MODUS news 5

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RYUE NISHIZAWA Hiroshi Senju Museum | Teshima Art Museum

CONTENTS 04 ZAHA HADID ARCHITECTS AND STUDIEBURO MOUTON • BELGIUM 06 PWL PARTNERSHIP LANDSCAPE ARCHITECTS INC. • CANADA 08 EPICURIA ARCHITECTES • FRANCE 10 KLEIN & SÄNGER ARCHITEKTEN • GERMANY 12 STUDIO MANFRONI & ASSOCIATI (MMAA) • ITALY 14 RYUE NISHIZAWA • JAPAN 18 KCAP ARCHITECTS & PLANNERS + DE BEVER ARCHITECTEN • NETHERLANDS 20 GONÇALO NEVES SILVA ARQUITECTOS ASSOCIADOS • PORTUGAL 22 :MLZD AND SOLLBERGER BÖGLI ARCHITEKTEN • SWITZERLAND 24 HOSKINS ARCHITECTS • UK 26 ANTOINE PREDOCK ARCHITECT PC • USA Port House in Antwerp

Vancouver Convention Center Expansion Project

Mauges High School

Audi Academy

Trade Fair Center in La Spezia

Hiroshi Senju Museum | Teshima Art Museum

Eindhoven Airport Extension and Hotel

Kindergarten in Atalaia

Lausanne Football Stadium

Mareel

Gateway Center & Plaza

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 Bertrand Moinault - CESYAM Carlos Lüthy - ComputerWorks GmbH Emily Patrick - Vectorworks, Inc. Jacqui Smith - Computers Unlimited Julie McClure - Vectorworks, Inc. Luc Janssens - Design Express Lucas Vandersanden - Design Express Martina Moellinger - ComputerWorks GmbH Pete Hicks - Vectorworks, Inc. Pier Luigi Antonini - VideoCOM Shige Shiozawa - A&A Co., LTD Thierry Beurey - CESYAM EDITORIAL TRANSLATIONS Bertrand Moinault (French) Christoph Köbelin (German) Kaz Satoh (Japanese) Sylwia Hodyra (Polish) DESIGN Isabel Oliveira - TechLimits LAYOUT Isabel Oliveira - TechLimits Vanda Querido - TechLimits PRINT Projecção Arte Gráfica, S.A., Portugal CIRCULATION Total circulation - 75 730 English editorial - 21 330 French editorial - 1 700 German editorial - 48 700 Japanese editorial - 2 500 Polish editorial - 1 500 COPYRIGHTS ©2015 TechLimits and 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 Vectorworks, Inc. Vectorworks is a registered trademark of Vectorworks, Inc. FRONT PAGE Hiroshi Senju Museum Project by Ryue Nishizawa Photograph ©Daici Ano

Editorial We’re bringing you this year’s MODUS news while celebrating Vectorworks’ 30th anniversary. This special edition showcases designs where buildings’ unique interior-exterior relationships follow the natural landscape and where the respect for the existing defines the way design interacts with tradition.

“The works found within these pages emerged from a community of creative minds who rely on Vectorworks design software to conceptualize and transform their ideas into real experiences that can be shared with the world,” says Sean Flaherty, CEO at Vectorworks, Inc. “To those of you who have been with Vectorworks since our inception in 1985, thank you for choosing us as your partner in transforming the world. And to those of you who are just joining us, welcome to a community that spans the globe and over half a million people. As we enter the next 30 years, I encourage you to continue to redefine the field of architecture and join the ranks of visionaries whose work sparks the imaginations of designers everywhere.”

From renowned museums and lofty stadiums to artful, cultural landmarks, architects shape the way that we understand our surroundings and interact with the environment. MODUS news brings some of these impactful structures together in one publication, not only to recognize designers for their exceptional skill, but also to inspire architects around the world.

Isabel Albuquerque

ISBN 978-989-8623-43-0

ZAHA HADID ARCHITEC TS AND STUDIEBURO MOUTON B

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Port House in

Antwerp 30

The Port House is a Zaha Hadid design for which Studieburo Mouton used Vectorworks software to execute the structural engineering. The project’s location honors Antwerp as a crucial economic part of Flanders with the Port of Antwerp being the second biggest port in Europe. The Port House combines a new, beam-shaped structure and a former fire brigade building into a new headquarters for the Port Authority.

