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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 r #&-(*6. 06 CANDUSSO ARQUITETOS r #3";*- 08 5468796 "3$)*5&$563& */$ r CANADA 10 +&11& 65;0/ r %&/."3, 12 7*53" r (&3."/: 14 DANIEL -*#&4,*/% r 48*5;&3-"/% 18 "5464)* ,*5"("8"3" r JAPAN 20 1-"5"/& #&3°4 r FRANCE 22 SPACEWORKERS r 10356("- 24 &. / r 48*5;&3-"/% 26 '-"/4#63() "3$)*5&$54 r USA $BMMFOT &., . Innovative green design for office

Sun Towers Hotel

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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

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Hawaii Preparatory Academy (HPA) Energy Laboratory

PUBLISHING COMPANY TechLimits Avenida das AcĂĄcias 175, C 2775-342 Parede Portugal +351 21 465 8267 info@modusnews.com EDITOR-IN-CHIEF Isabel Albuquerque MANAGING EDITOR +PSHF .BUPT CONTRIBUTING EDITOR Shelly Ginenthal CONTRIBUTORS Andreas Thierer - ComputerWorks GmbH Andreas Kling - ComputerWorks AG Bart Rammeloo - Design Express Christoph KĂśbelin - ComputerWorks AG David Oliveira - CAD Technology (FPGG .D#FBUI 3FTPMWF 4PGUXBSF 4PMVUJPOT *OD +PIO )BOTFO .JLSP(SBG "4 Kazuko Uchida - A&A Co., LTD Lisa Lance - Nemetschek Vectorworks, Inc. Lucas Vandersanden - Design Express Nicole Hartman - Nemetschek Vectorworks, Inc. 5IJFSSZ #FVSFZ $&4:". EDITORIAL TRANSLATIONS David Oliveira (Brazilian Portuguese); Bart Rammeloo (Dutch); Bart Rammeloo (French); Christoph KĂśbelin (German); Isabel Albuquerque (Portuguese); Juan Almansa (Spanish); :VIJLP *[VNJ +BQBOFTF

DESIGN AND LAYOUT Isabel Oliveira - TechLimits Vanda Querido - TechLimits PRINT .VMUJUFNB 1PSUVHBM 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 Š2011 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 Architecture reflects the creation of living and working spaces relevant to the time and events in which they exist, taking advantage of existing technologies inherent in the various stages of development of the creative process. 5IF OBNF .PEVT DPNFT GSPN UIF -BUJO FYQSFTTJPO i.PEVT Operandi� or mode of operation, and is used to describe how someone works, the way in which the work is accomplished, or the method of operation. 5IF i.PEVT 0QFSBOEJu PG JOEJWJEVBM QMBZFST XJMM BMXBZT CF different, but the ultimate goal, the common tools, and communication concepts will always be present. Their intentions and emotions are transmitted regardless of their area of expertise. From vision, to constructed works‌ From city to object‌ From society to individual‌ From feeling to living‌ With so many unique, interesting, and inspiring projects from VectorworksŽ users worldwide, it became imperative to create a publication dedicated to this vast and rich universe.

.PEVT PS PVS NPEF PG PQFSBUJPO JT UP QSFTFOU UP ZPV the best work, conceived, designed, and dreamed in Vectorworks software. The concept or line that unites the work and the authors presented: Successful experiences, different approaches, diverse presentation forms reflecting the various possibilities. Experiences that improve and evolve work. Unique experiences, unique images, life experience, reflections of each of the respective authors. One tool, numerous ways to work, adapted to the particular characteristics of each project. .PEVT PS UIF XBZ XF PQFSBUF i'MFYJCJMJUZ JO B EFTJHO UPPM JT FTTFOUJBM GPS NPEFSO BSDIJUFDUT to achieve their individual visions,� says Sean Flaherty, CEO PG /FNFUTDIFL 7FDUPSXPSLT *OD i5FDIOPMPHJDBM JOOPWBUJPOT must evolve as designers’ needs evolve, to allow them to continue to shape our world.� &MFWFO EJíFSFOU NFUIPET FBDI i.PEVTu B EJíFSFOU expression of individuality, which we hope will inspire you‌ Isabel Albuquerque

ISBN 978-989-97496-0-3

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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

5IF $BMMFOT &., CVJMEJOH DPOTJTUJOH PG B TRVBSF meter 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 DPNNJTTJPOFE CZ $BMMFOT &., XIJDI DIPTF B TUSBUFHJD 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? 5IF $BMMFOT &., CVJMEJOH QSPWJEFT QSPUFDUJPO QSJWBDZ and intimacy, while its stainless steel skin opens like gills, OFDFTTBSZ GPS UIF iPYZHFOu QSPWJTJPO 0O UIF PVUTJEF UIFTF 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.

