Architecture Highlights：Best Selection of Shanglin

Best Selection of Shanglin

BEST

SHANGLIN

SELECTION

OF

B E S T SELECTION OF

SHANGLIN

This volume is the special edition of Architecture Highlights series. Based on global choice by Shanglin, it is a great collection of latest design works in architecture. Strictly following the standards and views of architects themselves, the selected architects are very active in contemporary architectural stage. Their works always capture emerging themes and ideas in architectural design, bringing change, breakthrough and evolution to architectural field.

Among the architects featured in this book are AH Asociados, BURO II, CO Architects, Dietmar Feichtinger, Griffin Enright Architects, Hitoshi Abe, Jensen & Skodvin Architects, Kohn Shnier Architects, OJMR Architects, PAGE/PARK Architects, Querkraft Architeckten, Saia Barbarese Topouzanov architectes, Stanton Williams Architects, Teeple Architects, Tighe Architecture and so on. Case studies of their work showcase creative and innovative designs in response to contemporary design challenges. Each highlighted work is very inspirational and has great value for reference.

Described and accompanied by striking full-color images and completed drawings, the book is an exciting travel into the marvelous architectural world.

AH Asociados

10 Renovation of Arantzazu

Antonino Cardillo Architect

20 Dualistic House in Erice 24 House of Convexities

BURO II

28 Baiyun International Convention Center

CO Architects

34 Cancer Center Clinic at UMC 42 Westminster Rose Center

Domenig・Eisenkock・Gruber

46 Provincial Hospital Graz-West

Domenig・Eisenkock・Peyker

50 T-Center St. Marx

Diamond and Schmitt Architects

54 Cambridge City Hall 58 Computer Science and Engineering building， University of Michigan

Dietmar Feichtinger

62 Danube University Krems 70 Art Center Weiz 74 Simone de Beauvoir Footbridge

Enota

82 Hotel Sotelia 88 Jurckova Housing

Frederic Borel Architect

92 Paris Val-de-Seine School of Architecture

Gonzalo Mardones Viviani Arquitecto

98 Glamis Apartments 102 Vanguardia Offices

Griffin Enright Architects

106 Point Dume House

Hans Ruijssenaars architecten

118 Faculty of Law: University of Leiden

Hitoshi Abe + Atelier Hitoshi Abe

124 Ftown Building 128 K-museum

Hodgetts + Fung Design and Architecture

134 Menlo-Atherton High School Performing Arts Center

138 146 154 164

Jensen & Skodvin Architects

Gudbrandsjuvet-Viewing Platforms & Bridges Gudbrandsjuvet-Juvet Landscape Hotel New Monastery for Cistercian Nuns Thermal Bath, therapy and Hotel

Jourda Architectes Paris

170 Bordeaux Botanical Museum

Kohn Shnier Architects

176 Claude Watson School for the Arts 180 Lake House 186 Muskoka House

Konigs Architects

194 Estonian National Museum 198 National Soccer Museum 202 Parish Centre St. Francis

Lahdelma & Mahlamaki Architects

206 Helsinki University, Exactum 212 The Urn Cemetery of Tapiola Church Yard 216 Museum of The History of Polish Jews

Lehrer + Gangi Design + Build

222 Water + Life Museums

Luca Gazzaniga Architetti

230 Casa Cedrini

Macy Architecture

234 Sustainable Steel Home

Ogrydziak / Prillinger Architects

238 Kayak House 244 T House

OJMR Architects

250 2801 South Palm Canyon

PAGE / PARK Architects

258 Eden Court Theatre & Cinemas 262 Loch Lomond and the Trossachs National Park Authority Headquarters 266 Titan Enterprise Centre

Architectenbureau Paul de Ruiter

270 Office of Rijkswaterstaat Zeeland

Pugh + Scarpa Architects

276 Broadway Court 280 Bronson Lofts

Querkraft Architekten

282 ML museum liaunig

Robert Harvey Oshatz Architect

288 Fennell Residence 294 Wilkinson Residence

Saia Barbarese Topouzanov Architectes

304 House in St-Henry 306 Lassonde Building (School of Engineering), University of Montreal 312 Pierre Dansereau Science Complex, University of Quebec in Montreal (UQAM)

SAMYN and PARTNERS architects and engineers

320 Akademisch Ziekenhuis, Vrije Universiteit Brussel 324 THE GLASS CENTRE, Flemish Centre for Modern Art

Scott Hughes Architects

330 The Pine School

Shubin + Donaldson Architects

336 Linda Flora Residence

Stanton Williams Architects

338 Belgrade Theatre

Teeple Architects Inc.

342 Langara College Library & Classroom Building 348 Scarborough Chinese Baptist Church 352 Chemical Sciences Building, Trent University

Teruo Miyahara / Miyahara Architect Office

356 House TTN 360 House Uc

Tighe Architecture

364 LA Loft 372 Sierra Bonita Affordable Housing 376 Tigertail

Undurraga Deves Arquitectos

380 Lakeside House

Valerio Olgiati

388 Atelier Bardill

Zwarts & Jansma Architects

392 Sports Centre Almere 396 415

Index Credits

AH Asociados

10

Renovation of Arantzazu Spain

The Sanctuary of Our Lady Arantzazu is located in an exceptional natural enclave at the foot of the Urbia open field, between ravines, rocky mountains and rivers. The legend says that the Virgin Mary appeared on a hawthorn to a shepherd, who spoke to her with astonishment “Arantzazu”. The name of the Sanctuary comes from the words of this shepherd and the devotion to Our Lady Arantzazu from this apparition. In 1951, after a fire destroyed the small temple, the Franciscan Order decided to build a big Basilica through the language of Contemporary Art. Thus, the emblematic building with its pointed stones was put up. It was designed by Sáenz de Oiza and Laorga but also by artists such as Jorge Oteiza (sculptures on the façade), Eduardo Chillida (doors), Lucio Muñoz (the wood altarpiece), Néstor Basterretxea (paintings on the crypt) and Javier Eulate (glass windows). Built on a ravine at the foot of the Aizkorri Mountain, the Sanctuary of Arantzazu is unique in the whole world. It has been recognized abroad as the prime example of the Basque Avant-Garde movement and as a new vision of Religious Art. Although many experts have asked for it, the Sanctuary has not been considered as a cultural heritage yet.

The renovation of Arantzazu includes interventions that have been developed during the last four years to recover the environment around the Basilica on the occasion of its fifth centenary. These interventions had, on the one hand, the aim of adapting the physical environment (through an Special Program of Landscape Protection and an urbanization project of the Basilica’s outer doors that includes a tourist office and a parking) and, on the other hand, the renovation of the Old Seminary and pelota courts to equip them as a new meeting place: the cultural centre “Gandiaga Topagunea”. The perception of a building structure made of planes and blocks parallel to the current natural incline has disappeared in order to present the whole as a group of stone blocks that are perforated by large holes, like an excavated void and horizontal cuts that open the building to the imposing natural landscape.

In addition, a new place has been built next to the old chapel in order to host a sculpture donated by Jorge Oteiza. This building is known as “Misterio”; a small place that must not compete with the Basilica and must not be the religious protagonist. It must be a space of silence and light to whom as visitors or pilgrims are looking for something.

Transverse Section

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First Floor Plan

Mezzanine Plan

Ground Floor Plan

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South Elevation

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Antonino Cardillo Architect

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Dualistic House in Erice Trapani, Italy

A pre-existing reinforced structure on three levels, arranged on a narrow plot in the hills, is the pretext for this next architectonic text. Stripped of walls and ceilings, the reinforced cement grille looks like an abstract geography, an irrational place on and with which to rewrite space.

Here the architect experiment with a dual and contradictory situation, bringing together primary volumes with fluid objects, in order to construct an organism from the juxtaposition of different but continuous and interconnected spatial places, as in a narration. In this new configuration, from the road, the house looks like a tower mounted on a steep inclined grassy mantle, resulting from an excavation to uncover the outer walls. The building thus acquires a considerable vertical dimension, integrating a unique and extended parietal floor running from the ground to the attic. Its compactness is compromised by a rash of holes and constructed pieces of random dimensions, misalignments, projections and recesses, which destructure the facade, throwing into question the conventional alignment of floors. At the back of the plot, a wall with distinctive internal content is set against the tower, forming a backdrop. In the middle, between these two “entities�, in a space of varying height, there are the horizontal and vertical paths of the dwelling.

A small glass structure of elliptical design, fixed under the tower, leads into the internal space. The first square room, blurred at the edges by the relationship woven by the apertures with the countryside, serves the functions of living and multimedia. Carrying on the path there is an unexpected change: the ceiling stops in a curve freeing up the space to the height of the three floors, the hallmark of the building. The vertical space thus represents the double negative of the tower on the road, but its cutting, prismatic character is suddenly contradicted by the rapid and coordinated succession of flexible lines, which create the shapes of a semi-elliptical ceiling designed for dining and spiral stairs up to the bedroom. Below, the floor is interrupted by a gap through which stairs give access to the floor above. Two opposing glass devices connect, aesthetically and physically, the inside to the outside: to the south a brise-soleil extends for eight metres in height, linking the three levels with its horizontal scansion; to the north a bright glass apse allows access to the terrace, condensing the dining area ceiling in elevation.

Ground Floor Plan

Its walls are made up of a scansion of metal pillars and plates of glass orientated along the semi-elliptical perimeter. To the rear, the progressive reduction in height of these elements, which determines the hanging of the ceiling, adds to making the curvilinear perimeter more visually expressive, thus granting a sensation of spatial dilation. In plan, furthermore, the rotation of the elliptical line compared to the rest of the building gives a bifocal perspective, accentuating the spatial independence of the dining area in contraposition to the vertical space adjoining the brise-soleil wall.

At the edge of the plot to the rear, the kitchen with pantry, the toilet and the studio complete the public contents of the dwelling. Linked by means of a corridor next to the dining area, but spatially defined by a predominating parallelepiped, even in their functional specificity these parts are conceived as topic places in the architectonic narration. Apart from the bathroom and pantry, access to each is through large panels which slide out of view, unifying the whole spatial organism of the building. Like a part of a medieval city, therefore, the functional parts and thus spaces are linked together as in a system of piazze.

First Floor Plan

Next to the dining area is a spiral staircase, which led to the bedroom on the second level. Above, a system of accesses links the main bedroom, the two children’s bedrooms and the access to the terrace. Set inside the cavity through the three floors, the sculpted wooden parapets seem almost to float, then slide down in the spiral of the stairs. Inside the bedrooms, each having en suite bathroom facilities, the space is self-contained giving the user maximum privacy. The main bedroom also includes a WC, a shower room and jacuzzi under the ribbon window looking out on Monte Erice.

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Antonino Cardillo Architect

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House of Convexities Barcelona, Spain

If architecture is music in stone can its “limbs” dance? Architecture only remains still in pictures. In real life its natural state is one of transition.

Both man and light move within it.

Inside a house among coarse Mediterranean glades and corrugated stone walls, a slanting light, pierced by innumerable narrow repeated blades, inscribes and describes the walls with its impermanent, mutable hand. How many possible stories will this light tell over the course of a year?

A curved wall jokes with the light. The light bathes the wall, but reaches the moment and the place in which, going beyond the curve, it takes a tangent, deciding what will be lit and what will be dark. And this movement suggests the indefinite, mutability, shading, ineffability.

Thus architecture becomes light interpreted through the “limbs” of the architecture. Like shadows of flesh on flesh, whose forms are both definite and defining.

Here, as in a Flamenco dance, the body breaks up, invading the space moving through its potential articulations without, however, defining the void, or, interpreting the many possibilities of moving within it: fleshy and sensual, but equally incisive and precise. Secret but luminous. Closed but open to a multitude of possibilities. A body inside another body. Compressed, suspended and continuous in its curvilinear trajectory.

And yet, as in a Flamenco dance, the development of movement, its indefinable ardour, is made real by the successive instant. That solemn, still instant that seems to challenge eternity.

Thus, smooth, tall and still, a wall opposes silence. And such stillness paradoxically supports the preceding movement, giving sense to its being.

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BURO II

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Baiyun International Convention Center Guangzhou, China

The local authority of Guangzhou decided to develop a congress centre at the edge of the historical landscape of the Baiyun Mountains. The new congress centre will function as generator for the further urban development of the city of Guangzhou.

The BURO II architects were chosen to develop this project in co-operation and interaction with the Chinese partner. This intercultural team approach resulted in a balance of perception, culture, innovation and technicality thanks to which the project breathes unity. The basic concept is ‘linking nature and town’, intertwining the congress centre as a transit between nature and the city. The new volumes are like foothills of the Baiyun Mountain. Four eco-bridges were designed which cross the motorway and connect the congress centre with the surrounding mountains. By using the history of the city, the symbols and materials of the emperor’s tomb and local materials such as red sandstone, the buildings are anchored on this site. The congress centre becomes more than a building: it is a meeting point between East and West.

The 300,000 m² project comprises auditoriums for 2,500, 1,000 and are hotels with 500 or 600 rooms inside. Energy-regulating buffer

Site Plan

three buildings with congress facilities and 500 people; the two buildings on the outside each. Western and Chinese culture merge on the zones are also used as circulation areas.

Level 0(0.00)

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Level 1(7.50)

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Level 2(15.00)

Level 3(22.50)

Level 4(28.80)

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CO Architects

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Cancer Center Clinic at UMC Tucson, Arizona, USA

The UMC Cancer Center is the product of “evidence-based design”, and was blueprinted only after extensive interviews with the client’s representatives, including patients, nurses, and physicians. CO Architects designed a naturally lit refuge of hope, invoking the power of the desert landscape to be defined as a place of inspiration and healing. The visual and physical access to the outdoors provides patients and staff at this intimate facility with a connection to the healing power of nature.

In addition to the clinical services of infusion therapy, imaging, and outpatient exams there is an array of patient amenities: a Resource Center to learn about cancer care; private rooms for massage therapy and yoga; a boutique offering soft clothing; a salon to help patients cope with hair loss and other side effects of the treatment; and a gourmet café with outdoor dining.

The Cancer Center exemplifies a medical facility that invites nature into the healing process. Here, the science and art of healing converges; medicine and technology are integrated with a healing environment closely linked to nature.

The infusion therapy and exam rooms are organized around the courts and are all provided with restorative views. The waiting rooms, public spaces and corridors look out toward the garden and the distant mountains. The sandstone wall at the main entrance is pulled away from the building, creating a shaded area that serves as a “porch”. It is a transitional element that protects the glass on the south-facing side and sets the tone of the building. The trellises on the east and west sides of the building are important shade elements that give light and shadow to the building and also visually extend the inside toward the outside, integrating the interior and exterior. The bridges that span the arroyo are a symbolic element-as you cross the bridge you are leaving the parking lot and are entering a healing environment full of hope.

