MODUS news 3

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Australia Belgium France Germany Japan Netherlands Norway Portugal Sweden Switzerland USA

TOYO ITO

Minna no Mori Gifu Media Cosmos | Toyo Ito Museum of Architecture, Imabari Tama Art University Library (Hachioji campus) | Meiso no Mori Municipal Funeral Hall

ARX PORTUGAL ﾃ考havo Maritime Museum Extension | House in Martinhal Barreiro College of Technology

CONTENTS 04 DURBACH BLOCK JAGGERS ARCHITECTS • AUSTRALIA 06 ROBBRECHT AND DAEM ARCHITECTS & MARIE-JOSÉ VAN HEE ARCHITECTS • BELGIUM 08 HAMONIC + MASSON • FRANCE 10 ANDREAS HELLER ARCHITECTS & DESIGNERS • GERMANY 12 TOYO ITO & ASSOCIATES, ARCHITECTS • JAPAN 16 ALL DESIGN AND VAN DER LAAN BOUMA ARCHITEKTEN BV • NETHERLANDS 18 MELLBYE ARKITEKTUR INTERIØR AS • NORWAY 20 ARX PORTUGAL • PORTUGAL 22 BLÅ ARKITEKTUR LANDSKAP AB • SWEDEN 24 LISCHER PARTNER ARCHITEKTEN PLANER AG • SWITZERLAND 26 DIVISION1 ARCHITECTS • USA House Spry

Market Hall Ghent

Zac Masséna

Wälderhaus

Minna no Mori Gifu Media Cosmos | Toyo Ito Museum of Architecture, Imabari | Tama Art University Library (Hachioji campus)

Meiso no Mori Municipal Funeral Hall

De Calypso Rotterdam

The Thief

Ílhavo Maritime Museum Extension | House in Martinhal | Barreiro College of Technology

Sagdalen project

Holiday Home in Vitznau

The Lacey

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 Basem Besada - BMVStudio Emily Patrick - Nemetschek Vectorworks, Inc. Julie McClure - Nemetschek Vectorworks, Inc. Kazuko Uchida - A&A Co., LTD Lisa Lance - Nemetschek Vectorworks, Inc. Lucas Vandersanden - Design Express Moriaki Honma - A&A Co., LTD Scott Campbell - Dakantus AS Sue Carr - OzCAD Thierry Beurey - CESYAM EDITORIAL TRANSLATIONS Bart Rammeloo (Dutch and French) Christoph Köbelin (German) Isabel Albuquerque (Portuguese) Juan Almansa (Spanish) Scott Campbell (Norwegian) Yuhiko Izumi (Japanese) DESIGN Isabel Oliveira - TechLimits LAYOUT Isabel Oliveira - TechLimits Vanda Querido - TechLimits PRINT Projecção Arte Gráfica, S.A., Portugal CIRCULATION Total circulation - 24 810 Dutch and French editorial - 9 700 English editorial - 4 410 French editorial - 1 700 German editorial - 5 000 Japanese editorial - 3 000 Norwegian editorial - 400 Portuguese editorial - 400 Spanish editorial - 200 ©2013 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 Nemetschek Vectorworks, Inc. Vectorworks is a registered trademark of Nemetschek Vectorworks, Inc. FRONT PAGE Toyo Ito Museum of Architecture, Imabari.

Project by Toyo Ito & Associates, Architects.

Photograph by Daici Ano.

Editorial Each issue, a challenge.

New “modus operandi” emerge every year and continue to amaze us.

In this third edition of MODUS news, we’re proud to present the 2013 Pritzker Architecture Prize Laureate, Toyo Ito. We offer you three of his built designs, the Toyo Ito Museum of Architecture in Imabari, the Tama Art University Library (Hachioji campus), and the Meiso no Mori Municipal Funeral Hall, in addition to a project under construction, the Minna no Mori Gifu Media Cosmos.

Projects arose from 10 other architectural offices in a diversity of countries and forms, many of which have attained prestigious prizes in architecture.

We would like to praise the architects and their respective teams who were nominated and awarded with architectural prizes, which reveal and recognize the quality of their work.

Regardless of the function intended, architectural objects are valued for their technical characteristics, the way they respond to the program, the relationship between spaces and their surroundings, and what distinguishes them visually by their unique forms. The teams creating those forms, whose works we reference in this edition of MODUS news, turn to Vectorworks® software, which allows them to design with freedom and without limitations.