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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 EFTJHO UIFZ SFMJFE PO UIF %JHJUBM 5FSSBJO .PEFMJOH DBQBCJMJUJFT UP DPOGPSN 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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UFBN QIPUPHSBQI UBLFO CZ *BO .D$BVTMBOE all other photographs and images by 5468796 Architecture Inc.

i5IF $VCFu JT BO PQFO BJS QFSGPSNBODF WFOVF TFU BHBJOTU 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. "SDIJUFDUVSF *OD CBTFE JO 8JOOJQFH .BOJUPCB 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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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 SupĂŠrieure 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.

+FQQF 6U[PO SFDFJWFE UIF "VTUSBMJBO %FTJHO .BSL JO XBT BXBSEFE UIF 1PXFSIPVTF .VTFVN 4FMFDUJPO JO 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.

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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 Š Vitra 02| VitraHaus, Architecture Herzog EF .FVSPO "SDIJUFDUVSF Campus, Home Collection, Iwan Baan, V Fullbuyout, Photography Iwan Baan, Š Vitra 03| VitraHaus, Architecture Herzog EF .FVSPO "SDIJUFDUVSF Campus, Photography Š Vitra 04| Ronan & Erwan Bouroullec Alcove Work, Office Weil am Rhein 1IPUPHSBQIFS .BSD &HHJNBOO Fullbuyout, Š 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 UIFNTFMWFT JO UIF 7JUSB %FTJHO .VTFVN UIF 7JUSB)BVT BT XFMM 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 BUUSBDUJWF ESBXJOHT BOE JOUFSJPS EFTJHO QMBOT i4PNF PG 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 TVDI BO FOWJSPONFOU 7FDUPSXPSLT TPGUXBSF BOE $*/&." % proved to be suitable for realizing all these requirements.

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Vitra GmbH Vitra is a furniture manufacturer committed to the development of sound, intelligent, inspired, and sustainable solutions for office, home, and public spaces. 5IF BSDIJUFDUVSF PG UIF 7JUSB $BNQVT UIF 7JUSB %FTJHO .VTFVN UIF 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-BrĂźnnen, 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 VOMJLFMZ TPVSDF‡UIF .BSY #SPUIFST )F FYQMBJOT i8FTUTJEF XBT BDUVBMMZ JOTQJSFE CZ UIF .BSY #SPUIFSTA ĂąMN 5IF #JH Store. They move into a store, and after the store closes, they TUBSU VTJOH UIF CFET BOE UIF LJUDIFO * UIPVHIU A5IJT JT UIF 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.â€? 8FTUTJEF XBT DPODFJWFE JO B EFTJHO TDIFNF DBMMFE i/FYVT u UIF -BUJO XPSE GPS iDPOOFDUJPO u *U PQFSBUFT BT BO JOEFQFOEFOU

city connected to the outside environment, but is also selfTVÎDJFOUMZ PSHBOJ[FE -JOLFE UP UIF USBN BOE UIF #&3/.0#*- 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 JO /FX :PSL $JUZ JO BOE IJT QPTUHSBEVBUF 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 OsnabrĂźck, Germany-and by 1999 he gained international prominence for his design of the +FXJTI .VTFVN JO #FSMJO )F NPTU SFDFOUMZ XPO international attention and respect when he was named master planner for the rebuilding of UIF 8PSME 5SBEF $FOUFS TJUF JO /FX :PSL $JUZ JO 2003. Libeskind’s work was recognized in Time .BHB[JOF T i5IF #FTU PG %FTJHO "XBSET u 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 /FX :PSL $JUZ UXP CMPDLT TPVUI PG UIF PSJHJOBM 8PSME 5SBEF $FOUFS TJUF JO MPXFS .BOIBUUBO In 2003, they also opened Architekt Daniel Libeskind AG (ADL) in Bern, Switzerland to build the Westside project in Bern-BrĂźnnen and also to handle their growing European business. 3FMPDBUFE UP ;Ă›SJDI JO UIJT CSBODI OPX employs between 10 and 40 people. Libeskind BMTP NBJOUBJOT BO PĂŽDF JO .JMBO *UBMZ 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 EFTJHO UFBNT XIP UIFO XPSL XJUI $"% #*. BOE 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 /FX :PSL 64" BOE PĂŽDFT JO ;Ă›SJDI 4XJU[FSMBOE BOE JO .JMBO *UBMZ Daniel Libeskind’s work has been featured PO UIF DPWFS PG 5JNF .BHB[JOF /FXTXFFL Architectural Record, and the Wall Street Journal, among other publications. www.daniel-libeskind.com

