DESIGN AND ARCHITECTURE / WWW.DESIGNANDARCHITECTURE. COM / / ANNUAL 2018 • S$8 /
THE WHITE BOOK
NEW ROME CONVENTION CENTER HOTEL MONO GIJANG WAVEON CROWN 515 PARIS CHURCH EL SEÑOR DE LA MISERICORDIA JAN SHREM & MARIA MANETTI SHREM MUSEUM OF ART PORT HOUSE BETWEEN TWO WHITE WALLS CITY OF THE SUN RUINS STUDIO DONGZHUANG-BUILDING MUSEUM OF WESTERN REGIONS LOFT PANZERHALLE ISLAMIC COMPLEX PUTRAJAYA O2 RESIDENCE NUBO
ROME
I T A LY
NEW ROME CONVENTION CENTER
18
CLOUD CREATION WORDS ADRIÀ PUIG
PHOTOGRAPHY SERGIO PIRRONE
PROJ EC T NEW ROME CONVE NTION CENTER ARCHITEC TS MASSIMILIANO & DORIANA FUKSAS FIRM STUDIO FUKSAS
NEW ROME CONVENTION CENTER
19
ROME
I T A LY
NEW ROME CONVENTION CENTER
20
THE NEW ROME CONVENTION CENTER, ALSO
that expands within a parallelepiped, as to how the
NAMED AS ‘THE CLOUD OF FUKSAS’, WITH
chaos is being imprisoned in the rational.
REFERENCE TO THE PECULIAR DESIGN OF
THE SEEMINGLY FLOATING AUDITORIUM,
landmark and is conceiv ed to provide the capital
IS THE NEW CONFERENCES HUB OF THE
with a modern congress center that can host
ITALIAN CAPITAL, ROME. LOCATED IN THE
various types of events, including conferences,
EUR DISTRICT, RESIDENTIAL AND BUSINESS
exhibitions, shows and many more. With a
AREA SCATTERED WITH SEVERAL 1930S
approximate total area of 55,000 m², the complex
RATIONALIST ARCHITECTURE, THE BUILDING
main volumes consist of an auditorium of 1850
HAS BEEN DESIGNED BY THE BOLDLY
seats (1900 m²), conference rooms (1,330 m²),
CELEBRATED STUDIO FUKSAS AND BUILT BY
auditorium foyer (3,500 m²), forum / foyer of 5,580
CONDOTTE SPA.
m², commercial area of 3,300 m².
The
complex
is
the
new
architectural
The Rome-based architect Massimiliano Fuksas is renowned for his sinuous designs of enormous public scenes that cover amazing works from the
AGAINST ALL ODDS The birth of the New Rome Convention Center
Milan Trade Fair to the honeycombed Shenzhen
faced
Bao’an Airport in China.
mentioned.
18 years, a very long span from conception
“On the long trips I took in order to follow the
work at my studio in Paris, my only panorama was the clouds, seen from above. They represented a secure object, tranquil as a bed where you can rest and land. The clouds gave me a sense of serenity and peace. And to see these geometric shapes with extremely complex algorithms was fascinating,” confides the architect.
He elaborates: “So I had one simple idea and
one complex, baroque and renaissance, as happens to those who live in Rome or know the city well. I started to work on a model, a kind of sculpture that some people called Nuvola, the Cloud.”
Massimiliano explains that in point of the
fact we can really see a cloud that is protected from wind and water, it is but an organic object
difficult The
times,
which
entire
deserve
process
took
to
be
about
NEW ROME CONVENTION CENTER
21
BUSAN
SOUTH KOREA
G I J A N G WAV E O N
36
CONCRETE WAVES W O R D S A N E E TA S U N DA R A R A J
P H OTO G R A P H Y JA E YO U N K I M
PROJ EC T G I JA N G WAV E O N ARCHITEC T H E E S O O K WA K FIRM IDMM ARCHITECTS
G I J A N G WAV E O N
37
BUSAN
SOUTH KOREA
38
G I J A N G WAV E O N
SAY THE WORDS ‘CONCRETE’ AND THE FIRST THOUGHTS ARE THAT IT’S COLD, INDUSTRIAL AND BRUTAL. YOU MAY FEEL THAT IT’S THAT GREY MATERIAL USED IN THE CONSTRUCTION
South Elevation
INDUSTRY, WHICH DOESN’T INSPIRE VISIONS OF COSY TIMES SPENT WITH FAMILY AND FRIENDS. ON THE CONTRARY, IF IT’S PROPERLY DESIGNED, IT CAN BRING WARMTH INTO A SPACE AND MAKE IT A COOL BUILDING, MUCH LIKE WAVEON CAFÉ. Designed by Heesoo Kwak and IDMM Architects, the Waveon Café sits on top of a hill. Even without the café, this is a region that offers stunning beachfront views in the picturesque area of Gijang, South Korea. The beautiful seashore is surrounded by rocky hills with pine trees that are up to 30 feet high, providing intimidating and mesmerising scenery in equal measure.
