the development of sustainable living concepts, where students and teachers together explore new principles of energy conservation and alternative energy technologies. The project provides 6 000 enclosed and 3 000 outdoor covered square feet of space that include small project rooms, a large research center, and laboratory spaces. The building generates power from photovoltaic and windmill sources and consumes only 30 percent of the energy it produces. Excess electricity is net-metered back into the campus grid. The building site posed a challenge with an 18 percent slope and location in one of the sunniest, windiest places in the U.S. Recognizing an opportunity, the architects situated the building at the windward edge of campus to capture the trade winds for power. The building was oriented due south to optimize solar and photovoltaic panel performance. The facility captures, filters, and treats all of its own drinking and waste water and uses solar thermal panels to generate hot water. The structure is naturally ventilated and employs an experimental, radiant cooling system in lieu of traditional air conditioning. The Energy Lab self-regulates its internal climate with a custom designed automation system. Local materials, such as Ohia, a native Hawaiian wood, and board formed concrete, were incorporated in the construction.
Images courtesy of Matthew Millman Photography and Flansburgh Architects
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