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i* 5)*/, 5)"5 &7&3:5)*/( (00% THAT’S PRODUCED IN THE WORLD IS PRODUCED THROUGH [LOVE]. :06 3& */ -07& 8*5) Ű" 4*5& 4Ź 6/*26&/&44 5)&3&'03& :06 CANNOT JUST TREAT IT LIKE A $0..0%*5: "/% %0 40.&5)*/( 0/ *5 5)"5 $"/ #& %0/& */ "/: 05)&3 1-"$& ż :06 )"7& 50 %0 40.&5)*/( 5)"5 (3084 065 0' THE ROOTS OF THE PLACE‌ IT’S AN &70-65*0/w:06 )"7& 50 45"35 8*5) " 7*4*0/ 8*5) " $0..6/*5: 8*5) &.05*0/w "/% "4 5*.& (0&4 0/ &.#0%: *5w */ &7&3: DETAIL OF THE BUILDING.�

Libeskind’s Thinking 0G IJT FWPMVUJPO JO UIPVHIU PWFS UIF ZFBST -JCFTLJOE SFNBSLT i* XPVME 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.â€? It’s an exciting future, and Libeskind hopes to continue to create more FYDJUJOH TQBDFT i* UIJOL UIFSF JT B 3FOBJTTBODF JO BSDIJUFDUVSF UPEBZ .PSF QFPQMF BSF JOUFSFTUFE JO BSDIJUFDUVSF BOE JUT DVMUVSBM WBMVF 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,â€? 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 %VCMJO 'BDBEF EFUBJM EBZ 1IPUPHSBQI CZ D +BSFL .BUMB 1IPUPHSBQIZ 06| The Grand Canal Square Theater and Commercial Development in %VCMJO &YUFSJPS 1MB[B 1IPUPHSBQI CZ D +BSFL .BUMB 1IPUPHSBQIZ 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 XPO UIF 3FBM &TUBUF "XBSE 3&" i#FTU &VSPQFBO 4DIFNFu BOE UIF 5SPQIZ "XBSE PG 4BJOU (PCBJO (ZQSPD JO i*OOPWBUJPOu GPS JUT XPSL -JCFTLJOE T WJTJPO XJUI UIJT QSPKFDU XBT UP DPOTUSVDU iB QPXFSGVM DVMUVSBM 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.â€?  The design team at ADL realizes Libeskind’s visions by using the VectorworksÂŽ Architect software in both their design development and construction document phases.

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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 ,JUBHBXBSB EFTJHOFE UIF TUBHF TFU GPS i0OF PG B ,JOEu B NPEFSO CBMMFU JO UISFF BDUT 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, -JODPMO $FOUFS JO /FX :PSL BOE PUIFSĚžWFOVFT *U XBT IJHIMZ BDDMBJNFE UISPVHIPVU UIF 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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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 EFTJHOFE UIF TUSVDUVSF UP DBQUVSF UIF FTTFODF PG XBUFS iUIF JODVCBUPS PG BMM MJGF u 5IF CVJMEJOH SFQSFTFOUT iB TJOHMF CPEZ 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.