The brief for this project was to design a
building that would ensure visitors would enjoy the beautiful view of the ocean. With a built up space of about 500 square metres, the idea was to create a building that allowed patrons to look towards the sandy and rocky shore wherever they were. The
West Elevation
hope was that in so doing, visitors would be able to grasp and fully appreciate the relationship between nature and architecture.
Taking up the challenge, principal architect
Heesoo Kwak of IDMM Architects utilised his signature concrete mass designs, which envisions new
forms
that
challenge
the
increasingly
individualistic needs of their clientele.
North Elevation
East Elevation
G I J A N G WAV E O N
39
ANTWERP
BELGIUM
THE MEETING POINT WORDS MARTIN TEO
P H O T O G R A P H Y H U F T O N + C R O W, T I M F I S H E R , H E L E N E B I N E T
PORT HOUSE
52
PROJ EC T PORT HOUSE ARCHITEC TS ZAHA HADID & PAT R I K S C H U M AC H E R FIRM ZAHA HADID ARCHITECTS
PORT HOUSE
53
ANTWERP
BELGIUM
PORT HOUSE
54
NEW BEGINNING As the threshold between the city and its vast port,
Mexico
Island
in
Antwerp’s
Kattendijk
dock on Quay 63 was selected as the site for the new head office. The waterside site also offered significant
sustainable
construction
benefits,
allowing materials and building components to be transported by water, an important requirement to THE NEW PORT HOUSE IN ANTWERP REPURPOSES,
meet the port’s ecological targets.
RENOVATES AND EXTENDS A DERELICT FIRE
STATION INTO A NEW HEADQUARTERS FOR THE
with facilities needed to service the expanding port,
Following the construction of a new fire station
PORT. THE PROJECT HAS NOT ONLY REVIVED THE
the old fire station on the Mexico Island site – a
BUILDING IN ITS SITE CONTEXT, BUT HAS ALSO
listed replica of a Hanseatic residence – became
BROUGHT TOGETHER THE PORT’S 500 STAFF THAT
redundant and relied on a change of use to ensure
PREVIOUSLY WORKED IN SEPARATE BUILDINGS
its preservation.
AROUND THE CITY. With 12 km of docks, Antwerp is Europe’s second largest shipping port, serving 15,000 sea trade ships and 60,000 inland barges each year. Antwerp also handles 26% of Europe’s container shipping, transporting more than 200 million tonnes of goods via the ocean-going vessels that call at the port and providing direct employment for over 60,000 people, including more than 8,000 port workers.
The Port of Antwerp has indirectly ensured
about 150,000 jobs and has ambitious targets for future expansion to meet the continent’s growth and development over the next century.
In 2007, when the former 1990s offices of
the Port of Antwerp had outgrow itself, the port determined that relocation would enable its technical and administrative services to be housed together, providing
new
accommodation
for
about
500
staffs. The port required a sustainable and futureproof workplace for its employees, representing its ethos and values in an ever-expanding local and international arena.
PORT HOUSE
55
Site Plan
Short Section S1
Long Section S2
ANTWERP
PORT HOUSE
56
BELGIUM
“THE ARCHITECTURAL STYLE OF THE ORIGINAL BUILDING, A REPLICA OF THE FORMER HANSA HOUSE, RECALLS THE 16TH CENTURY, ANTWERP’S ‘GOLDEN CENTURY’. BUT NOW ABOVE THIS ORIGINAL, A CONTEMPORARY STRUCTURE IN SHINING GLASS HAS BEEN BUILT, WHICH I AM SURE, REPRESENTS A NEW GOLDEN CENTURY FOR ANTWERP.” Marc Van Peel, President Port of Antwerp
neighbouring volume, which would have concealed at least one of the existing facades. ZHA and Origin’s historic analysis of the old fire station also highlighted the role of its originally intended tower - a grand, imposing component of the fire station’s Hanseatic design. Its bold vertical statement, intended to crown the imposing volume of the building below, was never realised. DESIGN TALKS These three key principles define the design’s composition of new and old: a new volume that ‘floats’ above the old building, respecting each of the old facades and completing the verticality of the original design’s unrealised tower.