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CO Architects

Section Through Theater

Section

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Westminster Rose Center Westminster, California, USA

The Rose Center includes a theatre and banquet hall and anchors a pedestrianoriented complex that comprises a community college and a park, both near the town’s city hall. Outdoor courtyards formed by the interstitial spaces between the center and the adjacent community college building also provide additional intimate venues for functions. The facility serves not only Westminster, but also surrounding Orange County towns, helping to improve the civic life of the area’s residents.

The two main glass volumes balance the adjacent masonry-clad volumes and transform into a dramatic, glowing entry beacon at night. Varying types of glass create a variety of transparencies and textures while defining the volumes that house the entry foyer and theatre. At eye-level, clear glass creates sightlines and transparency, while clear glass with a fritted pattern combines with translucent sandblasted glass to create visual interest above.

The custom-fabricated pattern of irregular vertical lines was designed to evoke bamboo plants as a tribute to Westminster’s large Vietnamese community as well as to reinforce the verticality of the structure. Its scrim-like effect on the facade also communicates the building’s function as a theatre and performing arts center.

The airiness of the glass balances the heavier, slate-grey, burnished concrete masonry units, chosen for both their cost-and energy efficiency, that define the building’s solid elevations. On the opposite elevation, the banquet space’s exterior is clad in warm yellow Minnesota Kasota stone etched with vertical grooves echoing the glass pattern, and also forms the panel for the building’s signage.

An elegant 600-foot-long plaza progresses toward the main foyer, a soaring, roughly triangular volume inserted between the theatre, which is sited at a slight angle, and the banquet facility. The burnished concrete masonry units continue through to the interior walls, which here are washed with soft natural light from hidden skylights along the perimeter of the foyer. Travertine marble floors, glass railings, and golden Anigre wood accents define the carefully edited elemental palette. The space’s simplicity-an inspired interaction among material, light, and texture-makes it easily adaptable for a variety functions, including use as an art gallery.

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Domenig・Eisenkock・Gruber

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Provincial Hospital Graz-West Graz, Austria

In the Sixties and Seventies, architects were hardly present in hospital construction. The tackling of technical and organisation requirements of modern medicine was supposed to be left to so-called ‘hospital specialists’ who had newly appeared on the planning market. From these times resulted numerous anonymous buildings, in which healing took place technically, but the psychological component was neglected.

The architect aimed at finding a high quality architectural language in the tight frame of a ‘functional hospital machinery’, which fulfils the essential framework conditions, such as functionality, urban-architectural quality, acceptance by the user and sustainability. The building should be friendly. The client, i.e. the patient should feel comfortable there. In a sense, that they would not only ‘live’ in a friendly designed room, but that they would also be able to ‘consume’ all interior and exterior rooms. This is why the design of the day rooms, the corridors and the waiting zones, the entrance hall with its infrastructural facilities and the chapel was ever so important. Each area received its own design and became individually recognisable, received its own character. The topic of day light and artificial lighting was of paramount importance too. Light-flooded rooms increase the patients’ well being and have a positive effect on the working climate for the frequently stressed-up staff. However, large glass surfaces have to be dealt with, too. The architect provided for an optimum sun protection and where there is no other solution, the area is air-conditioned.

A subtle, individual colouring, beyond fashionable Feng Shui nonsense, is expressed through the natural colours resulting from the material used.

Generally, Top-quality material is used to make sure that the intensively used building would continue to show an optimum and attractive surface quality.

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Domenig・Eisenkock・Peyker

Longitudinal Section

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T-Center St. Marx

A more exciting building site in Vienna for a large-scale project is hard to imagine-a disused or declining municipal abattoir in a big city. The area is dissected by one of Europe’s busiest city expressways which is designed as flyover, Vienna’s South-eastern motorway, whose access and exit roads are in close proximity to the construction site and superimpose themselves like oversized intestines on the abattoir sector. In contrast, the tramlines or city rail running parallel to Rennweg appear almost static and modest.

Vienna, Austria

An area such as this, many describe it as degraded and uncontrolled, requires architecturally artistic expression in distinct and unequivocal terms. Mistaken identity and randomness are out of place here.

Just to proceed with the catchword “highrise”, as expected by the user, seemed too simple, and the rationale to be derived from the overall function was missing.

Division of the building into small but also differentiated segments seemed to us inadequate for the desired presentation of the corporate image of a major company. A sculptured building-an architectural sculpture-seemed to us to be the right approach to the solution, while we were at the same time aware of what can happen when architects get too near the domain of the sculptor.

Functional, artful architectural aspects must dominate and remain clearly recognizable. Later interpretations of our project as representing a bird with beating wings or a writhing reptile were never the dominant aspects during the design stage, yet they are fitting metaphors nevertheless.

First an enormous spatial programme had to be worked out and translated into an urban planning concept. Countless sketches, working models, discussions and analyses finally crystallized into a design that met the user’s complex requirements.

The final design, which in no way represents the idea of one individual, but was worked out as a team-jointly with our most qualified employees-while reflecting the experience gained from large-scale projects in recent years, speaks its very own unique language.

In the positive motivation of the design phase we also had to remain aware of the fact that we should be able to implement the “invented” practically and that at a very competitive market price. The cost of the building could not be higher than the price of real estate projects currently on the market in Vienna.

Section

To make such a complex and structurally demanding building a cost-effective reality was possible only through the dedicated work of all who took part in the planning and the construction, through our hitherto undiscovered courage, through the commitment of the client, mml Liegenschaftsbesitz GmbH, Vienna, and the unconditional support of the user.

4th Lower Level Plan

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2nd Floor Plan

4th Floor Plan

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11 Floor Plan

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Diamond and Schmitt Architects

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Cambridge City Hall Ontario, Canada

The new Cambridge City Hall is designed to redefine the civic precinct and connect to the existing heritage city hall, originally constructed in 1857.

The exemplary heritage buildings in the surrounding context also include a fire hall, market, arts centre and federal building. The new building reshapes urban space for market and civic squares, and makes new pedestrian connections between the city centre and the surrounding neighborhoods.

Within this heritage context, the presence of new city hall is established with an open and transparent glazed façade. Horizontal, rather than vertical lines are utilized to contrast with the vertical geometry of the heritage buildings.

Emphasized by sunshades on the south façade, the building’s horizontality allows the towers on the old city hall and fire station to act as exclamation points for the civic square.

The existing heritage buildings also informed the scale of new city hall. The cornice line old city hall established the datum line of the 3rd floor of the new building. The 4th floor is set back to emphasize this datum, however it does not rise above the roof line of the old city hall. A view corridor to the north of old city hall was maintained by setting the new building to the east of the site. The original council chambers are retained on the third level of the old city hall and the location of the new facility allows for a physical connection between the buildings. This fixed connection is designed to be delicate and transparent, allowing staff easy access to the council chambers.

Arcades along the north and south facades are inviting and provide shelter and access to the entrances. The new building’s natural limestone cladding, laid in a random pattern, compliments the natural stone of the heritage city hall.

The City of Cambridge is working to develop, revitalize and reinforce activity in its heritage core. The recent relocation of the University of Waterloo’s School of Architecture to a renovated warehouse in the city’s core highlights this commitment. Bringing the civic functions from a rental office building on

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the outskirts to the heart of downtown builds upon this strategy. Placement of the new city hall on the north side of the site creates a civic gathering space on Dickson Street that is framed by old city hall and the fire hall. At the east and west ends of the new building smaller civic squares are created to act as entries and provide pedestrian connection.

Pedestrian connections are further reinforced by the four-storey, light filled atrium that acts as an indoor public square. The atrium, glazed on opposing ends, is the entry to the facility providing clear orientation and allowing views through the site. A large public meeting room that can be used for special events opens onto the atrium allowing for expansion. On the upper three floors the administrative departments are located at the corners of the atrium, with public meeting rooms located at the east and west ends overlooking both the outdoor plazas and the interior. The office floors of the building have been designed to maximize access to natural light and ventilation such that all workstations are positioned to be a maximum of 15 feet from the light of the exterior or the atrium.

The new city hall is a leading edge sustainable facility showcasing the City of Cambridge’s commitment environmental conservation. Upon certification (expected June 2008), this building will be the first city hall in Canada to achieve LEED Gold.

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Diamond and Schmit Architects

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Computer Science and Engineering building, University of Michigan USA

The Computer Science and Engineering (CSE) Building consolidates a diverse faculty previously scattered throughout the north campus of the University of Michigan. The primary design goal is to foster synergy, interaction and cooperation between faculty members in a new and stimulating environment. The visibility afforded by the generous central atrium space, around which all labs and offices are organized, provide a great sense of community and encourage positive interaction.

The building is set into a slope, which drops two stories over its length.

This slope serves to link the upper level at the north of the site with the lower central campus quadrangle some 30 feet below. The building is sheltered by the earth, which acts as a thermal governor, reducing the demand on mechanical systems to moderate temperature. In addition, by setting portions of the building into the slope the bulk of the building on the site is greatly reduced.

Great care was taken to design the building to facilitate a fresh collegial atmosphere and encourage the informal meeting of both students and faculty throughout the building’s interior.

The CSE’s interior features alternating accent walls of maize and blue, the University’s representative colours, employed as a means of playfully emphasizing school spirit and encouraging a collegial morale.

The entrance vestibule of the facility houses a portion of an ENIAC, one of the world’s first purely electronic digital computers. The computer, encased in a transparent glass display case, acts as an iconic reminder of the faculty’s historical role within the field of computer science.

First Floor Plan

A primary aim was to provide a light and welcoming environment and therefore the amount of daylight penetration was paramount. Each office is placed on the perimeter of the building, is naturally lit, and has an operable window.

Sloped ceilings in the offices push the light deeper into the plan. Daylight is brought into the building by using transom windows in corridors, and through the extensive placement of skylights that cover a four-storey atrium space and a long linear stair. Fully glazed meeting rooms and open lounges mark key points of the plan and provide both daylight and views to the landscape beyond.

The dramatic circular stair, located in the atrium, links all floors of the building and facilitates interaction and chance encounters between faculty and students as they move throughout the space. The staircase itself is a focal point within the atrium, contributing a visibly elevating quality to the academic experience.

North-South Building Cross Section

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Dietmar Feichtinger

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Danube University Krems Austria

The building programme for the new campus includes the erection of a new university of applied sciences, a film gallery with a study centre, an auditorium, a library as well as numerous other facilities for the existing and rapidly expanding Danube University. The location on a slope between the voluminous old building and a romantic estate of villas among the vineyards presented the challenge of connecting extremely heterogeneous contexts.

Instead of making parallel wings between the old tobacco factory and the small colony of villas, Feichtinger Architects proposed a comb-like structure, which the jury judged to be the optimum basic structure. Instead of exploiting the different heights of the site in the obvious way by embedding most of the building, Feichtinger Architects used a composition of three parallel, broadly projecting volumes at the upper edge of the site to produce a situation that, in contrast to an underground ambiance, creates even in its low-lying internal courtyards a free, open and transparent ensemble of coolly self-assured educational buildings. A connecting wing parallel to the old building holds the three teeth of this comb together and uses a glazed bridge to link them to the former tobacco factory. A kind of cube (for the film studies centre) and a further block (for the university of applied sciences) stand freely at the eastern end of the campus-where they complement the denser area with the three fingers and the auditorium to create a generously conceived composition.

The energy concept plays an important role in Krems. In addition to the louvers, which in each room can be swivelled individually through 220 degrees and which close automatically at night, an active building element cooling system and ventilation by efficient vent windows form an essential part of the concept. Tubes integrated in the concrete slabs introduce water cooled by aggregates on the roof. Only a number of exposed seminar rooms have additional cooling, otherwise the system works perfectly, even at the highest summer time temperatures. In winter a district heating system is used. The indoor climate is most pleasant as are the lighting conditions that can be regulated by adjusting the louvers.

Alongside the numerous attractive technical and aesthetic details of this large educational complex, its urban figure is highly impressive. The combination of the large existing wing with the different but clearly structured new building volumes offers an almost intellectual flair. In addition to the grid structure of the three parallel wings of the Danube University with the cafeteria and library on the lower floor there is also an irregular prism (the auditorium, which also formulates the western campus entrance), a converted old boiler house (used as a cinema) as well as a vertical and a horizontal block (for the film gallery and the university of applied sciences), between these there are two biotopes, a stream and four green areas.

Ground Floor Plan

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First Floor Plan

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Second Floor Plan

Longitudinal Section

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Dietmar Feichtinger

Cross Section

Longitudinal Section

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Art Center Weiz Austria

The community lacked an adequately meeting hall. Through the erection of a new fire station at the edge of Weiz a site at the heart of the town became available, directly opposite the headquarters of the local industrial giant. The location is marked by small, two-storey baroque and 19th century buildings, the street grid and the squares of the immediately adjoining old town are essentially mediaeval. The response to this situation is subtle and intelligent. The core of the public hall is situated at the centre. Even seen from a distance it emerges at roof level as a “hard” cubic volume. Around this functional and semantic centre are positioned the buffer zones of the foyer, the exhibition spaces and the open spaces, while at an appropriate distance (the width of a lane) is placed an additional office building. The dimensions of the new building are integrated and translated into this historic urban mesh by modelling from this mass of “soft” elements. This is most strikingly shown at the side elevation of the building. Here the building lines a newly created small side street on the opposite side of which Feichtinger has erected an attractive office building that in turn absorbs the impetus of the impinging small town microstructure at its rear and channels this energy into the new side street through an opening in an otherwise hermetic façade. On the other side of the street, on the facade of the Kunsthaus, the dominant motif is that of a “wave” that formulates the change in height from the two-storey neighbouring buildings at the rear to the imposing three-storey ELIN building opposite the front of the Kunsthaus and makes it an aesthetic theme at cornice level. All these mediating elements of the building are made of glass, while the “massive” parts on the west side of the building are clad in copper.

The interior of this building with its continuous full-height glazing, its generously broad foyer, its glowing bar at first floor level running around the central events hall (capacity 645), and with its attached exhibition areas speaks a nonchalant language that employs precision. The entire ground floor is reserved for a supermarket that is intended to attract numbers of visitors who will also animate the old town centre. For this reason the large hall is positioned above the supermarket and is directly reached from the side street by a staircase (plus lift). On the basement levels there are car parking spaces.