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Haring Collection Nakamura Keith Haring Collection Art Museum This museum and spa complex sits quietly in a lush forest 1 000 NFUFST BCPWF TFB MFWFM BU UIF GPPU PG .U :BUTVHBUBLF BO BODJFOU 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 CSJMMJBOU ,FJUI )BSJOH B /FX :PSL $JUZ BSUJTU XIP QBTTFE BXBZ XIFO IF was just 31 years old. The rooms track his life and art in a chronological KPVSOFZ BQUMZ OBNFE i$IBPT u i4QBDF PG 1SFNPOJUJPO u BOE i)PQF u This location receives some of the longest hours of daylight anywhere in Japan, and Kitagawara capitalized on this opportunity. He FíFDUJWFMZ DBQUVSFE UIF i-JHIU BOE %BSLu UIBU DIBSBDUFSJ[FE )BSJOH T MJGF BOE XPSL BOE UIF T /FX :PSL BSU TDFOF UIBU FNCSBDFE IJN After entering the space, one follows the road of darkness into the i$IBPTu SPPN "GUFS XBMLJOH UISPVHI B CMVF EPPS UIF MBTU SPPN JT óPPEFE XJUI MJHIU SFQSFTFOUJOH i)PQF u

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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 BerĂŠs 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. BerĂŠs 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, BerĂŠs 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. )FSF T XIFSF UIF #*. QSPDFTT CFDBNF TP JNQPSUBOU 8JUIPVU JU #FSĂŠT XPVME 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. BerĂŠs 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. BerĂŠs tested exporting STL TUFSFP MJUIPHSBQIZ ĂąMFT GSPN TFWFSBM #*. QBDLBHFT BOE GPVOE UIF VectorworksÂŽ 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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Spaceworkers Located in Paredes, Portugal, the SpaceworkersÂŽ project arises from a common EFTJSF PG UISFF NFOUPST $BSMB %VBSUF )FOSJRVF .BSRVFT BOE 3VJ %JOJT UP DSFBUF B iCSBOEu DBQBCMF PG SFQSFTFOUJOH B IPSJ[POUBM BQQSPBDI BDSPTT ĂąFMET 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 B iGBDUPSZu GPS UIF DJUZw B TQBDF UP DPNNVOJDBUF LOPX BOE MFBSO - 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 HBNF PG TFEVDUJPO CFUXFFO iIJEFu BOE iTIPXu 5IF JOUFSJPS XBT 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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Toni-Areal The largest Swiss construction site &. / PQFOFE JUT PĂŽDF JO JO ;Ă›SJDI 4XJU[FSMBOE 5IF ĂąSN ĂąSTU XPO several competitions for cultural, educational, and residential buildings in ;Ă›SJDI BOE BNPOH PUIFST XPSLFE PO TFWFSBM MBSHF TDBMF QSPKFDUT MJLF UIF 7JBEVDU "SDIFT SFGVSCJTINFOU BOE UIF 5POJ "SFBM &. / IBT SFDFJWFE NBOZ 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. ;VSJDI 8FTU BOE UIF 5POJ "SFBM JO QBSUJDVMBS JT SBQJEMZ FWPMWJOH GSPN BO industrial district into a new urban space. Toni, a former milk-processing factory, is being transformed into a platform for education and culture. *O UIF SFOPWBUFE CVJMEJOH XJMM CFDPNF B OFX IPNF GPS UIF ;VSJDI 6OJWFSTJUZ PG "SUT ;)E, BOE GPS UXP EFQBSUNFOUT PG UIF ;VSJDI 6OJWFSTJUZ PG "QQMJFE 4DJFODFT ;)"8 5IF DPOWFSUFE CVJMEJOH XJMM BMTP JODMVEF private culture and event areas and 90 apartments in a total volume of 520 500 cubic meters, all planned with VectorworksÂŽ 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 JOUFSGBDF CFUXFFO UIF IJHI BOE MPX SJTF EFWFMPQNFOU &. / 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 BDUJWJUJFT &. / XPSLFE XJUI EJíFSFOU EFHSFFT PG QSFDJTJPO TDBMFT BOE tonalities, from huge public spaces to intimate and private areas. The building as a city, the city as a building.

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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; %VODBO 1 .D$MFMMBOE "*" /$"3# -&&% "1 BOE +PSHF . $SV[ "*" -&&% "1 .S $SPUFBV XBT MFBE EFTJHOFS PO UIF )1" Energy Lab project, and Christopher Brown, AIA, was Project Architect. Â www.faiarchitects.com

'MBOTCVSHI "SDIJUFDUT PG #PTUPO .BTTBDIVTFUUT JO UIF 6OJUFE 4UBUFT 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 *OUFSOBUJPOBM -JWJOH #VJMEJOH *OTUJUVUF T A-JWJOH #VJMEJOH $IBMMFOHF 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.

*NBHFT DPVSUFTZ PG .BUUIFX .JMMNBO 1IPUPHSBQIZ and Flansburgh Architects

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