Like the bow of a ship, the new extension
57
points towards the Scheldt, connecting the building
Surrounded by water, the new extension’s
façade is a glazed surface that ripples like waves and reflects the changing tones and colours of the
This disused fire station had to be integrated
into the new project. The Flemish government’s department of architecture, together with the City and Port authorities organised the architectural competition for the new headquarters.
Zaha Hadid Architects (ZHA) creates a design
that is informed by detailed historical research and a thorough analysis of both the site and the existing building.
Marc Van Peel, president of the Port of
Antwerp, shares: “There was only one rule laid down in the architectural competition, namely that the original building had to be preserved. There were no other requirements imposed for the positioning of the new building. The jury was therefore pleasantly surprised when the five shortlisted candidates all opted for a modern structure above the original building. They all combined the new with the old, but the design by Zaha Hadid Architects was the most brilliant.”
Working
with
Origin,
leading
heritage
consultants in the restoration and renovation of historic monuments, ZHA’s studies of the site’s history and heritage are the foundations of the design, which firstly emphasises the north-south site axis parallel with the Kattendijkdok linking the city centre to the port.
Secondly, due to its location surrounded by
water, the building’s four elevations are considered of equal importance with no principal facade. ZHA’s design is an elevated extension, rather than a
PORT HOUSE
with the river on which Antwerp was founded.
JAN SHREM AND MARIA MANETTI SHREM MUSEUM OF ART
D AV I S
64 USA
RAISING THE ROOF P H OTO G R A P H Y I WA N B A A N
65
JAN SHREM AND MARIA MANETTI SHREM MUSEUM OF ART
WORDS JADE ANG
PROJ EC T JA N S H R E M & M A R I A M A N E T T I S H R E M MUSEUM OF ART ARCHITEC TS FLORIAN IDENBURG , JING LIU & I L I A S PA PAG E O R G I O U FIRM SO -IL
D AV I S
USA
JAN SHREM AND MARIA MANETTI SHREM MUSEUM OF ART
66
WHILE THE SUBJECT OF ART BRINGS TO MIND MANY DIFFERENT SCHOOLS OF THOUGHT, IT CAN BE AGREED THAT THE VARIOUS GENRES OF ART SHARE ONE THING IN COMMON; THEY ARE ALL EXPRESSIONS OF CREATIVITY THAT ARE BEAUTIFUL IN THEIR OWN WAY. SOME MAY CONJURE UP ELABORATELY VIBRANT WORKS OF ABSTRACT WHILE OTHERS VEER TOWARDS MORE TRADITIONAL OPTIONS SUCH AS THE ICONIC MONA LISA. At the end of the day, they are all art. And in modern times, even things like fashion, food and architecture can be classified as art. One good such example is the iconic new art museum at the University of California, Davis.
Should you be cruising along the Interstate
80 of the California Central Valley, you will most definitely be enthralled by the gorgeous greenery, which spans almost as far as the eye can see. However, as of late, something new will catch your eye – the Jan Shrem and Maria Manetti Shrem
Museum of Art.
Richard Nelson who assembled a team of artists
The Department of Art was founded by
Spanning across 50,000 square feet, the
with diverse talents to create what became one of
museum’s design signature, the Grand Canopy,
the top Master of Fine Arts (M.F.A.) programs in
is certainly not something that you can miss. If
the United States. With a profound commitment to
the sheer size of the sweeping, permeable roof
teaching and by fully integrating students into all
is not enough, the structure is decked out in
of their creative endeavors, within a decade the art
white, a stark contrast to its dominantly green
department was recognised internationally as one
farmland surroundings.
of the most lively and experimental communities of artists working in the world.