The hall itself, equipped with a stage, a gallery and a high-tech booth, offers above all an aesthetic experience. The black walls are additionally covered with a metal mesh that can be illuminated in different colours by light diodes.

1 porch 2 box office 3 foyer 4 bar 5 kitchen 6 wardrobe 7 chair store 8 Frank Stronach Hall 9 stage 10 backstage 11 toilet 12 artist 13 storage 14 exhibition 15 stage control room 16 balcony 17 ventilation 18 offices 19 patio

First Floor Plan

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Dietmar Feichtinger

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Simone de Beauvoir Footbridge Paris, France

The pedestrian bridge with a length of 304 meters links the new districts of Paris-Bercy and Tolbiac-and at the same time the new national french library with the Park Tolbiac. Flying above the busy freeways which track the Seine, the footbridge touches down on the quayside promenades and links the public plaza of the National Library with the new Bercy Park beyond the river, thus ensuring the centre-stage role of the Seine which it plays in the heart of Paris. Different to the average 100 meters in the city centre, the Seine has here a width of 150 meters. The two existing bridges in a distance of 700 meters delimit the Bassin de Bercy. The new footbridge maintains the coherence of this unusually open Parisian space by reaching across the river in a single, continuous span, without intermediate supports.

The pedestrian bridge associates architecture and structure inseparably. Two arches constitute the geometry of the bridge, the tender form answers to the strictness of the architectural environment. These arches are structure and pathfare at the same time. They compose a wide spanned rope and bow. The crisscrossing of the pathways permits different ways to cross the bridge and at the same time the free span of 194 meters. The overlay of the two force lines matches with the path-network.

Section Structure Right Bank

Several possibilities linked with different perspectives are offered to the pedestrian while crossing the bridge. Three paths succeed along the arch and the bow. The middle alongside the bow reveals the view of Notre Dame and historic Paris. The rope guides near to the riverside. Rope and bow produce an “eye� in the central section of the bridge. It offers a unique space over the water, to be intended as tribune for events on the water. The lower level of the lens forms a plaza 12 meters wide and 65 meters long which, enlivened by kiosks, cafes and other temporary installations. It invites the pedestrian to pause mid-route.

The central deck, forming the upper part of the lens, protects these activities. The central piece anchors the bridge visually in the landscape, giving rise to a unique public space. The bridge is composed of three parts.

It comprises a main central span across the Seine, coupled with two side spans across the urban freeways to either side, connected to the French National Library and the Tolbiac Park.

The decks are clad in striated oak, with non slip inserts. The filling of the balustrades are made of stainless steel nets stretched vertically between the extruded aluminium handrail and a guiding rod at the bottom. The net is transparent but sufficient visible to convey a good sense of security. The illumination is integrated in the handrails. It underlines the outstanding silhouette of the bridge.

Section Structure Left Bank

By its innovative construction, the pedestrian bridge adopts the Parisian bridge tradition.

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Enota

Longitudinal Section 1

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Hotel Sotelia

Podcetrtek, Slovenia

Wellness Hotel Sotelia fills the gap between two existing hotels, both of them not hiding their different architectural origins. New hotel is not trying to summarize samples from near by structures but rather clearly distances itself from the built environment and connects, instead, with its natural surroundings.

In design process primary concern was to the one suggested in the client’s brief, remaining view of the forest. The volume in landscape-hugging tiers. As a result, appears much lower and smaller then this

avoid immense building mass, like which would have blocked the last is broken up into small units arranged the four storey 150-room building description would suggest.

The specific shape of the hotel was dictated by the folds in the landscape. The unique structures offers passer-by some strong spatial experiences: from the front, the building is perceived as a two-dimensional set composed of parallel planes placed one behind the other; a walk around the hotel reveals entirely different views of the timber facade, from a plane vertical wooden slats to a rhythmic arrangement of balconies and wooden terraces.

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First Floor Plan

Third Floor Plan

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Cross Sections

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Jur kova Housing Ljubljana, Slovenia

New residential building has 47 dwelling units and it is divided in two lamellas parallel with the Jur kova Street. Due to mostly individual infill in direct vicinity of new building, lamellas are further divided into smaller blocks, closer in size to the surroundings. The blocks differentiate in color and measure.

In contrast with primary division, colored, concrete balconies are arranged commonly on both lamellas connecting smaller blocks back to a whole. Despite the small gap between two lamellas and large number of balconies privacy is ensured with closed side of balconies.

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Ground Floor Plan

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Frederic Borel Architect

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Paris Val-de-Seine School of Architecture Paris, France

Seen from the Paris ring-road and the Seine, the national School of Architecture of Paris-Val-de-Seine resembles a condensed city, its heterogeneous forms harking back to the diversity of possible approaches to teaching.

It evokes the technical objects that still haunt this former industrial area, notably the concrete silos still visible from the old inner ring-road. As with all machines, the way this building works is clearly legible externally. The administration occupies the platform carried on “trestles�; lecture theatres are suspended below, while the seemingly scarcely juxtaposed slender volumes rising above contain the various studios and their associated research laboratories.

Footbridges provide access to the reabilitated SUDAC building where related acivities are located: library, computer rooms and exhibition spaces.

Longitudinal Section

Cross Section

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Mezzanine Plan

3rd Floor Plan

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Gonzalo Mardones Viviani Arquitecto

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Glamis Apartments Las Condes, Santiago, Chile

The challenge offered by this building was to resolve the theme of apartments with varied programs within a 25' 7" frontage. Additionally the Golf neighborhood building code, in this specific case of “remnant site” obliged the building to be restricted to a straight bay, not allowing any element to project forward from the façades.

In view of these two conditions the design proposes the following: First: the program is resolved mainly in the section, as the apartments are intercalated vertically and horizontally in a spatial interplay, searching for natural light on the basis of set-backs and balconies.

Second: the building sits on the ground by means of two large 98 foot long walls (East and West façades) which contain a series of openings and windows of different sizes that reflect the internal program. At the entrance, the building conforms its urban façade with a system of horizontal windows and a coronation above which frames the entrance.

Third: from a constructive point of view the building is resolved with concrete incorporating titanium dioxide and a system of phenolic molds with 5 inch wide planks, which have been designed and modulated on the basis of the geometry of the windows, sills, beams and walls. The exterior is completely white and all the doors, windows and joinery items are in cedar wood.

Fourth: all the elements of the façades establish a composition of strict correspondence with squares and rectangles in such a way as to ensure that the voids, light, transparency and framing of views give each space its own identity, in the manner of a photographer’s lens.

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Vanguardia Offices Santiago, Chile

The main idea of this white steel box is found in the internal hall. This interior is the soul of the building. The cubic volume opens towards the corner by means of a great six storey high crack. This void onto which all the levels balcony is open towards the west (the entrance), protected by a kind of great vertical grapevine which controls the afternoon sun. The interior space also received vertical light through a series of skylights. So, the total space was activated by the light but also by the circulations. Each level was different with none regulate form, that produce an irregular total space that crosses in all directions adapting to the different way of the slabs.

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Griffin Enright Architects

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Point Dume House

Malibu, California, USA

This house takes the typical paths of domestic movement and manipulates them to weave the exterior landscape and site into the house while enhancing natural airflows and views. An interest in the continuity of landscape, circulation, and the body’s sequential movement through space has lead to an exploration of continuous spatial relationships in this residence. Smooth, sinuous surfaces delineate zones of space while maximizing the site’s topography, views, and circulation. Volumes are differentiated through a slicing of surfaces and materials, emphasizing the horizontal while allowing a multiplicity of spatial conditions to develop through the interaction of these forms, surfaces and volumes. These spatial intersections accumulate the more static elements of the house, while breaking down edges between inside and outside, allowing a more open and engaging relationship between the land and the house.

The 60,000 SF property and 6,350 SF house is on the top of Point Dume in Malibu and is accessed from below by a driveway, an existing retaining wall bisects the site and moves along the geometry of an existing knoll. Panoramic views of the ocean are availed by the geometric morphologies of the residence. These major views delineated the shifts in geometry apparent in the angled shape of the plan and created the sinuous sequence from the entry to the landscape and view. Three primary geometries of the main hall and pool, the living room and the master bedroom, relate to the three primary geometries to the coastline below. Movement in the house shifts from one geometry to the other and back again enhancing distant views.

The stepped topography allows entry midway between the upper and lower floors.

One arrives into the main hall, and descends through a vertical sky lit fluid space that twists around to the horizontal space of the living area where a panoramic view of the Pacific ocean is revealed. From the main hall, curved walls create sweeping paths through the house to the Master Bedroom above and the living area below. The living area literally extends to the exterior with two large sliding doors that afford an eleven feet by twenty-two feet wide opening. The walls of the house extend out from the internal path to become the edge of a lap pool and a porch. An over scaled system of horizontal louvers extends along the rear of the residence to; control light, incorporate library shelving and become the railing system for the master bedroom terrace above. The second floor is peeled away from the louvered plane to simultaneously reorient to distant ocean views and create a private master bedroom terrace. A catwalk extends from the bedroom over the lap pool along the louvered guardrail where it engages the nexus of house, outdoor porch and pool.

Three bent lines of clerestory windows lift up from the roof beginning at the entry and extend through the main hall, the master bedroom and bathroom to provide natural light on the sinuous surfaces revealing fluid slippages as various movement systems converge. This language of light extends between the living and kitchen area through backlit translucent resin panels and extends to the terrace beyond. Sinuous echoes are also extended to the landscape with gravel, concrete, and plant material to enhance paths of fluid movement systems throughout the property.

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Second Floor Plan

First Floor Plan

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Hans Ruijssenaars architecten

Section A-A

Section B-B

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Faculty of Law: University of Leiden Leiden, The Netherlands

Located in the centre of Leiden, the monumental Kamerlingh Onnes Laboratory dates back to 1856. Until recently this laboratory, named for University of Leiden professor Heike Kamerlingh Onnes, provided work space for physicists. Kamerlingh Onnes was the first to produce temperatures measuring one-thousandth of a degree above absolute zero (-273˚C), which led to his discovery of superconductivity. Following a major conversion, the Kamerlingh Onnes complex will accommodate the university’s entire Faculty of Law. Exterior restoration of the original building on Steenschuur will reveal the monumental façade designed by Henri F.G.N. Camp (1821-1875), royal architect to King William III. Careful renovation of the interior will leave valuable elements like the stately lecture theatre intact. A conservatory added in the 20th century is to be the new main entrance.

Volumes on Nieuwsteeg will remain as they are, while those on Zonneveldstraat can look forward to newly clad façades. A fourth floor added to the existing concrete skeleton will be set back 3.5 metres from the line created by the original façade, thus allowing natural light to better reach Zonneveldstraat. A new-build extension on the Langebrug side of the complex will have three floors. Together these interventions give Leiden a new city block with a large, trapezoid-shaped space at its core.

The basic principle behind all these architectonic interventions is the fundamental importance of natural light. Vital to the Faculty of Law is a relatively large, centrally located library. As the heart of the law department, the library is situated in the inner courtyard and consists of a single floor featuring two mezzanines. Daylight enters the library from all sides, as well as from an open shaft. As a result, everyone inside has direct visual contact with weather conditions outdoors.

The four volumes surrounding the library (three existing, one new) have a logistically organised layout, which forms a circuit of instruction, research and dining facilities around the library. Most areas off limits to the general public are found on the remaining levels.

Adjacent to the library are rooms used for formal lectures and seminars, spaces illuminated in part by natural light that enters from above, as well as from the sides through walls made of opal-glass bricks.

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Hitoshi Abe+Atelier Hitoshi Abe

South Elevation

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West Elevation

Ftown Building

In designing tenant buildings for which the interiors will be determined afterwards, rather than defining the spaces it is important that there is a wide spatial potential. For example, the freedom to build walls in any arrangement is more important than how the walls are actually arranged.

Sendai, Miyagi, Japan

A typical tenant building has a tree-like organization in which each floor is independently accessed by elevator from the entrance at the first floor. With regard to this project, in addition to the normal circulation, we proposed using voids to connect the spaces of each floor in a spiral arrangement, incorporating a loop in the unidirectionally ordered structure. The access routes to each space are thereby multiplied; other possibilities for grouping the spaces arise, enabling integrated usages or tenants that cover several floors. Additionally, the four variations in floor height and the flexibly organized mechanical services allow a variety of spatial choices.

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4F Plan

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Hitoshi Abe+Atelier Hitoshi Abe

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Section-2

K-museum

Shiogama, Miyagi, Japan

Located in a small town on a hilly site with a view of the Pacific Ocean, this is a design for a private art gallery intended to permanently display eight sculptures owned by the client. Giving consideration to the state of the town and the program of the building, we decided it was necessary that the space of the art gallery itself should be potent enough to stimulate local artistic activities. In other words, rather than a “white cube” able to accommodate any type of exhibition, we aimed to design a “cathedral”, an aggregation of specific places for exhibiting each of the sculptures.

SSM was given form by creating the eight spaces to hold each sculpture as if inflating them like soap bubbles. This form is defined by balancing the conditions (location, size) that give rise to the boundary surfaces of each cell. In this “foam space”, the overall composition is not given by the external principle but is generated as a result of the relations between the adjacent conditions. This building is a prototype of a “foam space” cut off by 10m x 12m x 10m volumetric frame.

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The cells that constitute each of these rooms are made of steel plates 3.2 mm thick, with about twenty-five embossed protuberances per square meter. Honeycomb panels are formed by welding the embossed protuberances of a cell to those of the adjoining cell, resulting in an unusual structure like an aggregation of soap bubbles.

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Hodgetts+Fung Design and Architecture

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Menlo-Atherton High School Performing Arts Center Menlo Park, California, USA

This Performing Arts Center focuses on the relationship to the site, which has precious open space, including mature, heritage oak trees. To augment the trees, the architects’ proposal includes a courtyard and broad central promenade, which gracefully sweeps from the campus entry to the angled white performing arts center. Poised at the promenade’s end, the building will gently hover over the landscape, providing a dynamic visual centerpiece to the campus.

Visible from public roadways that run along the campus, the center will foster a distinct separate identity for the school.

The interior of the center will provide flexible space to accommodate both school performances and community use. To provide a sense of intimacy for smaller audiences, the auditorium will feature architecturally integrated devices that reduce the proscenium width. Rich, durable materials-such as plywood paneling, architectural concrete, upholstered seating, and wood flooring-will be employed to form the public spaces in the lobby and theatre.

The back-of-house functions (loading, stagecraft, and fly loft) will be designed with robust materials and finishes.