The project is strategically located between city and harbor, with magnificent views over both the city center and the port from behind the articulate glass walls – some transparent, others reflective – in reference to the Antwerp diamond trade.

counters, offices, and meeting rooms in the existing building are directly accessible. The offices, auditorium, and panoramic restaurant in the new extension are accessible via elevators just off the central courtyard.

The two entities, the former fire station and the new crystalline volume elevated above the retained building, form an impressive new landmark. The building will house approximately 500 staff and is organized around a central atrium from which public

The new building’s volume is enclosed by an articulated glass surface: a diamond shaped design with the façade panels rotated slightly. The building thereby reflects its surroundings during the day while transforming itself into a radiating crystal at night.

The new extension is positioned asymmetrically over the central courtyard of the existing structure, allowing light to enter the heart of the building. Supporting the structure are two sculpted concrete columns that house stairs and elevators and four tapered composed steel columns in inclined positions. The offices within the building are open plan, creating a powerful sense of space but also providing discreet meeting and breakout areas.

Construction photograph ŠGemeentelijk Havenbedrijf Antwerpen; renderings by Zaha Hadid Architects; Zaha Hadid photograph by Steve Double; Guy Mouton, Lieven Tone Houdmont, David Dooms and Piet Lelieur photographs, and section by Studieburo Mouton

Zaha Hadid Architects is a global leader in pioneering research and design investigation, with works of all scales and in all sectors.

By collaborating with industry-leading corporations, the practice has furthered its diversity and knowledge while applying advanced design, construction, and material technologies to aid in the creation of innovative projects where concepts of seamless spatial flow are made real. www.zaha-hadid.com Studieburo Mouton is a structural design office that has acquired a special position within the Flemish architectural landscape, as well as a steadily growing international reputation. Conducting a stability study for a design goes much further than simply calculating a given situation, which is why the office is ready to be involved in an architect’s earliest design stage. Its main aim is to provide a stability study in which its interaction with the architect strengthens the design. www.studieburomouton.be

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“MAKING PLACES. ENGAGING PEOPLE. INSPIRED BY NATURE.”

All photographs and site plan by PWL Partnership

PWL Partnership Landscape Architects Inc. is a leading Vancouver-based landscape architectural firm with 40 years of experience in public and private-sector planning and design across Canada, the United States, and Asia. PWL works collaboratively with clients and a wide range of specialists and collateral professionals to create innovative, imaginative places that incorporate both social and environmental benefits. www.pwlpartnership.com

Vancouver Convention Center Expansion Project

In the spring of 2009, a fascinating transformation took place in downtown Vancouver. Flushes of grasses and wildflowers began to appear 12 stories above Coal Harbor and were soon visited by insects, songbirds, and butterflies. This new habitat, absent from the downtown area for over 150 years, is a self-maintaining, self-regenerating living roof. Along with the 5 800 square meter plaza and seawall promenade extension, the living roof demonstrates the diverse contributions made by PWL Partnership to the Vancouver Convention Center Expansion Project.

The extensive 2.4 hectare living roof is a key component to the overall project’s achievement of LEED Gold certification. The roof moderates heat gain and loss in the building, improves urban air quality, filters and reduces rainwater runoff, and creates valuable habitat. The thriving plantings, first tested in a three-year test plot program, include sedges, perennial herbs, and grasses modeled after British Columbia’s coastal grasslands for their ability to thrive in climatic extremes and restricted root growing depth.

The plaza, designed to hold up to 8 000 people, is comprised of smaller peripheral spaces defined by planters that moderate the scale of the plaza and create intimate, comfortable, and flexible areas. The vocabulary of regional and sustainable materials includes locally sourced growing medium, plants, railings, concrete and basalt pavers, and permeable pavers.

Rainwater runnels course throughout the plaza and articulate the district markers at the street ends, celebrating one of the defining characteristics of the Pacific Northwest: rainfall. Treated wastewater from the building irrigates both the living roof and the plaza plantings.