HUMBLE BEGINNINGS
Despite being the new kid on the block, the museum
continued to grow tremendously and the idea for
Over the next few decades, the art department
has actually been 60 years in the making. In 1959,
the art museum was kick-started in 2010 by Margrit
a then brand-new university known for its school
Mondavi who pledged two million dollars to help
of agriculture established an art department. UC
plan and build a new art museum. Following that,
Davis was known as the College of Agriculture for
the museum’s namesake Maria Manetti and Jan
UC Berkeley from 1908 to 1959, when it then became
Shrem donated another 10 million dollars and
a general campus.
construction of the building began in 2014.
JAN SHREM AND MARIA MANETTI SHREM MUSEUM OF ART
Ground Floor Plan
67
Roof Plan
Concept Diagram
DUMFRIES
RUINS STUDIO
72
PROJ EC T RUINS STUDIO ARCHITEC TS L I LY J E N C K S &Â PAT I S A N T O S + N AT H A N A E L D O R E N T FIRM L I LY J E N C K S S T U D I O + N AT H A N A E L D O R E N T ARCHITECTURE
OUT OF RUINS W O R D S A N N A C AT I L L O
PHOTOGRAPHY SERGIO PIRRONE
SCOTLAND
RUINS STUDIO
73
DUMFRIES
SCOTLAND
ARCHITECT AND WRITER, LILY JENCKS IS
transformed several times revealing a palimpsest of
DAUGHTER OF CHARLES JENCKS, RENOWNED
occupation on the site. Scattered with hundreds of
THEORIST,
cattle, the greenery is outlined by typical rock walls
LANDSCAPE
DESIGNER
AND
ARCHITECTURAL HISTORIAN; AND MAGGIE
that divide properties and draw ground patterns.
KESWICK JENCKS, CO-FOUNDER WITH HER HUSBAND OF THE MAGGIE’S CENTERS, A
BUILDING A FOUNDATION
NETWORK OF DROP-IN CENTERS ACROSS
“We wanted to highlight this historical layering
ENGLAND AND HONG KONG. ARCHITECTS SUCH
by adding a sequence of counterpoint materials
AS REM KOOLHAAS, FRANK GEHRY AND ZAHA
and geometries within the design. The first layer
HADID, AMONG OTHERS, HAVE DESIGNED SOME
is the existing stone wall, within which sits a the
CENTERS BY FOLLOWING A STRONG BELIEF
second layer, a black waterproofing EPDM rubber
THAT HAS ALWAYS BEEN CARRIED OUT BY THE
clad pitched-roof ‘envelope’, and within that the
JENCKS FAMILY: ARCHITECTURE IS CAPABLE TO
third layer, a curvilinear interior ‘tube’ wall system,”
UPLIFT PEOPLE.
explains Lily.
Lily Jencks and Nathanael Dorent, Ruins Studio co-designer, met in New York the first time in 2006, when they were very young architects recently graduated. Lily was involved in research programs and practising with Frank Gehry, an old family
74
friend, in Los Angeles, when she asked Nathanael to help her with her idea of a Scottish ruins studio. Lily had already imagined the inner-pitched roof inside the ruins, when they both visited the derelict
RUINS STUDIO
site back in 2009.
Ruins Studio is a gateway. It is a private house
and is built within the existing stone ruins of an old farmhouse, with beautiful views northwards for more than 50 miles down two valleys.
Located in a remote suburbia area of Scotland,
in the Dumfries countryside, about two hours drive south of Glasgow, this project was conceived to near Passivhaus standards with a super insulated envelope and use of solar energy. The existing ruin, originally construction in the 18th Century, was
Plan
Plan Top Tube
Roof Plan
“BY EMPHASISING THE NARRATIVE OF TIME, THESE THREE LAYERS ALSO REFLECT DIFFERENT ARCHITECTURAL EXPRESSIONS: THE RANDOM
NATURAL EROSION OF STONE WALLS, AN ARCHETYPICAL MINIMALIST PITCHED ROOF, AND A FREE FORM DOUBLE CURVED SURFACE.”
Axonometric View
Lily Jencks, Architect Lily Jencks Studio
RUINS STUDIO
75
DUMFRIES
She adds: “And by emphasising the narrative
curved tube was built mainly in London and then
of time, these three layers also reflect different
transported on site. The architects used the 3D
architectural expressions: the random natural
printing to investigate many techniques and
erosion of stone walls, an archetypical minimalist
materials and ultimately chose the CNC wood.
pitched roof, and a free form double curved surface.”