Join us in exploring the “modus operandi” employed by the architects we’ve chosen and be surprised by what you discover.

Isabel Albuquerque

ISBN 978-989-8623-14-0

DURBACH BLOCK JAGGERS ARCHITEC TS A

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Durbach Block Jaggers Architects has three directors, Neil Durbach, Camilla Block, and David Jaggers, and a permanent team of eight who have worked together for more than 10 years. It’s a practice committed to searching for the possibilities of architecture itself – its power and poetry, its pleasure and necessity. The team is involved in every aspect of every project from inception to completion and recognizes and respects each member’s talents and abilities. www.durbachblockjaggers.com

On a dramatic harbor and hillside site, the House Spry faces northeast in the Sydney suburb of Point Piper, with a naturally steep topography between a street entrance at the lower side and a laneway at the upper.

Exploiting onerous constraints from the local government and neighbors, a single home with a garden and lap pool was designed for an older couple with adult children.

Conceived as a new datum, a new platform that houses additional bedrooms, bathrooms, and storage lifts the main level to the laneway height. The roof of this base, made in dark slate, is molded for courts, pools, and stairs, extending from inside to outside. The lap pool cuts deeply into this base, overhanging its edge with an aquarium window.

Delicately poised on this platform is a new, two-story, flattened, “S”-shaped timber and steel building. At the ground floor, it houses all living spaces and can be completely opened with massive sliding glass screens and a central, double-height, wind-protected courtyard.

At the upper level, two large bedrooms and their service spaces twist past each other to capture views and sunlight. The upper level is constructed of narrow strips of timber and 20 mm-toughened colored glass on edge, describing a screen of extreme fragility and lightness while providing absolute privacy for the parts of the “S” and running parallel with the neighboring house.

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01| 04| 05| Photographs by Anthony Browell 02| Photograph by The Sydney Morning Herald 03| Photograph by Neil Durbach 06| Image by Durbach Block Jaggers Architects

R O B B R E C H T A N D D A E M A R C H I T E C T S & M A R I E - J O S É VA N H E E A R C H I T E C T S B

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Market Hall Ghent

Exercise in Renaissance Following two demolition campaigns for a world exhibition in 1913, and an administrative center never built in the 1960s, Ghent’s historic heart degenerated for decades into a desolate parking lot in between a suite of three adjoining, Gothic towers. In two consecutive competitions between 1996 and 2005, Robbrecht and Daem Architects and Marie-José Van Hee Architects proposed their own program, countering the initial competition requirements. Rather than just providing an open space for events, they sought, by meticulously positioning a market hall, to rectify this deficiency and reinstate the presence of old urban areas that had become unrecognizable.

The building positions itself between Poeljemarkt, Goudenleeuwplein, and a new lower green space connecting to the brasserie, bicycle park, and public toilets below the hall. And although the building clearly occupies a position on the 24 000-square-meter site, it fits in well. Compared to St. Nicholas Church, Belfry, and Cathedral, it assumes the heights of a lower group of buildings such as the adjacent town hall, from which it derives, mathematically, its profile.

Robbrecht and Daem Architects & Marie-José Van Hee Architects were both founded in 1975. Since then, they have worked closely together on numerous projects. The main theme throughout the work of Robbrecht and Daem is the relationship they maintain between their architectural designs and the visual arts. The work of Van Hee is renewing the tradition of building timeless architecture with a particular attention to space, natural materials, and light. www.robbrechtendaem.com

www.mjvanhee.be

As an urban interior, the inside embraces the passersby with a dual modulated wooden ceiling with small windows that scatter light inward.

The exterior, and in fact the entire building, seems to assume a respectful role relative to the nobler, historic stone buildings by using a wooden, almost humble, finish. A glass envelope protects the wood and provides an integrated soft shine with the reflected sky.

Large buffer basins to absorb rainwater – principles of low-energy consumption for the brasserie – as well as the use of truly natural materials, the contribution of public transportation, and a clear vision about giving new value to the historic center with its old spatial structures broadly flesh out sustainability for the future. The center of Ghent will again become a social spot for people and will be recognized in the industry for its architecture. In 2012, the Market Hall was chosen as a finalist by the jury of the European Union Prize for Contemporary Architecture – Mies van der Rohe 2013.