PWL’s landscape design for the Vancouver Convention Center Expansion Project features the largest non-industrial living roof in North America and Vancouver’s first large plaza for public gatherings and events. The simplicity of the site is an amazing contrast to its complex building and engineering systems, and a model for compatible, progressive, and sustainable urban design.

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High School

This school is of particular importance since it’s the first public high school in Beaupréau, a town of over 100 000 inhabitants. And even though towns of this size are required by law to have such a facility, Mauges High School will be the first in this area, ending the monopoly private schools held on education in Beaupréau. It has been a long-standing issue in this region that is finally resolved.

In a pristine wooded area, the campus is full of positive energy. The concept offers an original composition in the form of a “chromosome,” hanging on a slope and matching the morphology of the plot. The building is divided into staggered strips that travel along an east-west axis following the contour lines, allowing the whole building to receive sunshine. An internal glass walkway acts like a bioclimatic backbone space, capturing and disseminating heat and light to the interior spaces. This environmentally friendly ambition is reinforced by the compactness of the complex and the creation of a “Canadian” geothermal foundation, ensuring efficient thermal comfort.

The envelope of larch wood, the sandstone bottom underbody, and the green roofs help to anchor the building to its natural environment. It’s also an “open” building, with an auditorium, refectory, and library freely available for occasional events.

Epicuria Architectes conceptualizes its designs in 3D with the use of Vectorworks software, “which offers great ease and mastery when creating 2D drawings from the contest phase to the latter phases.” As a matter of fact, it’s necessary to “feel the edification of the whole project globally” moving toward a more detailed, final 3D model.

The rigorous organization of classes and layers allows a quality DWG exchange with the office interlocutors. The aim of the latter is to model in 3D, ahead of design, with the ability to implement a BIM process. Initially, a schematic 3D model is done, and in the reflection and outline phases, architects “quickly find the matching volumes of the building’s envelope.”

Photograph, renderings, and ground floor plan by Epicuria Architectes

Epicuria Architectes - Jean-Michel Buron Founded in 1999 by Architect and Planner Jean-Michel Buron, Epicuria Architectes is composed of 13Â architects. It specializes in public buildings with different contexts but where all projects share a focus on environmental quality. Light, luminosity, and functionality are the key words of Jean-Michel Buron, enabling him to respond to programs and contexts without superfluous gestures. www.epicuria-architectes.com

KLEIN & SÄNGER ARCHITEKTEN G

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01| Photograph ©AUDI AG, AUDI Akademie 02| 03| Renderings by Bloomimages 04| 06| Klein & Sänger photograph and ground floor plan

by Klein & Sänger Architekten 05| Photograph ©Atelier Hohenwart, Christoph Rehbach

Klein & Sänger Architekten realizes projects of different scales as both architects and general contractors for the public and private sectors. Established by Reiner Klein and Reinhart Sänger 30 years ago, the Munich-based company has since designed and realized technologically sophisticated buildings all over Germany for the education and research sectors. In addition, their range of activities includes urban analyses and feasibility studies. www.ksarc.de

Audi Academy

Audi Academy – Spatial Realization of an Educational Concept Founded in 1993, the Audi Academy offers continuing education and training services on a wide variety of topics, ranging from human resources, personal development, and technical qualifications to language instruction and the qualification for Audi’s dealers and service partners. Over 300 Audi Academy employees provide these services to up to 250 event participants per day.

The new academy building offers a spatial expression of this educational purpose. The central seminar rooms occupy five stories of the building positioned around an atrium providing ample natural light. Well-lit walkways connect the rooms on each floor to their respective lounge areas. Before and after the training courses, as well as during breaks, these areas offer participants an opportunity to get to know each other and exchange ideas.

The ground floor is used for larger events. Apart from the generous foyer, it houses a large event room, the bistro and its kitchen, several conference rooms, as well as various facility service areas. For larger events, flexible dividers allow for the creation of diverse spatial situations. The seminar rooms at the heart of the academy building are enclosed by the teachers’ workrooms on four sides. This layout ensures that employees have a short and direct path from their workspace to the training facilities.