Pointing those three layers, Lily and Nathanael
Worp who tested many ways of patterning and
have made more than 70 versions of 3D models of
parameterising the tube, with different possible
the organic tube before they got to the final version.
finishing. This project was a way for us to
The interior curved surface is made of insulating
experiment something functional to the project
recycled polystyrene blocks within a gridded wood
itself. We also made a full-scale prototype”, shares
structure, and is covered with Glass Reinforced
both the architects.
Plastic. Ruins Studio has a mixed structure made of
metal and wood.
independent parts; rather, they take on meaning
RUINS STUDIO
76
SCOTLAND
Local
companies
constructed
the
frame
“We worked with engineer Manja van Der
These three layers are not designed as
as their relationship evolves through the building’s
structure of the pitched-roof, slabs, beams and
sections.
carpentry works directly on spot. While the inner
intertwine,
They
separate,
creating
a
come
series
of
together,
and
architectural
RUINS STUDIO
77
singularities, revealing simultaneous reading of time and space.
In the ‘tube’ are the more public programs of
kitchen, study, sitting and dining room. At both ends of the house, the ‘tube’ detaches from the ‘envelope’ to create rooms that are used for the more private functions of bedrooms, bathrooms and storage. To access these spaces, the tube’s non-linear curved surface ramps up, producing a dynamic sensorial experience. ACHIEVING FLUIDITY The existing ruined walls, and views from the site, dictate the locations for large windows and doors. At these openings the tube funnels out towards the light, creating a pooched space, which can be used for furniture and storage.
Bookshelves, sofa and seating furniture are
created by pulling the structural grid through the surface of the GRP walls and seem to be peeling off the tube. This last one is left naked in its central section and embodies the house rational essence. The lighting through the skylights enriches the
JOY OF PURE PLAY P H OTO G R A P H Y M I C H E L L E YO U N G & A M Y P I D D I N GTO N
83
NUBO
W O R D S A N E E TA S U N DA R A R A J
PROJ EC T NUBO ARCHITEC T JOEY HO FIRM PA L D E S I G N G R O U P
SYDNEY
IT’S PLAYTIME AT NUBO. LOCATED IN SYDNEY, AUSTRALIA, NUBO IS A WORD THAT MEANS CLOUD IN WHAT ITS DESIGNER, JOEY HO OF PAL DESIGN GROUP, CALLS A ‘WORLD LANGUAGE’. THE BASE IDEA OF THE ENTIRE PROJECT IS ENCASED IN THE CONCEPT OF FREEDOM. “Clouds can take any form or shape. They are pure and can be anything,” he confirms.
From the outset, NUBO is meant to have
unlimited potential as a stimulating and inclusive
84
play centre to encourage learning, exploration, boundless imagination. Children are respected yet always stimulated, while parents are encouraged
NUBO
to engage and interact with them through and through.
It will be impossible for any visitor to miss
the floor-to-ceiling windows throughout NUBO. Drenched in natural light, it makes one feel that wide expanse of the outdoors is now included indoor. Admittedly, creating such a space indoors was an initial challenge for Ho.
“I was born in Taiwan,” explains this Hong
Kong-based
architect.
“My
playground
was
outside.” Having to work within a confined space, Ho decided to look at the 760 square metres of space in NUBO from a child’s point of view.
AUSTRALIA
NUBO
85
XINJIANG
DONGZHUANG-BUILDING MUSEUM OF WESTERN REGIONS
THE WILD WEST WORDS REBECCA LO
P H O T O G R A P H Y YA O L I
90
PROJ EC T D O N G Z H UA N G BUILDING MUSEUM OF WESTERN REGIONS ARCHITEC TS LIU XU, Z H A N G H A I YA N G & LIU ERDONG FIRM XINJIANG WIND ARCHITECTURAL DESIGN & RESEARCH INSTITUTE
CHINA
91
DONGZHUANG-BUILDING MUSEUM OF WESTERN REGIONS
DONGZHUANG-BUILDING MUSEUM OF WESTERN REGIONS
XINJIANG
92 CHINA
XINJIANG IS A PROVINCE OF EXTREMES. SITUATED IN THE NORTHWEST CORNER OF CHINA, IT SPANS 1.6 MILLION SQUARE KILOMETERS.