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01| Photograph by Marc De Blieck © Robbrecht en Daem Architects 02| 05| 06| Photographs © Tim Van de Velde 03| Paul Robbrecht & Hilde Daem photograph © Michiel Hendryckx 04| Marie-José Van Hee photograph © Jef Van Eynde 07| Image by Robbrecht and Daem architects & Marie-José Van Hee Architects

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FOR HAMONIC + MASSON, “VECTORWORKS IS AN OBVIOUS CHOICE.” THE OFFICE HAS USED THE PROGRAM SINCE ITS INCEPTION. THE CONCEPT OF THE SOFTWARE IS WELL-SUITED TO THEIR WAY OF WORKING, WHICH MEANS A 2D ORIENTATION FOR COMPETITIONS AND THE USE OF 3D FOR ADVANCED PROJECTS THAT DEMAND MORE TIME. “THE ADVANTAGE OF USING VECTORWORKS IS THAT IT WORKS FAST BECAUSE IT’S LOGICAL, INTUITIVE, AND EASY TO LEARN. AIMED AT ORGANIZED USERS, VECTORWORKS IS VERY CLOSE TO THE ARCHITECT BECAUSE IT’S DEDICATED TO ARCHITECTURE. IT’S INTUITIVE.”

Photograph, renderings, and image by Hamonic + Masson

Zac Masséna This mixed-use complex is the first of its kind in Paris. Its conceptualization follows the adoption of uncapping buildings and increasing them to be 50 meters high.

The program consists of ground floor shops opened to the Avenue de France. The first floors are reserved for free-ownership housing while the upper floors are for social housing.

HAMONIC + MASSON makes no distinction between social housing and classic, collective housing. Studying light in housing is what drives their directions with the concept of heliotropism in mind. Even with a program for 200 units, there is no sense of repetition. The apartments are overlapping, but nevertheless each one is unique. This results in many spaces that vary with altitude, releasing a multiplicity of views.

Regarding sustainable development, the agency applies numerous, existing standards, but it prefers to work with passive, rather than hightech, solutions. The goal is to return to common sense while keeping the sun’s movement in mind and striving for dual-orientation, with windows in two different orientations for better light, comfort, and natural heating but without forgetting good exterior insulation. Solar panels were considered and heating is supplied by a substation of district heating.

This project demonstrates that one must not dramatize the fact of living in height, and that it is a privilege to live in such places. HAMONIC + MASSON wants to work the height, with the hope of removing the ceiling in Paris and France in general.

HAMONIC + MASSON was created in 1997

by Gaëlle Hamonic and Jean-Christophe Masson. The Paris-based agency was awarded the 2011 AMO Special Saint-Gobain Prize for the realization of 62 apartments in Paris’ 12th Arrondissement, and it was nominated in 2003 for the Mies van der Rohe Award.

The agency has completed many projects in dense housing and at complicated sites, as well as cultural facilities, schools and tertiary programs. www.hamonic-masson.com

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Andreas Heller Architects & Designers Specializing in the design of structures and exhibitions for public and private institutions, museums and exhibitions, and recreational facilities, Andreas Heller Architects & Designers is committed to giving each project a powerful, creative design. The office has an interdisciplinary team of architects, interior designers, scholars, and model makers who handle various project assignments. www.studio-andreas-heller.de

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The WÄLDERHAUS (The Forest House) is part of the IBA Hamburg – the International Building Exhibition – and is sited on the grounds of the International Garden Show. The various uses of the WÄLDERHAUS include an 82-room hotel, a restaurant, offices, and space for special exhibitions and conferences for the building’s principal operator, Schutzgemeinschaft Deutscher Wald, which is the regional Hamburg association of nature conservation.

An Unusual Timber Construction Given the building’s various uses and requirements, there are multiple floor plans. The first two floors are built out of reinforced concrete while the upper three floors are built from solid wood using certified, European spruce. Untreated European larch was used in the façade, as well as in the roof and exteriors, providing resting, feeding, and nesting space to various small animals.

A Green House Planted on the building’s roof are 9 000 bushes and 500 hornbeams.

The evaporation and transpiration of the green roof contributes to the improvement of the city’s microclimate. The evaporation of rainwater cools the air. The dense roof planting acts as additional insulation and protects the building from the summer’s heat and the winter’s cold. The plants bind dust and pollutants in the air and reduce CO2 contamination. The dense vegetation also provides sound insulation in the immediate vicinity of the building, and the cooling effect of the green roof enhances the performance of the roof-installed photovoltaic system.