The office spaces located on the perimeter offer attractive views of the surroundings, including the Danube River with the Klenzepark on the far bank, the New Palace, the historic foundry hall, and the Technical University located close by. The Audi Academy’s façade, with its iconic shape, offers protection from both the sun and prying eyes. Story-high aluminium frames are mounted in front of the balconies that run around the building. They are equipped with perforated aluminium sheets that can be adjusted individually with the help of electric motors.

S T U D I O M A N F R O N I & A S S O C I AT I ( M M A A ) I

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Trade Fair Center in

La Spezia Built in a former industrial area previously occupied by a pasta factory, the 9 200 square meter expo pavilion features a coated iron structure and an envelope made of titanium-zinc panels and vast glazed surfaces. The building takes the form of a long parallelepiped, folded over on itself, soaring up from the ground and jutting out sharply at the end, which shelters the entrance facing the pre-existing multiplex.

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MA .211 Pr .1521

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The building’s shape is based on the idea of creating an architectural promenade, unfurling from the highest point of the building, through an exhibition space, and down to the bottom. The ramp leads through the interior and makes the building’s exterior look like a giant, twisted metal tube. This striking form also becomes an element that structures the interior layout, creating a hierarchy of spaces without sacrificing overall harmony. The unified space can house different functions at the same time or be used as a single venue.

The ground floor features public and service entrances, as well as many of the exhibition areas, which seamlessly continue through the space of the intermediate and upper floors. The top floor can be used separately from the rest of the building for thematic or reserved exhibitions, since it has its own entrance and dedicated stairs and elevators. Due to its location, the center becomes an ideal gateway to the city, looking onto Via Carducci through a glazed wall parallel to the street, topped by a single metal roof that creates a unifying element in the architectural whole.

Mario Manfroni and Patrizia Burlando photograph and section by Studio Manfroni & Associati (MMAA), all other photographs by Roberto Buratta

Studio Manfroni & Associati (MMAA) works internationally across all key construction sectors for both public and private clients.

The office is known for providing projects that transform areas for different uses while achieving high-quality architecture, technical innovation, and controlled costs. Their high‑level designs lead to the implementation of most of their planned projects. www.studiomanfroni.it

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The Hiroshi Senju Museum in Karuizawa is dedicated to the work of Japanese painter Hiroshi Senju, known for his large‑scale waterfall paintings. The building offers a unique interior‑exterior relationship, which follows the natural landscape. Ryue Nishizawa shares his thoughts about the project:

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Ryue Nishizawa photograph by Takashi Okamoto, site plan

by Ryue Nishizawa, and all other photographs ©Daici Ano

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“During our first conversation with Mr. Hiroshi Senju, he asked us if it was possible for a museum to be bright and open – one that has never been done before. In other words, a bright space where one can experience the realm of Mr. Senju’s work and at the same time a place where people can gather and unwind, or spend some time alone.

“The building is composed of a single, landscape-like space that follows the existing topography of the site. With natural light controlled through the extended eaves, silver reflecting screens, and UV-reducing glass, the building harmonizes Mr. Senju’s art with the natural surroundings of Karuizawa by softly bringing in the surrounding scenery, light, and landscape. Visitors are able to meander through the space as if walking through a forest, interacting with Mr. Senju’s work and experiencing the richness of nature while spending time on the furniture that rests throughout the space. We intended to make an open and airy space that is like a park and a private living room simultaneously.”

Office of Ryue Nishizawa Ryue Nishizawa, an architect and professor at Yokohama Graduate School of Architecture Y-GSA, was born in 1966, in Tokyo, Japan. In 1990, he graduated from the Yokohama National University with a master’s degree in architecture and joined Kazuyo Sejima & Associates, establishing Sejima and Nishizawa and Associates (SANAA) in 1995, and then the Office of Ryue Nishizawa in 1997.