HISTORICALLY,
CARAVANS
CROSSED XINJIANG ALONG THE LEGENDARY SILK ROAD. ACKNOWLEDGED AS THE MIDDLE OF ASIA, ITS SPARSE POPULATION, ARID CLIMATE, AND VAST ANNUAL TEMPERATURE MOST HAUNTINGLY BEAUTIFUL LANDSCAPES IN CHINA. Its borders with Mongolia, Russia, India and Pakistan, along with other former Soviet Union countries, have shaped its culture and traditions.
It is with these conditions in mind that Liu Xu,
chief design officer of Xinjiang Wind Architectural Design & Research Institute, created a humble museum situated 30 kilometres north of the provincial capital Urumqi.
The Dongzhuang-Building Museum of Western
Regions occupies the site of a 60-year-old grain shop. Xinjiang Wind was directly appointed by Xinjiang Urban and Rural Planning and Research Institute Co. to be the project’s architect for the three-storey structure with one basement level.
The total floor area designed spans over
5,950 square metres, and its cost is said to be approximately RMB 27 million.
“The
courtyard
grain and
shop
contained
was
surrounded
an by
enclosed several
bungalows and a two storey granary,” recalls Liu. “We found a lot of trees growing inside the courtyard, along with a medium size vegetable field and two yurts. For city dwellers, courtyards to relax and enjoy tea are things of the past. Our original intention to keep the courtyard was thwarted as the base wasn’t big enough to fulfill the programme.”
DONGZHUANG-BUILDING MUSEUM OF WESTERN REGIONS
DIFFERENCES MAKE XINJIANG ONE OF THE
93
P U T R A J AYA
M A L AY S I A
LIGHT FROM WITHIN PHOTOGRAPHY HEARTPATRICK
I S L A M I C C O M P L E X P U T R A J AYA
WORDS ANEETA SUNDARARAJ
106 PROJ EC T ISLAMIC COM PLE X P U T R A JAYA ARCHITEC T HUD ABU BAK AR FIRM RSP ARCHITECTS
107
I S L A M I C C O M P L E X P U T R A J AYA
P U T R A J AYA
M A L AY S I A
“WE WANTED TO CREATE A CONTEMPORARY ARCHITECTURE THAT EVOKES THE PROGRESSIVE VALUES OF THE RELIGION. WE WANTED VISITORS TO IDENTIFY THAT THE BUILDING IS RELATED TO ISLAM THROUGH A REINTERPRETATION OF ARCHITECTURAL ELEMENTS.”
I S L A M I C C O M P L E X P U T R A J AYA
Hud Abu Bakar, Architect RSP Architects
108
REMEMBER WHEN YOU TOOK A PIECE OF PAPER,
FOLDED IT SEVERAL TIMES AND CUT OUT BITS
a statement, landmark and representation of Islam’s
OF IT? YOU THEN UNFOLDED THIS PAPER TO
progressive image in Malaysia.
REVEAL AN INTRICATE LACE-LIKE PATTERN. AT
NIGHT, YOU SHONE THE TORCHLIGHT AND PUT
There’s already a mosque with a dome nearby. I wanted
THE PAPER OVER IT TO ENJOY THE SHADOWED
something different,” says this dynamic architect.
PATTERNS CREATED ON THE WALLS. THIS WAS
PRECISELY THE STARTING POINT FOR AR. HUD
he undertook prior to creating a design that evolved
ABU BAKAR WHEN HE WORKED ON THE DESIGN
beyond a conventional definition of what an Islamic
FOR THE ISLAMIC COMPLEX PUTRAJAYA.
building should look like.
“I didn’t want another ‘domey-like’ building.
Animatedly, he explains the in-depth analysis
Located in Precinct 3 of the Administrative Centre of Malaysia in Putrajaya, the project encompasses
A HOLY INSPIRATION
a landmass of slightly more than two hectares.
The project started in 2008 when the architect
Completed in March 2016, the project includes four
turned to the Holy Qu’ran for inspiration. Keeping
blocks of buildings situated on three different plots
in mind the parable of light, he referred to the
of land. The buildings are connected by pedestrian
‘light verse’ (Surah An-Nur 24:35), where the
bridges and corridors, with every block having its
source of light is described as enclosed in ‘crystal,
own external public plaza and garden.
illuminating like a brilliant star’.