Sustainable Energy Supply The 20-centimeters-thick rock wool insulation used for the exterior walls, the thick insulation provided by the green roof surface, and the triple solar glazing on the windows all work toward reduced energy consumption and largely enable the WÄLDERHAUS to meet its energy needs with its own resources: a photovoltaic system on the roof and the exploitation of geothermal energy.

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Minna no Mori Gifu Media Cosmos is a cultural complex under construction that centers on a library in the heart of Gifu City. From the site, one can enjoy the view of Mount Kinka, a symbol of this city, and the Gifu Castle on the peak of the mountain.

The project aims to revitalize Gifu City, which had lost its former prosperity with the decline of the textile industry, by changing the area from an administrative center into a cultural center.

Minna no Mori

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The building was designed with two stories above ground and placed only small mechanical rooms in the basement. The entire second floor is dedicated to an open-stack reading area, and spaces for other purposes are integrally placed on the first floor. As a result, each floor will have a vast planer shape of roughly 80 x 90 meters. It’s expected that visitors can look around the various activities and become inspired. In addition, entrances were placed in the north, south, east, and west of the first floor where people can pass through the building to find something new, even if they have no purpose, like they would do in a local shopping area.

The central area of the first floor is far from the outside wall, and it is the most environmentally stable place. Ito decided to set up a closed-stack room called The Book Storehouse that contains 600 000 books in a storeroom-like setting.

Surrounding The Book Storehouse, other facilities are laid out with loose relationships, with a gallery and multipurpose hall to the east, a huge foyer and restaurant to the south, a local community activities center to the west, and offices to the north.

The second floor is a huge, single room without walls. This floor is an open-stack reading area with 300 000 books. Rows of books for children and adults are lined up in parallel form, where it’s expected that a mutual relationship will be born, where children learn from adults, and adults become inspired by children. The roof structure is made with lumber, forming its shape by bowing and layer-stacking them in three directions at the site. Eleven globes hang in this area as a marker for the impression of the second floor. The combination of the effect by the funnel shape with upper air vents promotes wind flow, so it can ventilate occupied zones without using machine power, and spreads light, as well. In conjunction with other design details, it’s expected to achieve a 50 percent energy consumption reduction when compared to a similar, traditional building.

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Toyo Ito & Associates, Architects Toyo Ito was born in 1941. After graduating from the University of Tokyo Department of Architecture in 1965, he worked for the Metabolist architect Kiyonori Kikutake until 1969. In 1971, he opened his own office, Urban Robot, which was renamed Toyo Ito & Associates, Architects in 1979. He has been a commissioner of the Kumamoto Artpolis since 2005. Among other prizes and awards, he was honored at the Venice Biennale with the Golden Lion for Lifetime Achievement in 2002 and for best pavilion in 2012 with the Japan Pavilion, for which he was a commissioner. Ito also earned the Royal Gold Medal from The Royal Institute of British Architects (2006), The 22nd Praemium Imperiale in Honor of Prince Takamatsu (2010), and The Pritzker Architecture Prize (2013). www.toyo-ito.co.jp

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Toyo Ito

Museum of Architecture

Toyo Ito Museum of Architecture, in Imabari, was built on a hilly site overlooking the Seto Inland Sea in the southwest of Omishima, a small island blessed with abundant nature with its orange groves and beautiful sunsets. The project consists of two buildings. Steel Hut hosts an exhibition of Ito’s works, and Silver Hut is a reenactment of Ito’s own house and offers workshop activities and events.

Steel Hut is situated on the ridge of a hilly site. During the early development stages, Ito generated forms of architecture that were related to the undulating ground. After various studies, the proposal developed into a geometric structure, which is independent from its surrounding landscape. Four types of three-meter-sided polyhedron modules, which can be freely assembled and closely packed, are used to create this building. The space has a centripetal quality that creates an experience similar to being within a sphere. When visitors move from one room to another, the inclined walls unfold panoramically.