Main Awards: 1998, 2006: The Prize of Architectural Institute of Japan, Tokyo, Japan*; 2004: Golden Lion for Most Remarkable Work in the Exhibition during the 9th Annual International Architecture Exhibition at la Biennale di Venezia*; 2007: The Berliner Kunstpreis (Berlin Art Prize), Berlin, Germany*; 2010: The Pritzker Architecture Prize*; 2011: Officier de L’ordre des Arts et des Lettres, France; 2012: 25th Murano Togo Prize, Tokyo, Japan; 2012: The Prize of Architectural Institute of Japan, Tokyo, Japan Main Projects: Dior Omotesando*; 21st Century Museum of Contemporary Art, Kanazawa*; Moriyama House; House A; The New Museum*; Towada Art Center; Rolex Learning Center*; Teshima Art Museum; Hiroshi Senju Museum, Karuizawa; Musée du Louvre-Lens*

www.ryuenishizawa.com

* Kazuyo Sejima and Ryue Nishizawa / SANAA

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All photographs by Iwan Baan and site plan by Ryue Nishizawa

Teshima

Art Museum The Teshima Art Museum is located on Teshima island, halfway up a low hill where rice terraces harmonize with nature and overlook the Seto Inland Sea, composing a beautiful environment. Here is what Architect Ryue Nishizawa says about his design, a collaborative creation between himself and artist Rei Naito: “We considered a way where architectural space coexists with the artwork of Rei Naito, which matches well with Teshima’s environment. We proposed a water-droplet-shaped architecture, composed of free curves. We thought that forms with free curves like a water droplet could create a single, strong architectural space, with the wavy landscape surrounding. A thin concrete shell spreads to a maximum

length of 60 meters, creating an organic, single-room space inside the structure.

“In addition, limiting the ceiling height lower than the usual shell structure makes the landscape-like structure closer to a hill than architecture, and the space extends in a low manner, obtaining a horizontal stretch inside. The shell has large holes to take in light, rain, and the beautiful natural atmosphere: we tried to create a dynamic scene where the architecture is closed but at the same time open between the artwork and the environment. We aim to fuse environment, art, and architecture, where they create an existence that becomes one unit.”

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KCAP Architects & Planners architects’ photographs ŠAri Versluis, Stefan de Bever and Hellen van Heel photograph by Freekje Groenemans, all other photographs by Norbert van Onna, ground plan by KCAP Architects & Planners and De Bever Architecten

KCAP Architects & Planners is an international design firm specializing in architecture and urban planning.

Founded in 1989 by Kees Christiaanse, KCAP is now led by five partners - Han van den Born, Kees Christiaanse, Ruurd Gietema, Irma van Oort, and Ute Schneider - and has offices in Rotterdam, Zurich, and Shanghai. www.kcap.eu De Bever Architecten is a future-oriented, innovative office that specializes in responding to complex spatial tasks and building projects. De Bever supports its clients from the concept phase to the realization of the construction with attention to their ambition and a sustainable environment. www.debeverarchitecten.nl

Eindhoven Airport In order to facilitate the growing number of passengers at Eindhoven Airport, the existing terminal building was extended and a new hotel was added. Both additions were designed by KCAP Architects & Planners and De Bever Architecten, the same teams that designed the existing terminal building in 2005, in cooperation with NACO, known as Constellation. The extension consists of a new 2 000 square meter entrance zone with additional retail stores, bars, and restaurants on the ground floor, a 2 700 square meter extension of the arrival hall, and 2 700 square meters of offices on the first floor. The eight-story, 4 550 square meter hotel offers 120 hotel rooms, a bar, breakfast space, and fitness facilities, as well as a restaurant and meeting rooms. Vectorworks software was used by KCAP Architects & Planners mainly in the early design phase.

The possibility of an extension was a part of the original design.

A growth model had been developed in which separate building elements could be constructed independent of each other, such as the extension of the terminal, the entrance area, and the hotel.

The growth model is part of the urban development vision for the Eindhoven Airport in order to transform it into a hub for mobility and business activity, offering the necessary flexibility to react to future developments.

Like the pre-existing terminal building, the extension and the new hotel are characterized by functionality and transparency. The form and material clearly refer to the techniques and dynamics of the aviation industry. The terminal was extended an additional 65 meters as a continuation of the curved roof, the V-columns, and the façade of steel, glass, and aluminum. The hotel is a solitary building on top of the departure hall, and its form and position create an orientation point and a symbolic character for the new ensemble of Eindhoven Airport while retaining existing qualities such as easy orientation and clear logistics.