The preservation and enhancement of the existing landscape plays an important role in the design. A series of “porches” on the southern edge of the courtyard will be designed in response to the campus’ existing arcades, creating numerous shaded spaces where students, faculty, and visitors can gather and converse. A low-maintenance, ecology-friendly landscaping program will be designed, featuring a lush blend of white diatomaceous earth, droughttolerant plantings, and hardscape grounds. Passages along the border will be a designated donor wall with the inscribed names of the performing arts center’s supporters. Unobtrusive gates will provide further security at entry points on both ends of the performing arts center. The perimeter will be accented with fencing, climbing roses, and bougainvillea.

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Section B-B

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Jensen&Skodvin Architects

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Gudbrandsjuvet -Viewing Platforms & Bridges

Burtigard, Gudbrandsjuvet, Norway

The main platform is constructed by 25mm laser cut steel sheets, cantilevered like a bridge around the cliff, hung in each end.

The railing has a geometry that allows it to be continuous even with very different security requirements from place to place. The large inward curve allows the tourists to securely lean out over the deadly waters. The bridges are made from different materials according to what is most appropriate at each site. The platform at the parking side is made from prefabricated elements of concrete, like a bicycle chain, an element that is connected in the corners but rotated in the angle that will fit the site. This was appropriate at this site because cantilevering prefabricated elements had obvious advantages economically and practically. A related geometric concept is used for the service center.

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Jensen&Skodvin Architects

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Gudbrandsjuvet – Juvet Landscape Hotel Gudbrandsjuvet, Norway

The Juvet Landscape Hotel is located at Valldal, near the town of Åndalsnes in northwestern Norway. Passing tourists are attracted by a spectacular waterfall in a deep gorge near the road, “Gudbrandsjuvet”. The client, Knut Slinning, is a local resident.

The idea emerged as an opportunity to exploit breathtaking scenery with minimal intervention, allowing locations which would otherwise be prohibited for reasons of conservation.

Instead of the conventional hotel, with guest rooms stacked together in one large building, the Landscape Hotel distributes the rooms throughout the terrain as small individual houses. Through careful orientation every room gets its own view of a piece of the landscape, always changing with the season, the weather, and the time of day. No room looks out at another.

The rooms are built in a massive wood construction with only 50mm exterior insulation, and are intended for summer use only. Each building rests on a set of 40mm massive steel rods drilled into the rock, existing topography and vegetation left almost untouched.

The glass is set against slim frames of standard steel profiles, using stepped edges to extend the exterior layer of the main glass surfaces all the way to the corners.

Today’s concern for sustainability in architecture focuses almost excludingly on reduced energy consumption in production and operation. The architect think that conservation of topography is another aspect of sustainability which deserves attention. Standard building procedure requires the general destruction of the site to accommodate foundations and infrastructure before building can commence. Conserving the site is a way to respect the fact that nature precedes and succeeds man. Also, dutiful observation of existing topography produces a reading where the geometry of the intervention highlights the irregularities of the natural site, thus explaing both itself and its context with more power. A sustainable connection is established between structure and site.

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Jensen&Skodvin Architects

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New Monastery for Cistercian Nuns Tautra Island, Norway

The project is situated on the island Tautra in the Trondheimsfjord. It is a new monastery for 18 nuns, complete with a small church and all the facilities needed to make a living, as areas for production and so on.

The clients are nuns from different countries, mostly the US, but all from the Cistercian order, joined by their common vision to create a new convent on the Tautra Island. This Island had a Cistercian monastery established exactly 800 years ago this spring, but only ruins remain of it today. An important aspect of the institution is the introvert character of the daily life of the nuns. This of course has architectural implications.

One of first design ideas were to create a low building with a series of gardens, giving light and creating a sense of privacy and exclusion, while at the same time opening up for some of the spectacular views across the fjord, for instance in the refectories, the dining hall, where the nuns all sit at the same side of the table, looking silently through the glass wall towards the sea and the mountains on the other side.

The original programme has been reduced by around 30 per cent by eliminating almost all the corridors in the project. This has been possible by analysing the way the monastery works. Usually all the nuns are assembled together when they are in one of the main rooms.

That means these rooms can also act as ‘corridors’ and circulation areas. Most of the rooms occur only once and have very different requirements. This also implies that there is need for both some architectural freedom for each room, and for daylight to each room as the main layout is horizontal. Therefore the project consists of a system of different sized rooms that are connected in the corners and have courts between them altogether creating 7 gardens.

The building is constructed with laminated spruce wood, 215x215mm. This dimension makes it possible to frame all walls so that all corners are solved intrinsically, because the pillars always will cover the whole corner. This was important in this project where it was necessary with a lot of corners to solve the plan. There is no module in the plan which is repeated except where the rooms are similar (the cells). Rather the distances between the columns are treated as “rubber”, so that any dimension that is suitable for the function of each room might be chosen. This has created a somewhat complex plan. It is absolutely orthogonal; however, it has to take advantage of the simple corner solutions that appear with this system.

The wind bracing was exercised using a very simple rule. Where the engineer wanted bracing a connection was always made from one node at the floor level, to the next node at the roof level. Because of all the different dimensions in the plan this creates correspondingly different angles for the bracing, which because it has the same size as the pillars, is always visible.

The pillars were set in different sizes, because some of them are obviously larger than necessary. In this tectonic system however, the savings from such a structural refinement would fundamentally compromise the “rubber-flexibility” architects needed, and would theoretically create a multitude of new variations for many of the details. Another thing was that it would become a lot more expensive according to the contractor. As it is now the dimension of the pillars are decided by the thickness of the wall. At certain points this is not enough, therefore larger dimensions were needed, but only in one direction, so architects followed the tectonic logic of the plan.

The pillars are exposed to the outside. It is hazardous when it comes to technical durability, so the slate was chosen as cladding material that could do the “rain-coat” job and simultaneously was clearly not load bearing. After a long discussion with the quarry, it turned out that the cheapest per square meter price was for a fixed dimension, because of the stone saw settings, and the other flexible according to the amount of material in each stone block. The windows in the outer wall follow the geometric logic of the stone cladding and have fixed height limitations but the width is free to be any measure.

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Jensen&Skodvin Architects

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Thermal Bath, therapy and Hotel Bad Gleichenberg, Austria

The project is situated in a protected park and consist of a treatment area with about 50 different rooms for medical treatments, a four star hotel with several different restaurants and cafes, and a public thermal bath for the patients and other guests.

The waiting areas in the middle of the treatment rooms for the patients are shaped around courtyards allowing sun and views to the trees, as to give the patients the impression of waiting in the park itself. A full treatment might last for several days and can consist of a number of different treatments, like different types of massages and baths in smaller private treatment rooms, a visit to a cold room with minus 110 degrees Celsius etc. Between these treatments the patients wait in the open and transparent waiting areas where the park is always close. One of the main aims of the architecture has been to un-institutionalize the architecture, make it resemble a hospital in as few ways as possible. The interior has been designed by an advertising bureau.

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Jourda Architectes Paris

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Bordeaux Botanical Museum Bordeaux, France

The botanical museum is composed by three elements: green houses, boxes and pebbles.

The green houses are designed like glass blocks that create the main facade of the building. With a very simple geometry, they dominate the project adapted to the specificities of the vegetation inside (scale, volume) with three different inner climates. The wooden structure offers a great modularity which permits modifications due to programatical changes.

The museum spaces are grouped in the wooden boxes whereas the specifics spaces such as the workshop studio or the meeting room, take place in the pebbles.

The other programmatical elements are mixed in a very flexible way between boxes and pebbles and create an organic composition that connects naturally each space to the other depending on functional necessity.

The wooden boxes offer simple volumes along the exposition and the specific spaces take place in the pebbles made of projected concrete.

The construction is based on use of only renewable or recyclable material in order to minimize the impact of the building on the available resources. The calculation of grey energy helped to make the choice.

The building displays also very good performances in terms of energy consumption through passive disposal and bioclimatic conception.

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Section C-C

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Section G-G

Section F-F

Elevation North

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Kohn Shnier Architects

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Claude Watson School for the Arts

Claude Watson School for the Arts provides specialized training in both Fine Arts and the Performing Arts and facilitates a conventional Toronto District School Board curriculum for grades 4 through 8. Students attend from all over Greater Toronto and must audition for the programme. The school is a symbol of the highest aspirations of applied cultural and primary education.

North York, Ontario, Canada

The building is sited alongside a suburban secondary road which is adjacent to high density, high rise residential buildings. In response, the project is a simple and compact form with a strong street presence while presenting an image of performance and accessibility.

A 50,000 square foot programme includes staff and technical facilities, conventional classrooms, music rooms, drama rooms, art rooms, a small gymnasium and a multi purpose room. This variety of space sizes is accommodated through a lateral shift of the corridor between the floor levels.

On the lowest level, the hallway is located along one side, thereby freeing up room for the gymnasium and music rooms. By sinking this level slightly into the ground, higher ceilings are accommodated and overall massing proportions from the street are maintained. The second level corridor shifts to generate parallel zones for administration, service rooms and special programme areas.

Views into the double height space of the gymnasium below showcase the clear-span truss structure. On the top level, a central corridor creates a conventional double loaded classroom arrangement which leads on axis, to the library. Expressed as a floating volume, the library projects out and protects an outdoor performance space/bleacher below.

The prevailing tectonic feature of the building is the aluminum brise soleil which protects the library from direct southern exposure. The hexagonal structure also alludes to “the hive�, a clear analogue to the collective, creative activities of the students.

Section B

The design takes advantage of natural lighting and boasts views over a park.

Circulation spaces are wide and robust, designed to accommodate the exhibition of student work as well as the spontaneous desire to gather and perform.

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Kohn Shnier Architects

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Lake House

Innisfil, Ontario, Canada

The house is sited on a piece of elevated land with views towards a large lake.

The property is reached via a superb wood access road which changes constantly and according to season.

The programme of the house accommodates the clients, their children and spouses, 5 and increasing grandchildren and the great grand mother. In addition, the house is situated amongst other homes, occupied by extended families and as such each family is obliged to host large family dinners. At just over 400 square meters, it is a large but efficient floor plan, spatially it feels much larger.

The house can be described as a four-level-single-storey volume. The levels are such that you never have to walk more than 2/3rd’s of a vertical level, eliminating long lengths of stairs and creating many interesting split level spatial opportunities and “sneaky views”. The connective circulation between levels generally runs parallel to the programme while the “object of desire”-the view and lake access-is always in front of you. One is both flowing and pivoting as one moves through the house.

The rooms are arranged in parallel bands that also run parallel to the lake shore.

The plan is designed to create a series of layers that seduce and delay the occupant from reaching the lake, but eventually rewarding them with spectacular space, light and experience of the site.

The first row of rooms are the childrens’ grandchildren and great grand mother’s rooms.

They face an inner garden court and are enveloped in three types of glass that reflect and diffuse the cedar hedge that define the garden. Next is a circulation hallway that gives access to both bedrooms and a string of bathrooms that serve them. One bathroom features a “secret” light court enjoyed from the adjacent glass shower. The last layer contains the public spaces. It is slightly depressed into the ground making for a more intimate space. The Master bedroom occupies the space over this room. The section is such that from the living space, one can see people from the shoulders up in the TV room and from the knees down in the master bedroom.

Major materials include cement board siding and curtain wall for the envelope of the house while the interior finishes are concrete, oiled oak, and white marble for all counters. A slate skirt is inset into the concrete floors around the perimeter of the house creating a protected threshold between exterior and interior surfaces.

A large overhanging roof projection creates an inhabitable and weather protected perimeter terrace.

The structure of the house combines steel framing and wood stress panels in order to maximize spans yet maintain an economic skeleton. The house features an environmentally efficient intelligent mechanical system including in slab radiant heating fed via a propane fueled boiler. The bedroom wing can be “shut down” when not in use turning the house into a compact 200 square meter home for two.

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Land Approach Elevation

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Muskoka House Ontario, Canada

The project brief was for a year round cottage to be shared by two related families. The site is a wooded lake-front property with a pronounced ridge running roughly parallel to the shoreline, separating the approach to the site from views of the water.

Most of the cottage consists of seven units built at an indoor facility operated

by Royal Homes, some 325 kilometers from the site. The design of the cottage accepts and exploits some of the inherent limitations of this process to respond to the site and program. The cottage is built to the 4.875 metre width limit allowed on local highways, resulting in a long, thin form. This makes the cottage both small and big at the same time. The crossways dimension makes for an intimate scale and an unavoidable immediacy to the outdoors. The length, some 38.4 metres, generates considerable distance within the house offering remoteness and privacy when desired.

The cottage is imbedded into the lake side of the ridge obliquely, such that there is a point on each of the three floor levels with access to grade. Shared

Upper Level Plan

Middle Level Plan

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facilities are at the highest level, affording the best views. This level is entered from the top of the ridge. Sleeping areas are in the middle level, and workshop, play and utility uses are in the lowest level. The east elevation of the cottage (facing the lake), consists entirely of sliding glass doors, providing every room with views of the lake and access to the forest or balconies.

Materials fall into two categories: transparent or reflective-clear glazing, mirrored glazing and spandrels, or those with a very muted colouration-unfinished cedar, zinc cladding, and galvanized steel. The objective is to visually push the structure into the background.

Construction of the units, totaling about 375 square metres in area, took 25 days in the builder’s facility. Transit and placement of the units was accomplished in about 48 hours. The use of factory construction allowed for the minimization of disruption to the site (and to neighbours) during peak seasons...the units arrived at the site in early fall. A summer of sawing and hammering was replaced by the concentrated and exciting event of delivery and placement. Site work, by Judges Contracting-the foundations, lower level, cladding, balconies and the construction of one bay containing a two storey high glazed section-required normal construction durations.

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K nigs Architects

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Estonian National Museum Tartu, Estonia

Imagine a Nation’s cultural treasure as a piece of landscape. Yet to be discovered in the common sense of a building proposed for the ENM renders a place as a complementary to its surrounding: A balance of the two key elements ‘nature’ and ‘building’ formally as well as programmatically. The result turned into a morphologic phenomenon delighting the visitor of the ENM by its simplicity in appearance, whereas the space itself offers a wide range of complexity.

The program is interpreted as a code language consisting of a vocabulary of furniture, and hence becomes an architectural tool to generate the ‘MuseumScape’.

It is translated into three categories, i.e. the working zones defined by the stereotype of a desk, the display and archive zones defined by the stereotype of a shelf, and the communication zones defined by the stereotype of a chair.