Silver Hut was built in a valley on the site. The design of the structure employed the same methodology as Ito’s original, private house. The arch-like roof made from rhombic frames is bridged over beams placed on concrete pillars set at 3.6-meter intervals. In this building, there are three main spaces: an archive space for visitors to review approximately 90 of Ito’s architectural drawings, an outdoor workshop, and a space with furniture designed by Teruaki Ohashi.

On the museum’s exterior, there are three pieces of steel architectural models on display, as well as a warehouse named Timber Hut. Visitors can stroll and appreciate them in the garden. A harmonized relationship between nature and architecture has been established with the small buildings and models sleekly standing against the scenery of small islands in the Seto Inland Sea.

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Tama Art University Library (Hachioji campus) There was an initial proposal to place the entire volume of the library underground to achieve a space resembling a cave. For various reasons, however, Ito found the proposal impossible. Although he started designing the volume aboveground, he still tried to build a subterranean space. A continuous, dome-like space was designed by subtracting volumes from the subterranean space aboveground. More volumes were trimmed down, and it became a structural system of a series of domes and arches.

The arches have been designed to follow gentle curves at different angles. These continuous curves of arches articulate space into blocks of squares and triangles. Due to the strategic placement of the furniture that penetrates the space, paradoxically contradicting characteristics - flow and stillness - were attributed to the reading area. The slope of the ground floor follows the natural decline of the land, so that the architecture integrates with the surrounding environment. In this way, spatial continuity is maintained between the inside and outside spaces. This spatial concept will give freedom and richness to the architecture, receiving natural energy that rises up from the earth and transforming it into an architectural order.

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Meiso no Mori Municipal Funeral Hall This was a reconstruction project of an old, deteriorated crematorium in Kakamigahara, which was planned to integrate into the surrounding cemetery on the site. The location of the site is peaceful, facing a pond that stretches out to the north and is nestled into the verdant mountains to the south. The design brief called for a sublime space that would give last honors to the deceased while subtly integrating into the surrounding landscape of the cemetery.

Toyo Ito’s idea was to respond not with a conventional, massive crematorium but with a space formed by a roof that is like a cloud, which, drifting through the sky, has come to settle upon the site, creating a pleasantly soft atmosphere. A gently curved, reinforced concrete shell structure was investigated to construct a roof characterized by concavities and convexities. The final shape of the roof structure was determined by an algorithm that generated the optimum structural solution. The curved line becomes a landscape in harmony with the contours of the surrounding mountains. Four structural cores and 12 columns with built-in rainwater collection pipes are placed according to structural balance under the roof structure. Ceremonial spaces are placed between the cores and columns. The smooth curvature of the roof surface also articulates the ceiling in the interior. Indirect light softly illuminates the curved ceiling and spreads in all directions. The funeral ceremonies are held in this serene space with expressive nuances of light.

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De Calypso Rotterdam This development was designed by ALL Design and Van der Laan Bouma Architekten did the final detailing of both the architecture and engineering. Vectorworks software was used in the Van der Laan Bouma Architekten office in the Netherlands. The Calypso is on the Mauritsweg, a few minutes’ walk from the Central Station in Rotterdam. The complex consists of a 70-meter-high tower and a volume composed of three towers with the same height, standing together on a 20-meter-high plinth. Previously occupied by a hotel, the Calypso theater, and St. Paul Church, the site is a key gathering point for a number of primary city routes. New offices, new shops, a refurbished church, and new residential accommodations were designed, preserving a mix of public and private realms and accommodating a broad social spectrum.

The forms of the building were originally designed as distinct crystals or “rocks,” and the church was seen as a “fallen rock.” The initial forms had separate buildings, which slowly morphed together during the design development phase. Only Tower A, to the north, was retained as a separate form. The color scheme always differentiated Tower A’s design from the rest of the building. Originally, Tower A was pink in color and subsequently changed to shades of red. Tower A, with 131 apartments, has a façade of glass panels in reddish hues. Above the plinth are 16 floors containing

eight apartments each and topped with a floor featuring three-bedroom apartments and penthouses.

The three southern towers’ forms were conceived as translucent, glass-clad elements, which became a faceted silver aluminum skin in the final design.

These towers have a total of 222 apartments, including a penthouse.

The plinth has the same appearance as the north tower with offices on the north side and commercial spaces on the south side with 54 apartments and a garage. The church is part of the overall complex with facets like the southern façade towers, but it is clearly distinguished by its unusual form and copper-clad façade.