I S L A M I C C O M P L E X P U T R A J AYA
As a whole, insists Bakar, this project becomes
109
P U T R A J AYA
M A L AY S I A
Using that starting point, Hud’s aim was
to preserve the purity and beauty of light with a focus on the sheer brilliance of values such as truth and strength. His subsequent design was expressed through the elements of light, transparency and dynamism.
When the designs were then presented to the
client, there was a general consensus that, as a notion of modern Islam, the practical architecture of the Islamic Complex Putrajaya should blend with its surroundings yet recognisable through its own elements.
This, insists Hud, is an important point for any
governmental department that serves the public.
However, Hud admits that it takes some
amount of persuasion on his part for the clients to accept his radical ideas. Giving a side smile, he adds, “We had to convince them to break away from I S L A M I C C O M P L E X P U T R A J AYA
traditional architecture in terms of form, shape
110
and approach.”
LIGHT, TRANSPARENCY AND DYNAMISM Once
approved,
the
process
of
building
the
structures got underway. There are three distinct layers to the outer structure of these blocks of buildings. The innermost layer sees the building being encased in glass. The optimised use of glazing encourages natural light penetration while maximising the view from both inside and out.
Next, being in the tropics, the heat during the
day can be debilitating at best. To minimise this,
I S L A M I C C O M P L E X P U T R A J AYA
Photographby Ken Yeap
screens are placed in front of the glass. These screens have a geometric design and act as veil for the building. Other than functioning as privacy screens, they also reduce heat gain and filter out the glare from sunlight.
Although seemingly abstract in form, the
geometric motifs of these screens reflect the Islamic pattern of rotated squares to form the eightpointed star. Bakar points out that the resulting lattice is also similar to the ‘Kerawang’ pattern, which can be found in the majority of designs of Malay culture.
Axonometric View
111
PA R I S H C H U R C H E L S E Ñ O R D E L A M I S E R I CO R D I A
MONTERREY
114 MEXICO
SOLID FORM P H OTO G R A P H Y J O R G E TA B OA DA & M O N E O B R O C K
PA R I S H C H U R C H E L S E Ñ O R D E L A M I S E R I CO R D I A
WORDS CHARIS CHIANG
115 PROJ EC T PA R I S H C H U R C H EL SEÑOR DE LA MISE RICORDIA DESIGNERS JEFFREY BROCK & BELÉN MONEO FIRM MONEO BROCK
PA R I S H C H U R C H E L S E Ñ O R D E L A M I S E R I CO R D I A
MONTERREY
MEXICO
IN THE DISTANCE, THE MOUNTAINS PAINT
exceeds the church’s capacity of 350 worshippers.
A
PICTURE-PERFECT
BACKDROP
FOR
This
connection
is
further
emphasised
THIS NEW ARCHITECTURE. EMANATING IN
by a large trapezoidal canopy cantilevered off
MAJESTIC SPLENDOR, THE EL SEÑOR DE LA
the main façade. A flat featureless wall looks
MISERICORDIA CHURCH FINDS ITS HOME IN
seemingly cold and almost brutal, projects the
THE CENTRE OF A NEW URBAN DEVELOPMENT
otherness and sacredness of the space within.
IN MONTERREY, MEXICO. ITS WHITE AND
Its blatant frontal towards the square is entirely
STRUCTURED FORM APPEARS SIMILAR TO A
intentional – at once projecting a certain peace
SNOWCAP ON A SOLITARY MOUNTAINTOP.
yet with an almost distant air about it, set off by
Externally the church appears abstract and
its connection to the main entry.
modern in form – unlike the rich detailed and
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elaborate churches of old. However, its concept
EMPATHETIC INTERIOR
is linked to that of its predecessors – with
While its exterior is designed to exude a solid
recognisable architectural features taken from
yet mystical atmosphere, it’s within the interiors
early Christian temples such as the bell tower,
where the space takes on an enlightened and
the stained-glass windows, the frontal altar, the
recognisable note. Skylights located in different
baptistery and the lateral courtyard.
cardinal points in each of the three chapels let
Moneo Brock has created a design that
in natural light, which would vary in colour and
is
contemporary
intensity throughout the day.
recognisable.
while
Among
remaining
these
subtly
structures,
the
In pursuit to retain its sacred atmosphere,
43-meter-tall bell tower stands out from a great
a touch of softness is being applied. A fourth
distance, serving as a landmark in the area.