All three ‘vocabularies’ create a complex architectural field within the entire museum, simply be combining it in the architectural ‘grammar’ defined through the scaped surface. Circulation is added, where needed resulting in an efficient total footprint for the net use area of the museum. In plan, the morphology of the ‘SportsScape’ with its trees and clearings and the ‘MuseumScape’ with its furniture and courtyards appears to be drawn as one single flow: a frozen flux of lines. Whereas the floor is a coded zone as above mentioned, the roof-top is decisively not coded. The mere use of sequenceflasher likely elements, which are installed on the roof-top, pads the entire museum into a cloud of light comparable to a runway-field.

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Section E-E

Section D-D

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South Elevation

Longitudinal Section

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K nigs Architects

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National Soccer Museum Cologne, Germany

The proposal is based on the idea of a balanced connection of an urban area with solids. The urban space in the north, grown historically, is shaped by elements such as road and place, while on the south side free standing buildings dominate spatially.

The architects interlace these opposite principles of town planning and form thereby structurally the missing link. The solids form an open, developable structure, which is embedded into a sensitive urban context.

The simplicity of the essential structure enable time-spatially a development and a differentiation. Each phase forms a complete urban space structure after its completion. Their internal logic lets it function temporally autonomously in the total structure.

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K nigs Architects

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Parish Centre St. Francis Regensburg, Germany

The new church forms the spatial and idealistic center of the parish center. All further buildings group themselves in free order such as satellites around this center. The entire property is enclosed with a wall. The church is consciously simple and reserved in its external effect. The neutral form stands in surprising contrast to internal geometry.

The way into the church consists of the succession of forecourt, porch, passage and nave. These space sequences follow a conscious scenery: High-low, close-far, light-darkness. The entrance portal consists of a revolving leaf covered with prepatinated sheet copper, which should constantly stand open.

The geometry of the space produces a tensionful ambivalence between longitudinal adjustment (way church) and centring (space church). The incongruity of the oval cover line and free geometry of the plan shifts the wall surface into a slightly rotation and supports thus the development of movement in the space.

The ceiling filters the light falls arrangement

from suspended glass-fiber fabric seems to float over the nave and incident light from the roof space. Over the adjoining rooms accenting into the church. Supported by the roof geometry a facet-rich light is generated, which supports the spatial effect.

Level +3.58

Level 0.00

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Lahdelma & Mahlam ki Architects

Southeast Facade

Northwest Facade

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Helsinki University, Exactum Helsinki, Finland

The Physicum and the Exactum with the library form an architecturally uniform entity. The basic composition into groups, the materials chosen for the facades and the character of the interior facilities, continue the themes used already in the Physicum project.

The building primarily consists of two kinds of premises: teaching facilities and workrooms.

The main end-users include the Department of Computer Science, together with the basic research unit of the Helsinki Institute for Information Technology, as well as the Department of the Mathematics and Statistics and the Department of Seismology.

The basic lines of the general arrangement of the building are based on the requirement of the end-user to provide single and double workrooms. The four separate building frames are connected by a common lobby and a connecting passage.

Classrooms are primarily located on the edges of the facilities between the frames, covered with translucent roofs. The basic functional grouping makes the architecture of the building a naturally systematic series of buildings, based on repetition.

The structural total solution is extremely systematic; short spans, identical frames in technical air-conditioning plants and shafts.

The building frame consists of steel columns and beams as well as hollow-core slab floors. The columns are hollow columns filled with concrete as fireproofing.

The beams are steel flange beams mounted flush with the hollow-core slabs. The stairwells, the lift wells, the end walls and the cellar floors are made of prefabricated reinforced concrete elements.

The facades are for the most part lightweight elements mounted on steel frames and covered with an aluminium lattice. The facades on the building ends are stiffening walls made of prefabricated reinforced concrete elements and covered with concrete blocks bleached with titanium oxide. Profile glass walls and coloured glass surfaces act as effects on the facades.

The lobbies have translucent roofs and internal walls covered with an aluminium lattice that matches the one used on the facades. The ceilings are made of drawn steel net, and the stairs in the lobbies are steel stairs.

Southwest Facade

Northeast Facade

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Second Floor Plan

First Floor Plan a b c d e f g h i j k l m n

front yard main entrance entrance hall library reading rooms library collections top-lit courtyard auditoriums classrooms classrooms for each university department laboratories persomal work spaces cafe students' club-room bookshop

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Section B-B

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Lahdelma & Mahlam ki Architects

Site Plan

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The Urn Cemetery of Tapiola Church Yard Espoo, Finland

In 1997 the entry “Ajan jakso” (“a period of time”) won the first prize in a domestic invited competition for the urn cemetery of the Tapiola Church Yard in Espoo. Although the idea of a cemetery solely for urns is a novel concept in Finland, the basic idea of the plan was to respect the Finnish traditions of burial.

The design of the church of Tapiola (Aarno Ruusuvuori, 1965) is ruled by simplicity and plainness. Together the church and the urn cemetery complete the religious cultural landscape of Tapiola. The area provides peace and privacy for the cemetery.

The relationship between the regularity of the man made constructions and the existing pine trees set the tone for the atmosphere. The cemetery area is grassed over and the main pedestrian routes are paved in concrete slabs. Other structures in the cemetery are mainly of concrete cast in-situ. The urn graves and the columbaria have their separate areas: The memorial grove has concrete benches for reminiscing, a grassed urn area and a concrete wall for the copper and stainless steel memorial plaques; The graves are a field of cross shaped urn stones in black granite whereas the black steel columbaria lie in strict lines among the trees. The stainless steel structured candle room is for relatives and friends to compose their thoughts in the calming candle light glowing trough the printed glass walls.

Area Section

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Detail

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Lahdelma & Mahlam ki Architects

Ground Floor Plan

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Museum of The History of Polish Jews Warsaw, Poland

The proposal by Lahdelma & Mahlamäki Architects architectural competition for the Museum of the spring 2005. The design process of the building design documents were released. The museum will the research and exhibition of Jewish heritage,

was declared winner in an international History of Polish Jews organised in continues until July 2008 as the final function as a multifunctional centre for education and culture.

The main permanent exhibition takes place under the main hall in a large exhibition space of 5000 square meters. Special built-in milieus will present the different aspects of the history of the Polish Jews. The main task of the exhibition is to present different phases and forms of Jewish culture starting from medieval times to present day – the holocaust is only one of the main themes of the exhibition.

Warsaw has been one of the most important cities for Jews; before the Second World War there were half a million Jewish inhabitants in the city.

The site of the new museum is located in the Willy Brandt Park, one kilometre from the old city centre of Warsaw, which was rebuilt after the war. The history of the park is tragic as it was part of the Jewish ghetto during the war.

Adjacent to the new museum is the Memorial of the Uprising in the Jewish ghetto.

The memorial has been an important element in the architecture of the museum. The proportions of the plaza in front of the memorial and the museum have been carefully considered. The shape of the museum building is rectangular. The facades will be covered with glass and copper panels.

The main hall is the most important element in the architecture of the building; a pure and silent space introducing the museum to the visitors.

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Second Floor Plan

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Exhibition Floor Plan

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Lehrer+Gangi Design+Build

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Water + Life Museums Hemet, California, USA

The Center for Water Education and Western Center for Archaeology and Paleontology are paired museums on 17 landscaped acres. The project is a striking edifice of metal and glass at the eastern entrance to Diamond Valley Lake, a six-month emergency reservoir and recreation area. In addition to the exhibition space, there are laboratories, classrooms, administrative offices, support facilities, a gift shop, and a café on the site.

Through the use of repeating forms, the Water + Life complex pays homage to the client Metropolitan Water District’s tradition of monumental architecture. Five monolithic steel-clad towers stand guard across each museum’s facade, suggestive of huge pylons and past industrial triumphs. The infrastructural designs of Gordon Kaufman are also evoked, with a hint of the minimalist sculpture of Donald Judd.

Translucent banners hang across 8,000 square feet of east-facing, recessed, insulating glass. Daylight is brought indoors, reducing artificial lighting needs, but the desert heat is kept out.

A broad plaza between the buildings frames the desert landscape. Latticed loggias on either side give a dramatic processional through filtered light. The layering of steel screens and custom-made solar tiles give rise to sun-dappled walkways, in which shadows slow-dance with the passing sun.

The water museum features a simulated dam, two aquariums, and interactive exhibits telling the story of water and water conservation. The archeological center has an interactive theater, labs, and extensive specimen storage for remains from the Pleistocene era that were found during construction of the reservoir.

The museums are considered to be a “living” example of sustainability and conservation, and have earned LEED Platinum certification from the US Green Building Council. The buildings’ rooftop photovoltaic installation-one of the world’s largest of its kind with a 540-kilowatt solar-power system of 3,000 solar panels-generates energy for 68 percent of the museum space, and requires minimal maintenance, while insulated foam panels, enclosed in brushed steel, provide insulation.

Environmentally appropriate outdoor plantings respect the delicate but harsh ecology of the region. The landscape utilizes shade trees and other landscape elements to create a comfortable environment to experience interpretive exhibits.

Recycled rainwater is used in a drip-irrigation system.

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North South Section

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Luca Gazzaniga Architetti

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Casa Cedrini

Situated in the hills that surround Lugano, casa Cedrini is the consequence of a complex relationship between art and living, responding to a client brief that included accommodating an extensive collection of African art. The void in section that cuts through the various levels of the building, terminating in a rooflight, is used to articulate sequences of spaces that introduce a sense of movement. The role attributed to light-that comes from both above and the sides-accentuates the quality of the individual environments, enveloping the physical nature of the building fabric. The light is diffused, calibrated (and can be modulated) and projects the living sphere beyond the solid confines of the domestic walls to create atmospheric settings suspended between sky and earth.

Lugano, Switzerland

Roof Plan

First Floor Plan

Ground Floor Plan

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Section A-A

Section D-D

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Macy Architecture

First Floor Plan

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Sustainable Steel Home San Diego, California, USA

Located on an infill site in the Point Loma neighborhood of San Diego, the client desired a home that would make the most of its site, be low-maintenance and incorporate a variety of energy and resource-conserving features.

The living, dining, kitchen and master bedroom are located on the upper level and oriented to capture views of the Pacific Ocean, Mission Bay and La Jolla.

The exterior consists of an exposed steel seismic-resisting frame infilled with a rainscreen faรงade system utilizing super-durable phenolic wood paneling. In addition to employing passive solar and natural ventilation strategies, the design incorporates net-metering photovoltaics and rainwater recovery system (for irrigation purposes). Landscaping consists of drought-tolerant and native plant varieties.

Second Floor Plan

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East Elevation

Longitudinal Section(looking east)

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Ogrydziak /PrillingerArchitects

Section A-A

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Kayak House

Lotus, California, USA

This 3,700 sq. ft. house overlooks one of the best kayak runs in California.

Geometrically, the house has a split identity. Away from the river (the private side), the house is an orthogonal L in plan, creating a cartesian courtyard with a calm, enclosed feeling. Towards the river (the public side), double height volumes push away from this cartesian frame towards site-specific views. The result is an organic, free plan which expands the house towards the exterior landscape. Major materials used are cast concrete, concrete block, structural steel framing, and metal pan decking.

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Section B-B

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Ogrydziak /PrillingerArchitects

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T House

San Francisco, California, USA

This project is the second design for a speculative single-family house on an unusually configured lot. Despite receiving permits for the initial proposal, the client requested a complete re-working of the project in the interests of accommodating seemingly irreconcilable design directives. These included the developer’s desire for a relatively large square footage maximizing the panoramic views of San Francisco, the neighbors’ insistence on a ‘stealth structure’ that would not block the dramatic views they enjoy, and an anomalous mid-block condition that makes atypical demands regarding the distribution of open space.

The T typology addresses the predicament of the building parcel’s mid-block location, creating two courtyards and a rear yard open space that respond to adjacent properties’ open space patterns while maximizing the use of the lot’s buildable area.

In order to create a ‘stealth structure’ that preserves the neighboring buildings’ views, the T is embedded deeply in the ground of the steeply sloping lot. From the vantage point of the street, two thirds of the bulk of the building is concealed, whereas the entirety of the form is revealed on the opposite side as the sloping ground falls away, resulting in the full exposure of the house toward the view.

PLAN:Level 0

Externally, the erosion of the ground plane coincides with the erosion of the strong T form. Two major courtyards are carved into the top bar of the T and a deeper central notch is also removed. The residual form of the T providing privacy screens for all three outdoor spaces. The cuts are reflected in the cedar ship-lap skin that wraps the primary T form, revealing a gray stucco plasticity where mass has been removed from the original object.

Internally, the T is organized in terms of a procession to the heart of the house and exposure to the view. This procession consists of a sequence of spatial events that are part of a continuous public open space or ‘figural void’: entry gallery, monumental stair, inglenook, living space. The two bars that constitute the T are pinned together by a triple height stair core and a double-sided hearth, while double-height monitors deliver light to the zones of the house that are embedded in the ground.

PLAN:Level 1

PLAN:Level 2

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CROSS SECTION: Roofdeck,courtyard,living room,and master bedroom

CROSS SECTION: Spa,staircase, and inglenook along central axis of T

LONG SECTION: Roof decks and primary living space above bedroom floor

LONG SECTION: Light monitors, inglenook, and front door 'bridge'

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OJMR Architects

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2801 South Palm Canyon Palm Springs, California, USA

The new 2801 South Palm Canyon development features single-family residences and adapts the Southern California Modern style to fit the needs of an area that is becoming increasingly urban. Located in Palm Springs, this innovative residential development combines Modernist style with a contemporary sensibility, providing a new model for high-quality desert home design. The development includes 16 new homes on a 2.2-acre hillside site. The two-bedroom, two-bath residences range in size from 1,700 to 2,600 square feet and feature six different floor plans, each with an office/den, garage, and private outdoor space.

OJMR designed the distinctive homes as light-filled, open spaces in the tradition of Albert Frey, Richard Neutra, John Lautner, and the other mid-century architects who defined the Palm Springs modern style. Orthogonal volumes, flat roofs, clean lines, broad overhangs, and open plans recall the simple forms of this California architectural tradition. OJMR’s design adds a 21st-century sensibility to this tradition with luxurious light-filled bathrooms, energy-efficient elements, and a contemporary use of materials, including exposed block and concrete floors.

The connection between inside and outside is also expanded, with each residence featuring a private outdoor space with a plunge pool. Sliding glass doors open onto large covered patios, encouraging a free-flowing use of the interior living spaces and outdoor areas. While each unit includes air conditioning, long overhangs on the east and west facades minimize cooling needs in the hot desert summer.