ALL Design and Van der Laan Bouma Architekten BV ALL Design, established in 2011 by the prominent architect Will Alsop, is an interdisciplinary practice working in all scales of design and cultural endeavor. It embraces architecture, product and graphic design, interiors, and landscape.

Van der Laan Bouma Architekten BV has engaged in the construction of housing, medical practices and pharmacies, educational and commercial buildings, and office renovations since its establishment in 1986. www.all-worldwide.com

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Thief

Mellbye Arkitektur Interiør AS has done work for special assignments such as Tryvannstårnet, institutions, hotels, and commercial constructions, as well as smaller projects including family homes and interior design. The firm is also known for its many restorations of important buildings in Oslo.

Mellbye Arkitektur Interiør AS balances its commercial work with several pro bono assignments, including the collaboration with Basecamp Explorer on three continents and collaboration with Greenudge regarding the design of 100% recyclable office layouts.

www.mellbye.com

Ajas Mellbye photograph and image by Mellbye Arkitektur Interiør AS All other photographs © Nordic Choice Hotels

The city district of Tjuvholmen is a fantastic venture and, in many ways, un-Norwegian in character. The combination of its close proximity to the water, urban concentration, and unusual architecture is unique.

With 124 rooms and approximately 8 400 square meters, the hotel can be divided into three parts: two lobby floors on the ground level and first floor, rooms from the second to seventh floors, and an eighth floor with a roof terrace.

Within the city is a hotel called The Thief. This lifestyle hotel is not about stealing attention; rather, it’s about emanating an elegant calm in an architecturally eclectic environment.

The history of Tjuvholmen as an industrial area is reflected in the building materials. Stone, steel, and wood, in contrast to more exclusive materials such as bronze, link the building to its history but also create a formality found in five-star hotels. The building has a dark, smooth, and formal façade in contrast to its lighter and more modernist neighbors. The building’s darker style creates a heavier hotel character while acting more like an enduring, discreet backdrop for the Astrup Fearnley Museum of Modern Art.

The ground and first floors house the public spaces, such as the reception area, restaurant, and bar, which have been projected as open and inviting elements, especially when you arrive from the city over the bridge, a feature that expresses the accommodating nature of the hotel. The volume cantilevered over the lobby floors, featuring guest and meeting rooms, is heavier in design. The extensive use of glass in the building’s façade ensures rooms offer maximum views and natural lighting. This creates a varied façade where shadows move, screening and glimpsing the life within, creating a fascinating entirety – associating to the hotel’s name, The Thief. The eighth floor consists of a conference room and an exuberant and sprawling landscaped terrace.

YOUR VISIONS. PERFECTLY REALIZED. Vectorworks is software for people who care about design. People like awardwinning architect Norihiko Dan. People who oppose conventional development in favor of integrating architecture with the surrounding landscape to create a beautiful and uninterrupted whole.

Dan’s visions are guided by what’s best for the planet, and he relies on Vectorworks software to capture those ideas, develop them, and communicate them … easily, accurately, and efficiently.

Learn more at www.vectorworks.net.

Norihiko Dan, Norihiko Dan and Associates, Tokyo, Japan Courtesy of Architect Norihiko Dan and FUJITSUKA Mitsumasa

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ﾃ考havo The ﾃ考havo Maritime Museum Extension showcases a codfish aquarium, connecting two buildings and siting a complex ensemble around the subjects of the sea and fishing. In this unusual structure, the Maritime Museum is the place of memory, the Aquarium is a space for marine life, and the Laboratory for Ocean Sciences (CIEMAR), installed in an old renovated school, functions as the research center for activities linked to the sea.

In articulating these three units, the building is both an autonomous urban facility that relates to the context and defines the public space, and also a building-path, which develops in a spiral around the tank as it connects the Museum to the old school.

In the context of small, scattered houses, it is shaped by the interstices of this urban, domestic fabric and establishes a new, public domain. But in doing so, it breaks into two horizontally overlapping bodies, searching for a scale of transition. In its duality, the white concrete body emerges from the ground and sets the basis for defining a square. The floating black body of metal scales sets the height of the square in a public urbanity redefined into three dimensions.

ARX Portugal Arquitectos, founded by brothers Nuno and José Mateus in 1991, has completed work ranging from private to public commissions in Portugal and abroad, as well as for several international competitions.