Extension and Hotel

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Gonรงalo Neves Silva Arquitectos Associados Accurate construction, along with exhaustive searches for the perfect materials for use in each project, are the highlights of the work done by Gonรงalo Neves Silva Arquitectos Associados. Served by these principles, the office proposes innovative architectural projects, accompanying the client from the beginning of the design stages to the end of the construction work so that each new building can be an example of strength, comfort, and enjoyment. www.goncalosilva.pt

All photos and site plan by Gonçalo Neves Silva Arquitectos Associados

Kindergarten in

Atalaia The Kindergarten in Atalaia is associated with one of the most emblematic monuments of Montijo, the 16th century Our Lady of Atalaia Church and Sanctuary. With unique, historic surroundings, the new building aims to maintain a simplicity of form so that the church can retain its prominent role.

For the architects Gonçalo Silva and Nuno Antunes, it is all about the genius loci, the respect for the existing and its relation to the needs of the new reality. “For us, architecture is a passion, a vocation, a social art, and science. Space, light, order, simplicity, and clarity of forms are regulatory elements of the way we look at architectural design. Driven by an ideal of perfection, we listen to the silence of the existing spaces. Our creative philosophy reflects an ongoing dialogue with reality, with a day-by-day reinterpretation, from the consciousness of the material to the spiritual needs of our users.”

The innovative use for this space breathes new life into the daily routines of the people of Atalaia, where the present touches the past without conflict. The new building offers a main façade comprised of a single rectangular design where only the main entrance stands out: a door of stone from the original church.

The building was kept detached from the church’s south façade, which created a separated area marked by the presence of the bell tower and delimited between the architectural purity of the church’s façade and the proposed construction of a sober façade, balanced with vertical openings. This is an example of architecture that is truly harmonious.

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Lausanne

Football Stadium The new football stadium, located north of the city of Lausanne, marks the transition between the density of the urban fabric and the openness of the countryside. It is the prelude to a new sporting infrastructure that will include nine football fields and a facility dedicated to athletics.

With its memorable structure, the stadium is designed as a carrier of identity and memory. By opening and folding the stadium’s four corners, the design takes the cramped situation of the structure’s perimeter into account. The result is an impressive and distinctive iconographic expression of a vessel.

On the ground floor, the folded corners reveal a generous and flowing space dedicated to visitors’ movements around the stadium, as well as four entrance halls. This creates a covered public space that serves as an interface between the city and the football stadium. Even from the outside, one can feel the atmosphere inside the stadium.

The Lausanne Football Stadium will be developed in stages, with the first beginning in 2015, by moving the Romanel Road to allow the construction of the football center and athletics facilities. This is the first major achievement of the project “Métamorphose,” which should be completed in 2017. The football stadium should be completed in 2019, and the business center and the public transportation interface in 2025.

:mlzd Created in 1997 in Bienne, Switzerland, :mlzd is a versatile architectural team that has won over 30 awards at international competitions and completed more than 40 buildings. :mlzd currently has 30 employees whose collaborative discussions produce many heterogeneous projects. One characteristic that all of the projects have in common, however, is the self-assured and highly respectful attitude towards the architectural setting. :mlzd – for love of detail www.mlzd.ch Sollberger Bögli Architekten The Sollberger Bögli office was founded in 2000 in Biel, Switzerland. In its achievements, this architectural firm claims a serene authenticity. Its architecture combines context, materials, economy, and functionality but aims for more; with characteristic shapes and unique ideas, they strive to give rise to emotions. www.sollbergerboegli.ch

Group photograph, site plan, and ground floor plan by :mlzd and Sollberger Bögli Architekten, renderings by loomn, D-Gütersloh

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Mareel Mareel Cinema and Music Venue, Lerwick Hoskins Architects, in collaboration with PJP Architects LLP, won the national competition to design Mareel, the UK’s most northerly cinema and music venue, for the Shetland Arts Development Agency. Sitting on the edge of the historic Hay’s Dock in Lerwick, the capital of Shetland, and overlooking the Bressay Sound, the 2 980 square meter building includes a multi-use auditorium, two cinema screens, a recording studio, rehearsal rooms, creative industry spaces, and a café bar.