Conceived with an exceptional sense of modern design, materiality, and sense of light, the classic Palm Springs modern is transformed into a scale and neighborhood that fits the lifestyle of today’s residents.

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Unit A-First Floor Plan

Unit A-Front Elevation

Unit A-View Elevation

Unit DBasement Plan

Unit DFirst Floor Plan

Unit DSecond Floor Plan

Unit D-Front Elevation

Unit D-View Elevation

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Site Plan

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PAGE /PARK Architects

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Eden Court Theatre & Cinemas Inverness, Britain

This project is substantial refurbishment and extension of 1976 theatre building, Eden Court, to house a second theatre, 2 cinemas, 2 studios for dance/drama, and dressing room accommodation. It allows Eden Court to provide a broader range of cultural activities and expand its conference facilities, and to strengthen its pivotal role in the cultural life of Inverness and the Highlands and Islands.

The new facilities are conceived as a third building element located on the south side of the 1976 building which mirrors its relationship with the existing Bishop’s Palace. The building is of a larger scale to accommodate the new theatre, studios and cinemas, arranged to wrap around the existing building, with at its front a café terrace overlooking the river and landscaped grounds. The new accommodation is assembled under a simple roof, which extends forward to provide cover to the external seating terrace to provide the new building with an appropriate civic presence to the riverfront and city beyond. The asymmetry of the new extension and the rooftop expression of the ventilation towers echo the form of the Bishop’s Palace. The more prosaic “back of house” building is located to the rear of the existing theatre and allows a sharing of scene dock and loading facilities between the 2 theatres.

A main feature of the design is the use of sustainable passive natural stack ventilation to the new main spaces.

The main entrance was re-orientated to address the city centre, and this new arrangement dramatically changes the character of the circulation in the 1976 building with views opened up from all public fronts of house areas to the new garden. Very little new foyer space was added to meet the Client’s brief to intensify the use of the existing generous upper level foyers. The junction between the extension and 1976 building is treated as a light filled link, whose structure reflects the distinctive geometry of the original 1976 foyer roof and extends these to form a partly glazed atrium over the cinema café bar below. The geometry of the new entrance and canopy is similarly derived from the existing building and assumes a low profile so as not to disturb views to the existing distinctive roofscape.

The works carried out to the Bishop’s Palace in the 1970’s adversely affected the arrangement and quality of the historic fabric. The refurbishment works carried out have sought to undo this damage and to introduce public access into the principal ground floor areas of the house.

The new extension housing the main spaces is formed in concrete to address both acoustic & fire issues. Externally this is clad in granite used in 4 finishes to create a lively rippling effect. The new dressing room block is a steel frame & blockwork construction, clad in insulated render.

Longitudinal Section

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Site Plan

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PAGE/PARK Architects

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Loch Lomond and the Trossachs National Park Authority Headquarters Balloch, Britain

The new Loch Lomond & The Trossachs National Park Authority Headquarters, a contemporary building bridging from the world of movement to that of countryside conservation. The new building align in one breath inhaling to the sweep of the roundabout then exhaling in a counter, twist towards the Park. In addressing the Balloch village and access roundabout, it sweeps visitors in towards the gates to Balloch Country Park.

Architects call it the soft ‘S’ plan and two pedestrian movements have been anticipated.

The first is outside for those crossing from the Haldane settlement to Balloch village centre. The ‘S’ building façade follows the walker’s route, a friendly stone wall in fact to shelter and mark the route. In a world of pavilion offices in car parks this obvious solution is seemingly not so ‘obvious’.

The second is inside between the double pitched roof blocks and is an echo of the outside pedestrian route. Staff and community share the same movement just slightly displaced.

For the community the shapely ‘S’ seeks to make sense of the geometry of modern road engineering. Its gentle sway is intended to be all-pervasive, an underlying gentle movement that rules out the tendency to predominant straight line routing. Every movement is shaped by the bend of the walls, but more than that the distant perspective within the curving ‘volume’ contains the open room, what is ostensibly open becomes loosely closed-open plan but not so open plan.

These volumes are not frameless. Super-scaled trunks of wood extend beyond the thinner wall frames presciently shaping the interior modulation some wittingly not quite making the full rectangular length: subtle indications of the natural inclinations of the tree trunk.

These two ‘S’ shaped movements inside and out are in turn bridged by the breakout space of the café and meeting spaces, made manifest outside by a break in the stone openings of the external wall. Although not routes between outside and inside, the inner world is always made conscious of its relationship with matters external to itself: this is no introspective platform conceived in isolation. That act of bridging is reserved for the entrance volume and here the passage of the community and the staff meet under a great beamed roof ready to be absorbed into the sweep of the building or the meeting rooms gathered around the arrival roof.

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Cross Sections

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Titan Enterprise Centre

Queens Quay, Clydebank, Britain

The Titan Enterprise Centre is the first of a series of office/business-use buildings that will occupy a triangular site at the centre of the 16 acre area known as Queens Quay. This 16 acre site-at the eastern end of the 2004 Page / Park’s Master Plan for the redevelopment of the 80 acre John Brown shipyards-has recently seen the completion by Clydebank Re-built of an extensive infrastructure and landscaping project. This project has transformed the previously derelict and contaminated ground into a fully serviced, publicly accessible area containing very high quality public realm spaces, linking the Town of Clydebank back to its river.

The building was planned, designed and constructed to promote and contribute to the urban and economic regeneration of the area. One third of the Centre units were let within one month of project completion, demonstrating the instant success of the new building. This, along with the completion and success of the new Clydebank College building (opposite the Enterprise Centre) and the imminent construction of the next office building on the business triangle site, clearly demonstrates the ongoing success of this significant regeneration project.

The Titan Enterprise Centre is a double-loaded linear office block, with front elevation facing the public street and civic ‘arrival’ square, and the rear elevation facing the private central business car park. The usual business park typology of stranded buildings in space has been substituted by a built form aligning and engaging with adjacent streets and public spaces. This is the first of these with the view to providing a corner stone to the strategy of defining streets and routes embodied in the Master Plan for the site.

The northern section of the building is clad in copper; flaring cantilevered steps in the slabs at each level evoke a form reminiscent of a ships hull. This is reinforced by the roofline that rises above along the length of the elevation into a prow at the eastern end of the building. The copper hull is seemingly supported on timber columns, as ships in construction would have been supported prior to their launch. Full height glazing behind these ‘columns’ at ground floor enclose the offices, providing visual interaction between the public spaces outside and the internal function of the building. One gives to the other.

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Section 2

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Architectenbureau Paul de Ruiter

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Office of Rijkswaterstaat Zeeland Middelburg ,The Netherlands

The new building for Rijkswaterstaat (RWS) houses offices, a crisis centre, state archives and a 100% guaranteed computer centre which, in case of emergency, can direct all the sluice gates of the province of Zeeland, including the Delta works.

Use is made of sustainable building processes, natural materials and energy-saving technology.

One of the demands of the client was a layout that allows for flexible use. Paul de Ruiter’s design meets this demand in two ways. Firstly, the flexible construction, both structural and in relation to utility systems, means that the building can be divided up in many different ways and can be split into large units that can be rented out. Secondly, the design provides all 450 RWS employees with their “own” workplace by means of flexible workstations.

The design of the building fulfils an important communicative role, both internally and externally. It expresses that Rijkswaterstaat is not an inaccessible and technocratic institution, but an easily accessible, low-threshold organisation with a clear and open structure. Communication is also stimulated among the employees in the building itself. Glass partitions between corridors and office spaces together with flexible workstations, wide corridors with sitting areas, coffee corners, meeting spots provide many opportunities for contact and exchange.

The client’s express wish for a transparent building resulted in the use of a lot of glass. The glass façades not only have a high aesthetic quality, they also admit a lot of daylight and provide a superb view. By incorporating extra fanlights above the windows on the sun side facing the canal, daylight can enter from an high angle and penetrate deeply into the building by the reflection of the slats and the white ceilings. The horizontal slats at the canal side are a defining feature of the building. They not only ensure thatthe heat of the sun is kept out of the building, but also that the distribution of daylight inside is optimized so that less artificial lighting is needed.

Existing techniques are used in an innovative manner to create a low-energy building, without sacrificing its economic viability or its architectural quality.

The use of ‘active concrete’ in combination with underground cold/heat storage creates a constant and comfortable working climate and results into an energy saving of 40% to 50% over traditional cooling and heating methods.

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Section B-B'

Section C-C'

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Pugh+Scarpa Architects

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Broadway Court

Broadway Housing consists of 41 units of family affordable housing with 2 levels of subterranean parking. This includes community spaces and courtyard with play area. The building skin is partially clad with recycled aluminum cans formed into building blocks about twice the size of concrete blocks. Pugh ＋ Scarpa worked with the state to obtain approval to work with local recycling companies, who provided the material. These are joined by a dramatic perforated metal screen on the façade.

There are energy-efficient fixtures and environmentally sound finishes throughout.

In addition, the project is designed to incorporate a rooftop hydronic solar panel heating system, which will be implemented in a second phase to minimize the client’s initial costs.

Santa Monica, California, USA

Section

West Elevation

East Elevation

North Elevation

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Ground Floor Plan

Typical Floor Plan

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Pugh+Scarpa Architects

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Bronson Lofts

Hollywood, California, USA

Located in a neighborhood characterized by traditional bungalow style single-family residences, the Bronson Lofts project is a new landmark for Hollywood. The building is sensitively designed and compatible with the neighborhood, but differs in material palette and scale. Distinct from neighboring structures, the building creates a strong relationship to the street by virtue of its generous usable balcony area along the front facade.

The design of Bronson Lofts is generated by a subtle balance of tensions. Building volumes and the placement of windows, doors and balconies are not static but rather constitute an active three-dimensional composition in motion. Each piece of the building is a strong and clearly defined shape, such as the corrugated metal surround that encloses the second story balcony in the east and north facades. Another example of this clear delineation is the use of two square profile balcony surrounds in the front facade that set up a dialogue between them-one is small, the other large, one is open at the front, the other is veiled with stainless steel slats. At the same time each balcony is balanced and related to other elements in the building, the smaller one to the driveway gate below and the other to the roll-up door and first floor balcony.

Second Floor - Bedroom Level Floor Plan

Mezzanine Level Floor Plan

Ground Floor Residential Street Access Level Floor Plan

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Querkraft Architekten

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ML museum liaunig

neuhaus/suha, carinthia, Austria

The museum liaunig projects out on two sides over steep-sided ground, high up in the landscape. A cut through the hill marks a precise intervention in nature.

Planted into the site, the new museum emerges more like a work of land art. Only a small part of the outstretched museum building is visible. Cut through the hill, the main body of the museum slices through a densely-wooded, steep-sided embankment, providing an unparalleled view over the river drau seventy metres below. The building cantilevers an impressive thirty metres out, over a steep bank towards the approach road-clearly visible to approaching visitors.

The museum entrance zone is orientated toward both the centre of neuhaus and the nearby historical castle owned by the museum’s patron. The substantial viewing storage depot is one of the main areas of the museum. Stretching the whole length of the gently sloping approach to the main exhibition hall, visitors are accompanied by this ‘wine cellar of art’. This underground volume offers the possibility to organise a variety of exhibitions by virtue of flexible screens and lighting arrangements.

The building’s core is a 160 metre long, fully day-lit exhibition hall, with protected terraces at each end. The continuous 13 metre wide, 7 metre high room is covered by a part translucent curved-skin-an industrial element permitting daylight. The hall is organised with mobile exhibition panels.

The daylight-free, gently conical room for the graphic collection lies adjacent the ramped entrance. The collection is enclosed by the main hall and is orientated towards the entrance. A window facing neuhaus at the end of the graphic collection sits over the foyer. The gold collection is a separate chamber connected by a small corridor. brigitte kowanz’s light installation accompanies the way to the underground collection.

The high cost of the external envelope is avoided by sinking the majority of the building below ground. Rather than removing the soil, excavated ground is used to remodel the site. Industrial materials like concrete, glass and sheet metal dominate the visible portion of the building. Set into the hill, the building benefits from the temperate environment. A geothermal heat pump utilises the constant temperature of the ground. Roof light substitutes artificial light as much as possible.

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Robert Harvey Oshatz Architect

First Floor Plan

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Fennell Residence

Portland, Oregon, USA

Approaching the Fennell Residence from a dock on the Willamette River, you first notice the sweep of curved glue-laminated beams and the rich hue of exposed wood and copper trim, making it stand out from its neighbors like a point of color in a gray photograph.

Inspired by its setting, the house was designed as a series of curves that seem to flow over one another. A glu-lam beam dives into the floor where you enter a side courtyard, while another breaks high overhead. You enter the house and move around the staircase, into a great open living space with a full wall of glass looking out to the river and shore line beyond. This view draws you through a door in the glass wall, where you enjoy a patio on the water.

The home is filled with natural light that seems to roll down under the curved ceiling and exposed beams, and spill into the living space. Glass fills gaps in the structure, making the building feel light and transparent, with subtle reflections that imply depth. Clerestory windows open to allow natural ventilation. A white interior finish rolls up the south wall and seems to billow like a white sail, and you wonder if the home will catch the wind and take flight.

By contrast, the plan of the house is rectilinear, tight, and logical. The client enjoys loft-style living and there are few interior partitions, with the master suite looking over the main living space, sharing the view.

Although on the water, you feel no sway. A subtle reminder comes from the swinging of the pendant lights hanging in the kitchen. But this home feels at peace with its setting, it has a spiritual presence that could be nowhere but on the water.

Section Thru Grid Line #3.5

Section Thru Grid Line #6.5

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Robert Harvey Oshatz Architect

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Wilkinson Residence Portland, Oregon, USA

The Wilkinson House is an example of modern architecture at peace with its site. The house occupies a wooded Pacific Northwest site, on a fast down sloping grade, which allows the main level of the house to sit among the tree canopy. The exterior of the house is a series of horizontal layers featuring copper, cedar shingles, and a copper metal roof. Walls made of glass provide abundant natural lighting on the interior and views to the surrounding canopy, satisfying the resident’s desire to see and hear the surrounding bird life, and feel like a part of the landscape.

The entrance walkway passes a small Japanese garden. The house has a highly spacious, open plan, with a variety of built in furnishings, countertops, and cabinets. The main living space is a single room including a sitting area, kitchen and dining area, and a fireplace nook. The main space opens onto a very large deck among the trees. The house is 393 square meters total, with a 234 square meters on the main floor, and 159 square meters on the lower level with three full bedrooms and two and a half baths.