ARX´s work has earned several prizes, including recognition from The Chicago Athenaeum’s International Architecture Awards, the International Association of Art Critics’ Prize in Architecture, and a nomination for the Mies Van der Rohe Award. www.arx.pt

All photographs by FG + SG - Architectural Photography® | www.ultimasreportagens.com and image by ARX Portugal

Martinhal The House in Martinhal is located in Sagres, Algarve, the furthest southwest location in Portugal. Martinhal is the town that hosted the Navigation School behind the “Portuguese Discoveries,” a name given to intensive maritime exploration by the Portuguese in the 15th century and initiated by Infante D. Henrique, Duke of Viseu, better known as Henry the Navigator.

The house is white, and the roofs are flat as they were often built in the traditional architecture of this area for drying fruits and fish, reminiscent of a particular architectural heritage that tourist resorts seem to have forgotten.

The highest and longest volume is located in the north to create and protect a central marble patio from the strong and permanent winds. An “L” -shaped bedroom wing helps to create privacy for the pool from the access road. Inside and outside spaces are articulated by courtyards, a typology from the Moorish legacy, while filtering views to selected fragments of untouched landscape.

Barreiro There are some projects that incite the public’s reaction even before they come into existence. The Barreiro School of Technology is one of those examples. The neighborhood protested against the project because it wanted a primary school instead, which was moved elsewhere. Residents also expressed concern about the impact a building of large proportion would have, both visually and ecologically. Fearing that the trees would be cut down, they counted and marked every single one.

The building has a somewhat ambiguous character. On one hand, it “dissipates” and accepts the prevalence of the natural elements. On the other hand, it deals with their presence as an artificial element of abstract origin. This principle is highlighted by the constructive choices. When sectioned, a big coal-grey block reveals a white interior.

The architecture becomes more topographic in one of the building’s extremities, where there is no way to tell where the surrounding starts or ends. On the opposite side, with its more present limits, the architecture is defined by the alignment of the tops of the building’s different bodies.

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“WORKING WITH EVERYDAY THEMES, WE STRIVE TO DISCOVER LATENT POSSIBILITIES AND DESIGN NEW SPACES IN A RATIONAL AND MODERNIST CONTEXT, BASED ON MODERNIST NORDIC DESIGN. THE FOCUS IS THE NORDIC LIGHT. OUR AMBITION IS TO CREATE AN ARCHITECTURE THAT SEES THE UNSEEN, ACTIVATES IT, AND INTEGRATES IT WITH HISTORICAL KNOWLEDGE, GIVING THE LANDSCAPE A NEW CONTEXT OF OUR TIME.”

Sagdalen project

In the suburbs of the Norwegian capital, Oslo, the landscape has dramatically changed in recent decades. People are moving from the fjords and valleys of Norway to the capital region. This movement strongly accelerates in the region of Romerike, just north of the city. Here, the Sagdalen project is situated close to the center of Strømmen, close to an efficient railroad system and the speed train connecting to the Norwegian main hub, the Gardermoen International Airport. This was an industrial area back in the 15th century centered on a small river, Sagdalselva, and tree sawing powered by the rapids. Later, following the Industrial Revolution, more heavy industry ensued until the 1980s, when all industry left the area.

Blå Arkitektur Landskap Ab Nils Mjaaland established Blå Arkitektur Landskap Ab as a Norwegian private company based in Tromsø in 1994. In 2002, the company moved to Stockholm as a Swedish-registered company. Partners Louise Robinson and Martin Forsby joined in 2002 and 2008, respectively. Today, the company operates in Sweden and Norway, focusing on housing projects and planning. www.bluearchitecture.com

The site is long and narrow as it follows the western shores of Sagelva. The design approach was to establish a winding building configuration that respected the shape of the river. As a center point, a common recreation/ resting area was created by an old firehouse at the small lake. Surrounding this area, a dense environment was established, consisting of the only old industrial building left at the site, the project presented here, and two terraced block buildings with contrasting directions, so light can enter each building. In the periphery of the site and along the river, you find different raw house configurations.

The red building, a volume element produced in Lithuania, stands on top of a parking complex serving all 90 apartments. It consists of 12 apartments.

The red color gives the area a center point. On the top, smaller, rectangular volumes stand out two and a half meters, creating private terraces. The apartments reflect the program priorities, with big bath and sleeping rooms and efficient general space. This mimics the change in Norwegians’ life conditions where people spend less time in the apartment and more in their mountain cabin or at the coast. Exploring the site’s specific potential, windows are positioned based upon studies of view and light.