Inside the building, the dramatic, double-height foyer and café bar threaded between the offset auditorium act as sound buffers between these acoustically sensitive spaces. The atmosphere of the internal spaces has been designed to contrast with the hard, protective outer skin. As visitors progress from the foyer to the café bar to the auditorium, warmer materials, such as an exposed, engineered timber structure, European oak linings, and fabrics, as well as softer lighting, are gradually added to slow the pace of movement and create a welcoming atmosphere.

The building’s form reflects the region’s tradition of simple and robust forms, typical in such exposed locations, which echoes the materiality of the fishing industry buildings dotted along the waterfront. The striking building sits directly on the stone quay, drawing directly from the heritage of the traditional merchants’ houses and warehouses built on the water’s edge.

The angular, aluminum skin wraps around and protects the acoustically sensitive spaces against the extremely hostile local climate. Two large “cuts” in the external skin create a protected entrance area and open up the interior to an ever-changing view of the sound out across Hay’s Dock.

Specially commissioned, light-based art installations, created by Mirrie Dancers with the participation of local residents, have been incorporated into the building design. Externally, subtle, colored up-lighting picks up the edges of the folded aluminum skin while internally, specially created lace patterns have been integrated into the light fixtures in the venue’s public areas. The building has been designed to maximize passive solar gains and daylight in the main spaces with the foyer and cafe bar oriented toward the south and west of the building with service spaces located as much as possible on the northern façade.

Hoskins Architects Founded in Glasgow in 1998, Hoskins Architects is one of the UK’s leading architectural offices. With studios in Glasgow and Berlin, Hoskins Architects is involved in a wide range of projects of almost all sizes and for a wide variety of sectors across the UK and internationally. From private houses to national public institutions, the firm strives to produce elegant, well-crafted buildings that generate a sense of place, belonging to their location and becoming enjoyable places to live, work, and play. www.hoskinsarchitects.com

Gareth Hoskins photograph, ©Gillian Hayes; Sarah Mooney photograph ©HA Berlin; ground floor plan by Hoskins Architects; all other photographs ©Phatsheep Photography

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Antoine Predock photograph and sixth level floor plan by Antoine Predock Architect PC, all other photographs ©Tim Hursley

Gateway Center Plaza &

Gateway Center and Plaza - University of Minnesota An irregular polyhedron of colliding granite planes is broken by large fissures of glass, opening the interior space to the sun and sending refracted light bouncing off the copper surfaces. This description defines the University of Minnesota’s Gateway Center and Plaza, which emerges from the earth as more of an upheaval of material than a distinct structure. The Center occupies a major entry point onto the university’s campus and houses a memorial hall, as well as offices for departments like the Alumni Association and the Board of Regents.

And while the functions of the space are integral to the school, the building’s true importance comes from its symbolic ties to the culture of the American Midwest.

The word “Minnesota” comes from the Native American Dakota tribe’s word for “clear blue water,” and the surrounding area was settled by colonial traders because of its advantageous position along the waterways between

the Mississippi River and Lake Superior. Today, this ancestral bond between the people of Minnesota and their environment is physically expressed in the form of the Gateway Center, which Architect Antoine Predock describes as simultaneously evoking the natural rock faces of the region and the iconic huddle of the Minnesota farmstead. This form is surrounded by a veritable forest of native plants on the Plaza, including 110 evergreens and 178 hardwood trees that can all be found within the state, making the entire complex a Minnesota in miniature.

The Center also connects the region’s rich past to the university’s history.

Built where the school’s stadium once stood, the building features a salvaged 16 meter tall “Memorial Arch,” which now hangs from one of the Center’s interior polyhedral facets and marks the entrance to the facility’s Heritage Gallery. The arch now acts as a literal gateway to the past, connecting the bygone days of Minnesota’s past to the Gateway Center and future generations.

Antoine Predock Architect PC From the Rome Prize to the AIA Gold Medal, New Mexico-based Antoine Predock Architect PC has graced the design industry with five decades of award-winning work. Its founder, Antoine Predock, interprets architecture as a ride — a journey toward the unexpected.

Inspired by his love of human motion through his involvement with dance, and mechanical motion through his passion for motorcycles, Predock views the physical and intellectual experience of design as a choreographed event. Thus, his buildings function as a procession of movement, and as an accumulation of perceived and experienced vantage points unique to each observer. www.predock.com

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