Natural materials provide a variety of colors and textures to create a warm interior environment. Materials include cedar shingles, wood trim, gypsum board, carpet, slate tile, granite tile, and copper. The space of the house seems to flow inside and out, as materials continue from the interior to the exterior. Curves add tranquility to the space; a series of curved, glue laminated beams support the high ceiling overhead, cedar shingles describe a series of organic curves, and a glass enclosed meditation room adjacent to the main space is a circle in section.

Section Through Study

Oshatz left no detail untouched; he provided for natural ventilation, and environmentally friendly gas-fired hot water radiant floor heating. As the resident is a lover of music, the interior space acoustics were carefully controlled, allowing the space of the house to resonate with the flow of music.

Section Through Fireplace Alcove

Section Through Kitchen

Section Through Meditation Room

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Saia Barbarese Topouzanov Architectes

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House in St-Henry

Montreal, Quebec, Canada

A century old worker’s home near downtown Montreal is transformed into a bright, practical living space. The concept aims to increase natural light and ventilation, open the house onto the garden and create large, flexible interior spaces.

Roof canopies and projections previously obscuring the entry of light are removed, enlarged windows and patio doors are placed at the rear of the house, and the original building envelope, displaying different deteriorated materials, is now revamped. The existing facades were stripped and the resuscitated structure, retaining the original building shape, is wrapped with a continuous floral wallpaper of new, colored bricks. The distinctive and joyful pattern reads as whimsical, large scale urban graffiti visible from the busy facing street.

First Floor - New

The demolition of a few walls in the living room offers one large open room, stretching from the street to the garden, transparent to light and views. To maximize its flexibility, one entire wall is transformed into a full height multi-use storage unit. A mobile kitchen island liberates the floor plan, facilitated by the use of recessed floor outlets. Walls, closet doors, and kitchen surfaces are finished glossy white, illuminating the newly abundant space and creating a striking contrast with the original wooden staircase, kept as witness of time. Unobstructed natural cross-ventilation, window shading devices, a retractable canopy on the south façade and dimmable fluorescent lights lend to an ecologically sensitive strategy. On the second floor, the former maze-like circulation is reorganized to fit two large bedrooms and a bathroom with a new skylight. A cedar-covered terrace replaces a sloped tar roof and connects the bedroom to the garden by the traditional spiral stair.

The final stage of the renovation dealt with the exterior spaces. To minimize maintenance, the street access to the backyard is set in perforated concrete pavers while the traffic areas in the backyard are reinforced with an invisible plastic mesh underneath the grass, creating a durable surface. The entire yard is enclosed by a continuous fence, made of rough-cut local hemlock, chosen for its visual appearance and durability.

Ground Floor - New

First Floor - Existing

Ground Floor - Existing

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Saia Barbarese Topouzanov Architectes

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Lassonde Building (School of Engineering) University of Montreal Canada

Inspired by steep topography, panoramic views and the existing landscape, the Lassonde building reinforces its natural and built environment, engaging the notion of campus while offering a renewed identity for the Faculty of Engineering. The conceptual approach integrates the building into its natural setting by extrapolating the stratum from the layers of rock found on site. It assimilates two principal axes: one generated by extending a main artery from the adjacent principal campus building, another by the defining geography, to create an interior space unique to its institutional context. The esplanades of this visceral terrain are characterized by two staggered canyons stretched in opposite directions and a bisecting void which manifest an internal landscape favoring Montreal’s harsh winter climate.

The earth’s stratosphere is further interpreted to establish a color-coded strategy that weaves together two roles for the colors. Symbolically, red; ochre; green; and blue signify: earth’s core; ground; vegetation and sky.

Programmatically, red is associated with the more active gathering spaces such as the auditoria and classrooms, ochre defines the computer sciences section, while the electrical department is rendered a vigorous green and the library a calming blue.

In parallel to the sensitive response to site, the concept employs innovative energy efficient techniques and unique architectural strategies that respond to five principal environmental parameters: site; water management; energy and atmosphere; materials and resources and indoor quality. The École Polytechnique is the first institutional building in Canada to obtain international LEED certification from the USGBC with a score of 46 on the LEED points scale, the highest ever obtained in Canada. It was awarded LEED GOLD status.

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Saia Barbarese Topouzanov Architectes

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Pierre Dansereau Science Complex, University of Quebec in Montreal (UQAM) Canada

Bounded by four major streets in Montreal’s downtown core, the new UQAM Science Complex occupies a distinctive, urban block within the city’s vibrant festival district. The original master plan of a classic campus model-a ‘field of green’ enclosed by buildings all around-has evolved into a series of buildings connected through a succession of inner courts. This new ‘field’ characterizes a renewed notion of campus interlaced by a continuous flow of gardens and pathways, creating a sanctuary for learning within its urban context, where green voids and erected structures are architectural equals.

The given context was a half vacant lot, composed of several buildings only on the west side, formerly Montreal’s Technical School, that were to be conserved and restored, including an old foundry and power plant with a chimney as the focal point. The aim was to rejuvenate the spirit of the campus by reprogramming these structures and uniting them with three planned new buildings. The transformed spaces-a three-story library, auditoriums, a media center, exhibition halls and a student café-were conceived not only for the University, but to welcome private scientific organizations and the public at large, to host events and bring new life to the campus, in the interest in integrating UQAM within its broader community.

Level 03

The plan is woven into the surrounding urban fabric by extending adjacent streets as part of a network of paths, linking streets to buildings, while underground passages connect the campus to the subway. The massing is carefully structured to bring light into the courtyards and the campus is made porous to its environment by luminous, glazed entry portals and porte-cochere cut outs.

By restoring a condemned street as the main walkway and introducing green space where gardens from the nineteenth century once were, the campus becomes a landmark which traces the site’s history and offers a renewed urban structure. The gardens encompass large flowers inscribed on the ground using slate paving and planted mounds in the form of large petals. Outdoor spaces harvest intimate settings for meetings, discussions, relaxation and reflection, and greenery nourishes the neighbourhood using indigenous species adaptable to an urban climate.

Level 01

Opposite the existing structures, three new buildings are tied together with a common material palette, each defined by a distinct motif, referring to its specific function. The Biological Sciences building combines a buff-colored brick, a dark grey brick, translucent and transparent coloured glass to form of DNA patterns in an upward unraveling spiral on the facades. The L-shaped student residences identified by the ‘swallow's nest hatch’ weave pattern, alluding to a hive, wraps around to protect an inner courtyard. The most public corner of the campus, occupied by Tele-University of Quebec, exposes an undulating veil of glass with silk-screened dots fading in opacity and reflecting the historic buildings in its faceted surfaces. On two facades, the glass is raised like a curtain to reveal entrances beneath, while the one facing the court invokes the image of tree trunks, inspired by the site’s history of an exotic tree garden.

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SAMYN and PARTNERS architects and engineers

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Akademisch Ziekenhuis, Vrije Universiteit Brussel Brussel, Belgium

This project constitutes the first phase, following a study done for a master plan of the entire university hospital site, for the entirety and targets relieving congestion in the existing buildings to permit reorganization of the various wards in successive stages.

The shape of the building appears as a mound on the lot extending the natural relief of the grounds. This mound will be extended in the future in the roofs of the car parks. The facades are covered with a coat of peat and ivy to blend the building into the site without hiding or overwhelming the existing buildings. The hospital’s view of Brussels is thus maintained and the 5th facade-the roof covered in greenery, is also more attractive than a traditional flat roof.

The shape of the building was also chosen with reference to the programme.

The narrower levels at the top are used for offices, whereas the large, multifunctional, flexible lower levels house the laboratories.

These medical laboratories operate on a split level; peripheral halls, whose height extends over the two levels, circle the laboratory areas and the technicians’ offices. The hall area acts as a thermal buffer, in addition to the thick landscaped facade, and as a relaxation area since the relation between the two floors is favoured by their height. The hygiene regulations for the laboratories do not apply to the lay-out of the hall, so that light-coloured wood paneling could be used on the walls. The laboratories are separated from this hall by window walls-this transparency prevents the hall from being used as inappropriate, unofficial storage space. The habitual hospital/laboratory scheme gains a friendlier atmosphere that is propitious to daily work and stimulates exchanges between colleagues.

In the long term, the extensions shown in the block plan will definitely be carried out: expanding either the outpatient service or the new building will be possible by branching off to the car parks or simply by demolishing an adjacent building belonging to the Red Cross. A future connection with the building for outpatient services will provide a simpler, covered link to the main entrance. In addition, already at this stage, an overhang could be erected at the juncture between the end wall on the north and the building holding the main entrance to provide a comfortable, relaxing area for smokers that is more appropriate than the entrance to the hospital.

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SAMYN and PARTNERS architects and engineers

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THE GLASS CENTRE, Flemish Centre for Modern Art Lommel, Belgium

The Glass Centre has been constructed along the length of the “De Vryheyt� passage, right in the heart of the town of Lommel. The nature of the project required to design a glass building, and the space it provides blends in seamlessly with the art it displays and produces, forming a unified whole.

The Glass Centre is composed of two interconnected glass areas that interact with each other: first, there is a parallelepiped composed of a stainless steel frame covered with an ultra-clear glass curtain wall; second, there is a glass cone made up of triangles, which clearly identifies the building as the Glass Centre. The roof is considered to be the fifth facade and will receive a special treatment in the future.

The 6 m high parallelepiped houses the exhibition areas, which are laid out on three levels around the cone (the lower level, street level and the first floor).

The luminous street level floor attracts visitors’ attention and entices them into the Glass Centre. This area overlooks the exhibition hall situated in the lower level, the access to the cone and the two-storey glass kiln. As a result, visitors are naturally drawn to the lower level. A semi-closed mezzanine offers an enticing view of the cone and the exhibition area on street level.

The glass cone, which is 8 m in diameter, reaches a height of 30 m, dominating the other buildings in the town centre. It is clearly visible from all directions, but it is not an imposing presence in the urban landscape thanks to its filigree structure and the ultra-clear covering that makes it almost transparent.

Above street level, the cone is composed of a unique system whereby the frames themselves make up the many-sided structure, with no other support. The system is 6 cm thick at most and is composed of triangular frames made of hollow steel tubes and to which two stainless steel frames are snap-fitted. The result is a system without joints.

Inside the cone, two identical steel staircases are suspended from the structure and spiral upwards. Ascending the stairs, visitors pass the three exhibition areas, gaining an overview of the entire building. Interior mirrors have been positioned at ceiling height in the parallelepiped and display an unusual series of reflections of the structure. Once visitors have reached the roof of the parallelepiped, they can climb another 15 m up inside the cone to a glass platform formed where the two spiral staircases meet. From here there are suburb views over the surrounding area.

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Scott Hughes Architects

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The Pine School

Hobe Sound, Florida, USA

Education requires an elusive dose of order and chaos, predictability and improvisation in order to succeed.

The design for this campus is a functional and formal response to a specific educational vision and program of both active and continuous expansion and inward change. Its structure promotes education and profoundly engages the specifics of its location: “touched� environment re-defining itself through the introduction of children and teachers.

The program called for classrooms and labs for group learning, a library for individual and group study, and places for assembly, performance, athletics and relaxation. It is an academic village where groups emerge, are disbanded and regroup: a community for learning, growing and discovering.

The primary issue for structures in south Florida is how to resist a theoretical hurricane threat without compromising the performance of the building nor resorting to a defensive rigidity that reduces a buildings overall openness and usability. The buildings attempt to do both.

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Linda Flora Residence

Situating a house deep within the earth, while still enjoying panoramic views, is not as improbable as it sounds. The opportunity to design a subterranean home that dramatically fuses nature with architectural aesthetics came in an equally unlikely way to Shubin + Donaldson Architects.

Bel Air, California, USA

The Linda Flora Residence is located on a natural bluff atop Moraga Canyon, with the east-west promontory offering uninterrupted views to the south as well as to the north. To the west, the property overlooks the Getty Center, which appears surrounded by ocean on either side. The horizon line of the Getty and the water coming together is a special effect peculiarly “Los Angeles”.

To be located in Bel Air, CA, this 26,800-square-foot home not only merges with this remarkable environment, but virtually disappears. Except for a few deft lines and angles-such as the neat rows of the surrounding vineyard-there is very little of the “built” presence.

The entrance is marked by a single low wall sheltering stairs that immediately begin the descent, creating a flat surface that barely cuts into the land. Except for a widening angle jutting out at the overhead, there’s no attempt to make any fanfare out of this entrance. Viewed from the vineyard terraces, floor-to-ceiling windows embrace an infinity pool that skims the edge of the terrace. Portions of the house not embedded gracefully mimic topography. This is sustainable synthesis at its best.

A concrete structure with planted roofs, this four-bedroom home is organized around a large central sunken living space, balancing the functional aspects as well as the phenomenon of living within the earth. The office/entertainment room, exercise room, formal dining room, kitchen, breakfast room, lower exterior courtyard, two swimming pools, outdoor dining area, and wine-growing vineyards, complete the plan.

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Stanton Williams Architects

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Belgrade Theatre Coventry, Britain

When it opened in 1958, Coventry’s Belgrade Theatre was the first all-new professional theatre to be built in Britain for twenty years, and the country’s first purpose-built civic theatre. Both the building and the artistic programme represented a new age. By the turn of the twenty-first century, however, the theatre’s facilities were proving inadequate. Stanton Williams were commissioned in 2002 to provide the Belgrade with a second auditorium, expanded foyers, and improved backstage facilities. Their work complements and restores the Grade II-listed Modernism of the original whilst at the same time giving Coventry a bold contemporary landmark.

The new extension is strongly vertical, contrasting with the lower-slung horizontals of the original theatre. Through the combination of differently-sized volumes plus the contrasting appearance of coloured renders and translucent panels, it functions as a beacon that signals the theatre’s presence within an evolving cityscape and which responds to the scale of an adjacent new mixed-use development. Inside, the new foyers connect with the 1958 public spaces, which have been stripped back to their original appearance. The second auditorium is a flexible space which can be used in various configurations. Wrapped around it are new dressing rooms and technical spaces, whilst above is the theatre’s first purpose-built rehearsal room.

Completed in 2007, recognition for the project includes RIBA National and Regional awards. The extension’s contemporary nature has been instrumental in altering perceptions of the venue. The Guardian reported on the theatre’s ambition to recapture the pioneering spirit and artistic innovation for which it was famous in the early 1960s, asking “is Coventry’s newly-reopened Belgrade about to become Britain’s most daring theatre?”

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Southwest Elevation

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Teeple Architects Inc.