skylight is placed over the altar in the main
The key point to the orientation of the
chapel. Light washes down behind an inclined
church lies in its relationship to the plaza. As the
panel that is then cut into four sections to reveal
focal point to the structure, its main entry opens
a large Latin cross – glowing with the light from
straight onto the plaza, and its opening measuring
above. The church layout also follows the layout
at an unobstructed width of 11.5 meters, allows
of a basilica, injecting a sense of familiarity to
one to make the visual connection between the
followers of the faith.
church’s interior space and the plaza. This is
apt considering that the plaza can function as
exterior, the interior space is endowed with a
an annex, with religious celebrations and rites
sense of warmth. Wood furnishings are applied
extending past its doors when attending crowd
in the central nave and benches in the chapel.
Taking a break from the cool tones of its
THERMAL INSULATION
OF FAR AND AWAY GREATER PERFORMANCE CHARACTERISTICS THAN IS TYPICALLY USED IN LOCAL CONSTRUCTION, WE DEVISED A SYSTEM OF NATURAL VENTILATION THAT TAKES ADVANTAGE OF THE BELL TOWER’S GREAT HEIGHT TO CREATE A
STRONG CHIMNEY EFFECT DRAWING AIR THROUGH LARGE-SCALE GRILLS INCORPORATED
IN THE ENTRY FAÇADE.” Belén Moneo & Jeffrey Brock, Architects Moneo Brock
PA R I S H C H U R C H E L S E Ñ O R D E L A M I S E R I CO R D I A
“AFTER ENSURING THE PROJECT’S INCORPORATION OF
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SELANGOR
TOWER OF WONDER WORDS JADE ANG
P H OTO G R A P H Y P I X E L AW P H O T O G R A P H Y
O2 RESIDENCE
PROJ EC T O2 RESIDE NCE
120
DESIGNERS C H A N C H I N Y E OW & LIM KEE YEN FIRM CY CHAN ARCHITECT
M A L AY S I A
121
O2 RESIDENCE
SELANGOR
TOWERING SKYSCRAPERS THAT REACH FOR
to venture into the unknown with a brand new
THE SKIES COME TOGETHER TO FORM THE
idea such as this residential building in Puchong
STUNNING CITYSCAPE DURING THE DAY WHILE
South, Selangor, Malaysia.
O2 RESIDENCE
TWINKLING
122
M A L AY S I A
SKYLIGHTS
MESMERISE
AFTER
SUNDOWN; THERE IS AN UNDENIABLE ALLURE
BREATH OF FRESH AIR
TO THE URBAN CITY. SO MUCH SO THAT LIVING
From a distance, the apartment blocks are already
IN THE CONCRETE JUNGLE HAS BECOME A
visible due to their location amid a mature
DREAM FOR MANY AS IT IS SET AS A SORT OF
neighbourhood of existing residential township.
BENCHMARK OF SUCCESS BUT THERE ARE ALSO
Yet, the structure manages to blend in quite well
THOSE WHO ARE DRAWN TO A LIFESTYLE LESS
with its surroundings without sticking out like a
SPIRITED IN THE SUBURBS.
sore thumb. Spread across 13.5 acres of land, the
And then there are those who want a little
six blocks house a total of 508 units, which include
something in between, a quiet abode not too far
1,100 square feet units with one bedroom to 2,600
away from the lively metropolis.
square feet units with four bedrooms.
Rising
developers
costs
and
to
veer
demand
have
towards
driven
Adopting
the
environment
its
main
high-rise
source of inspiration, O2 Residence showcases
developments, which are more often than not,
abundant traces of nature in its design, with the
high in density. Design wise, while many tend to
main building structures resembling the layout
opt for safe options, which can be quite mundane
structure of a leaf from bird’s-eye view. Much
and lack identity, there are a handful who dare
like the cells that make up the humble leaf, the
123
O2 RESIDENCE
ROME
A NEW DAWN WORDS CHARIS CHIANG
PHOTOGRAPHY MARCO CAPPELLETTI
PROJ EC T CIT Y OF THE SUN ARCHITEC TS M A R I A C L AU D I A & FR ANCESCO ISIDORI
CITY OF THE SUN
FIRM LABICS
136
I T A LY
137
CITY OF THE SUN