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The clients’ desire was to live in a timber house. However, the challenging geology, the exceptional hillside location, and the existing environment prompted Lischer Partner Architekten Planer to design a solid construction in which the hard shell of the concrete façade encases and protects the soft core of the timber house. This combined use of wood, found in traditional Swiss mountain homes with a modern approach, earned the team the prestigious DETAIL Prize 2012.

The timber construction stands as “a house in a house.” In combination with the concrete shell, it was possible to optimize its load-bearing dimensions as it does not have to resist any shear forces.

The clear cubature anchors the house to the hillside. A bridge leads to an open courtyard with a garage and the entrance to the house. The family rooms, such as the dining and living rooms, are situated on the top floor.

Two opposing staircases provide access to the bedrooms on the two lower floors. This feature creates a corridor through the structure, which leads to various rooms that vary in orientation and have different outlooks.

The air-blown concrete faรงade was executed in Wesen gravel that adopts the reddish color and graininess of the prominent rock face behind the house.

The entire wooden casing, including floors, walls, and the ceiling, is executed in larch wood block panels. The timber can also be seen from outside through the openings and recesses. Fixed glazing framed in larch emphasizes the impressive views of the Lake Lucerne landscape.

Dividing elements and island units, also in larch, were used to separate the main rooms. A structure with a coatroom and the rear side of the kitchen divides the area adjacent to the entrance. The living room is complemented by an element housing the fireplace and a media cabinet.

Each bedroom contains an en-suite unit with a built-in clothes closet. As a result, this holiday home assumes the typology of a hotel room, creating a kind of private holiday hotel.

Lischer Partner Architekten Planer AG Lischer Partner considers architecture as a collective process. Their designs are teamwork, transforming visions into architectural culture, creating spaces with light, material, and color. To complex questions, they find direct answers. Lischer Partner commits itself with passion to high-quality architecture. Each work process is accompanied accurately and honestly to the objective. Their openness provides surprising solutions, which have won them several awards and publications.

Daniel Lischer, to the left, is the proprietor of Lischer Partner Architekten Planer AG. Nicole Renggli-Frey, to the right, is the project leader. www.lischer-partner.ch

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The Lacey Praised for its transparency and industrial elegance, The Lacey is a 26-unit condominium building sited in Washington, DC’s U Street corridor, and the building earned Division1 Architects a 2012 residential architect Design Award in the Multifamily Housing category. The Lacey is a continuation of a series of projects Division1 completed to revitalize the neighborhood, which had suffered from neighborhood decline since the 1960s.

Sited on the former parking lot of a legendary restaurant, the Florida Avenue Grill, the building reflects the developer’s artistic passion and symbolizes its dedication to the area. In fact, the developer honored longtime Grill proprietors Lacey C. Wilson Sr. and Lacey C. Wilson Jr. by naming the project The Lacey.

Division1 Architects Ali Reza Honarkar co-founded Division1 Architects in Washington, DC in 1994. His desire to blaze a new path has led to an impressive scope of work that stretches the limits of high-quality design and includes a second office in New York City. Today, the firm’s portfolio is far-reaching, touching singlefamily and multi-unit residential buildings, commercial spaces ranging from offices to retail shops, restaurants and nightclubs, as well as branding and apparel. www.division1architects.com

As a forward-looking landmark designed with four distinct elevations, The Lacey’s concrete walls, solid steel framework, and transparent glass panels combine to create an intriguing 24 000-square-feet, four-story structure complete with an interior atrium in which hallways seem to float. Private balconies and yards are complemented with common outdoor space on a second-floor terrace and private rooftop decks for penthouse suites.

The inside combines form and function where units embrace an open plan.

Hardwood floors offset clean, custom interiors. State-of-the-art kitchens achieve maximum functionality without dominating the design aesthetic.

Signature styling and bold details in bathrooms reinvent the ordinary and make the most of natural light. All this is the result of a design that provides the freedom and flexibility to facilitate better living through architecture.

RAMP UP

RAMP UP

UP 8 R at 6.75

UP 9 R at 7.33

UP 11 R at 7.09

UP 12 R at 7.50

Diagon

www.girsberger.com/diagon