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Langara College Library & Classroom Building

Vancouver, British Columbia, Canada

The building is conceived as an environmental form, inflected by the natural forces around it. The warped roof is a response to local wind patterns, accelerating crosswinds and pulling air upwards through the building in vertical wind towers, providing a natural alternative to conventional ventilation systems. A weather station on the roof senses wind direction, speed and humidity and adjusts louvers in the wind towers accordingly. The building has neither air conditioning nor heating systems per se, but is heated and cooled geothermally. These innovations are the expressive force underlying the experience of the architecture: patrons circulate through the same openings that air moves through as it travels vertically up toward the wind towers, public stairs are placed under the wind towers such that the towers themselves form the principle public interiors of the building, and the heavy concrete structure functions as a thermal mass, helping to regulate the temperature of the interior spaces.

The elimination of air conditioning, heating and typical ventilation systems, and their replacement with geothermal heating and cooling in combination with natural ventilation, leads to a highly energy efficient building. The building is approximately 71% more energy efficient than the Model National Energy Code. The project is registered in the LEED program, and has targeted a Gold Level.

The ground floor of the library is a Learning Commons, which contains all the support services including the circulation and information desks, administration, computer labs and research stations. Stairs flow into large study spaces on the second floor, and beyond to quieter places of contemplation on the uppermost level. The density of stored knowledge expands as one move upward through the building.

The project is a part of a master plan for the college as a whole, which foresees the transformation of the campus from a mega structure placed in a sea of parking, to a sequence of interdependent outdoor and indoor learning spaces. The library itself is carefully placed to define a new forecourt, a new west court, and a new student quadthe central focus for the campus. The reflecting pool in the forecourt links the college to the street, drawing the public into the quad beyond.

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Teeple Architects Inc.

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Scarborough Chinese Baptist Church Toronto, Ontario, Canada

This new church and community centre has been conceived as a direct reflection of the liturgical vision of its Baptist congregation. This vision has a dual focus-fellowship, which the church characterizes as horizontal relationships between people, and spirituality, which is seen as a vertical relationship between people and God. The physical form and experience of the church directly reflect these concepts.

Horizontal roofs and views to the wood lot setting characterize the community wing, while soaring vertical forms with an emphasis on natural light from above characterize the sanctuary. These wings are interconnected by the fellowship hall, a place of gathering before and after each service. The church serves both as a significant place of worship with a sanctuary for 1,600 as well as a smaller chapel for 200, and as a focal point of activity for the Chinese community in Scarborough, offering recreation (a large gymnasium), banquet facilities, and meeting places.

The church is nestled into a clearing in a wooded area in the northeast corner of Toronto. The wood lot becomes essential to the experience of the church. It is the focal point of the chapel and a point of reference as one moves through the public circulation spaces of the church.

The project included the City of Toronto’s first approved bio swale parking lot.

Storm water is processed through a sequence of swales that are planted with specific plant materials and special soils. The project also achieved an extremely high level of energy efficiency at a very low cost, through a carefully designed building envelope and heat recovery system.

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Teeple Architects Inc.

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Chemical Sciences Building, Trent University Peterborough, Ontario, Canada

Tucked into the landscape, the Chemical Sciences Building allows the views to and from the Otonabee River to remain intact. The structure is intended to be both a respectful and innovative addition to Ron Thom’s Master Plan. By following the eroding contours of the landscape, the structure highlights the exceptional natural setting. Instead of simply positioning the building on the site, the design helps it become part of the landscape itself, embodying a reverence for the topography that characterized the work of Ron Thom. The single storey building allows the land to literally extend over the roof of the building, blending natural and built forms. The project is organized to form a sequence of new courtyards on the campus; a rock court cut into the hill, a court over the river, and an internal court formed between the CSB and the existing Environmental Studies building.

The project provides a highly regularized, flexible system of teaching labs that can be combined, as required, into various research projects. The ordered nature of the spaces stands in contrast to the sculpted complexity of the public space as it reaches outward to the river. The centre includes a 3,000 sq. ft. Water Quality Lab; which tests the conditions of the Otonabee itself, Teaching Labs, a Computational Lab, and High Level Research Labs. These are brought together in a shared social space, overlooking both courts. The laboratories accommodate the methodical pursuits of the researchers, while evoking the complex realm of intricate and unforeseen speculation.

The project employs low flow, variable air volume fume hoods to minimize heat loss in the building. Heat is recovered from the fume hood exhaust system to achieve an exceptional level of energy efficiency. Green Roofs and natural cleansing of all storm water compliment its environmental approach.

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House TTN Tokyo, Japan

House TTN was designed to accommodate three families-the parents and the families of their two daughters. The first request for this project was to have a sort of collective residence to accommodate three homes, a plan which would completely separate the families within the same building. However, after much thought on how to maximize convenience, the effective and rational use of the site, and the pleasure of each other’s company, House TTN decided to take a semi-independent, sharing approach.

Each family has their own independent kitchen unit, bathroom, and toilet, but the homes are adjoined through the ground floor area and common deck-inside and out.

The parents’ living space is located on the ground floor, with a highly independent main room (that is also shared by all three families) as well as private rooms (one Japanese-style room and one bedroom) opening towards the outside. The first and second floors are divided east and west, creating living spaces for each daughter’ family. Outdoor common decks in between the two sides of each floor serve as both converging points and buffer space. Transparent glass and sudare or Japanese wooden blinds are used on the common decks to separate the families but at the same time avoid complete privacy. It is possible for each family to go about their business independently, but these purposefully built common areas make it possible to achieve a higher quality of life. A comfortable distance is achieved by softly compelling the families to come together.

Another important aspect of House TTN was its structure. As the decision had been taken not to separate the homes completely, the residents wished to retain an option that would enable them to cut the building in half, left and right, in case they wished to do so in the future. In order to make this possible, the two sides of the structure including the foundation are completely independent of each other, and designed to guarantee durability after being divided. Of course, if two new separate buildings were to emerge, they would both need to pass the various building regulations. Therefore, this aspect greatly influenced the initial plan and form of House TTN. However, it may also be said that because of this requirement, it was possible to achieve a bold design, shaping the areas that would be removed if the house were to be divided into outdoor common decks. It is unclear whether this option will be taken in the future, but having an alternative will surely encourage friendly and active communication between the families.

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Ground Floor Plan

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Teruo Miyahara / Miyahara Architect Office

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House Uc

House Uc is a residence designed for a couple in their 30s and their daughter. It is located in the quiet residential area of Tokyo standing on a small and narrow site of irregular shape-a result of the recent trend of dividing property into smaller segments each time it is sold and bought due to inheritance issues and market availability. The site measures approximately 57 m2 in size: approximately 12 meters deep, 6 meters across where it faces the north road, and 2.7 meters across at the deepest end. The design for House Uc therefore needed to focus on the ideal form of an urban detached house within the constraints of the site itself as well as laws and regulations.

Tokyo, Japan

Elevation North

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The client felt that a residence was a form of self-exposure to the outer world.

In order to live up to his expectations, House Uc was designed to imply the essence of the house within the urban context by bringing out the characteristics of the finishing material that was chosen together with the client. The concrete exterior walls were coated with lean-mix acrylic paint, resulting in a black mottled effect according to the difference in the degree of water absorption and smoothness of the surface. The zinc-coated steel sashes on the east side were dipped in phosphate to strengthen the zinc layer, and the difference in the amount of zinc coating on the sashes projected a black patchy effect. The mottled exterior walls and patterned sashes are the result of chance (nature) and display a certain beauty, in a sense similar to human beings-people are attractive, pockmarks and all.

The east face was provided as a baseline to anchor the intensely irregular shape of the site. All partitions, equipment, etc. were positioned originating from the north-most corner of the east face. Natural lighting was no exception. Over 20 windows made of raw brass were randomly placed on the east face, allowing natural light to filter in through the golden screens in a nonuniform pattern. This irregular pattern of light provided by the east face or baseline wall will leave an impression on the residents’ minds, helping them with spatial orientation and becoming a trigger for daily actions; the design hopes to enhance spatial comfort for the residents by promoting the automatism of daily actions.

For the interior of the house, the first floor consists of an independent bedroom and bathroom. The second floor has a main room with a ceiling that partially opens onto the third floor; this aspect and the stairs made of perforated metal also contribute to the open feel of the main bedroom and tearoom on the third floor. The partitions were made of transparent glass and Japanese paper blinds so as not to divide the atmosphere. The third floor tearoom defined by the sudare or Japanese wooden blinds is the only space that opens out towards the south. Here, the residents can enjoy the view of the century-old landmark, the water tower-a positive reminder.

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Tighe Architecture

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LA Loft

Los Angeles, California, USA

The 1400 square foot dwelling is located in an existing warehouse building in downtown Los Angeles. The live-work environment was designed for a creative professional. Two distinct entities are evident in the design. The angular geometry of the faceted stone clad monolith stands in contrast to the free flowing organic elliptical shaped room. Through these two pieces a dialogue begins to emerge. Harmony and conflict co-exist within the dichotomous dwelling.

Technology is an integral part of the design in two ways.

1.) Technology was used to control the environment. The inhabitants have the ability to alter the mood of the space in a number of ways via a central control station. Lighting, music, security, heating-air conditioning and the display of the media wall are all programmed as part of the user interface. The media wall serves as an extension of the computer’s desktop. It is a screen for viewing films and for gaming, also serves as a virtual art gallery.

2.) Technology was used to design and fabricate the residence. The forms were produced via a computer model and fabricated using a CNC (computer numerically controlled) milling process. 65 plywood ribs (14' high) were placed 12" apart as an armature to which thin layers of gypsum wallboard and plaster were affixed to form the complex curves of the walls.

The raised floor is sheathed with a system of translucent honeycomb panels that allow for the LED lighting system below to morph from one color to the next.

The building materials used were chosen for their ability to absorb or reflect the ever-changing color palette of the light.

Undulating curved walls form the womb-like enclosure that serves as the kitchen. The walls are pierced with light sensitive tiles. The light portals absorb and redistribute the available light within the space providing another dimension within the environment. It is here where the overhead cantilevered stone appendage penetrates the embryonic form. The two distinct entities compliment, contrast, violate and coalesce one another as they become one.

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Tighe Architecture

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Sierra Bonita Affordable Housing Hollywood, California, USA

The building contains 42 one bedroom residential units each of approximately 620 square feet. Commercial / Retail space is located along Santa Monica Boulevard at the ground level. Parking is provided at grade and at the subterranean parking level. An outdoor courtyard (bamboo forest) provides a garden for the residents from which access to the units is provided. Each apartment has its own private outdoor space with designated storage. Common areas exist for the residents as well as for public use. The units are stacked and conform to a rigid grid for an efficient building. The eccentric braced frame structural core that surrounds the courtyard garden possesses a translucent fiberglass casing for fire-proofing. The structure is expressed as an organic lattice in the garden, a gesture for the residents to counter the rigidity of the rest of the building.

The City of West Hollywood is in the process of developing a Green Building Program. The Sierra Bonita Mixed Use project will be a pilot project for the program. The arrangement of the proposed architectural scheme facilitates an environmentally conscious approach to the building services design. Passive solar design strategies are used and include: a north south orientation for the living units, locating and orienting the building to control solar cooling loads, designing windows to maximize daylight; minimizing west-facing glazing and designing units to maximize natural ventilation. A solar electric panel system is integral to the design and will supply most of the peak load electricity demand. The unused solar electricity will be delivered to the grid, solar is also used to heat the water for the building. Glazing is to be shaded from direct solar penetration, reducing heat gain. The landscape and water features in the courtyard further enhance the local environment and will result in locally cooler temperatures and higher air quality.

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RESIDENTIAL PRIVATE OPEN SPACE RESIDENTAIL PARKING CIRCULATION / UTILITY COMMON OPEN SPACE RETAIL / OFFICE / COMMUNITY ROOM COMMERCIAL PARKING

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Tighe Architecture

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Tigertail

Brentwood, California, USA

The 3,200 sq ft residence is located in the Crestwood Hills neighborhood of Brentwood, California, a post war development of modest mid-century homes. The project consists of the rebuilding of an existing building with a new second story wing. The new architecture compliments the existing residence and builds upon the original intentions of Qunicy Jones and the other pioneers of this progressive neighborhood.

The architecture is a direct result of the various conditions inherent within the site. The peculiar geometry of the second story volume is a result of the existing site conditions and the current building setback regulations. Openings to the views and the need for solid walls for shear and privacy were also factors that defined the building envelope.

The building is low and unassuming at the street and in keeping with the scale of the neighboring homes. The residence opens to the courtyard with walls of glass. A series of bent, steel moment frames straddle the existing one story structure and are expressed in the new architecture. The folded planes of the walls and roof are an extension of the rolling topography of the hillside site.

The folded planes are sheathed with interlocking metal panels. The interior is clad with wood, blurring the distinction between wall, ceiling and floor.

Views are framed as the building projects outward to the city, the ocean and the neighboring Getty Center in the distance.

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Second Floor Plan

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Undurraga Deves Arquitectos

West Elevation

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North Elevation

Lakeside House

This house is located at Colico Lake, at the South of Chile. The project develops the theme of colonization in a territory where nature manifests itself with extraordinary force.

Lake Colico, Chile

It is in this essentially geographical scenario that the categorical volume of the house was built. The formal simplicity and rigor of the project were intended as means to achieve abstraction and establish a counterpoint with the landscape.

Concomitantly, glass and steel were used in order to create lightness, transparence, and the impression of merging into the trees growing in the area.

The aim was to allow the dwellers to be in contact with nature even while inside the house.

Three glass-encased green patios have been carefully laid out in the open plant, dividing it into different living areas. Vegetation in the patios has been intended as a means to articulate inner space with nature. Additionally, a stone ‘service wall’ was built to provide support to the ‘crystal box’. This wall connects us to the earth and to remote history, in opposition to the steel and glass, which connect us to modernity.

First Floor Plan

Second Floor Plan

Third Floor Plan

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Section 1-1'

Section A-A'

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Valerio Olgiati

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Atelier Bardill

Scharans, Switzerland

The Atelierhouse Bardill replaces an old barn in the protected centre of the village Scharans. The building permission was granted by the local authorities only under the condition that the new building would have exactly the same volume as the old barn.

The client, Linard Bardill, who lives in a house a very short walking distance away from the site, needed only one single space, a room to work in. This working space occupies not even a third of the stipulated volume. The rest of it constitutes a courtyard that is monumentalized by a huge round opening to the sky. This is where the house expresses greatness and clearness in contrast to the arbitrary geometry of its external appearance and to the small-scale environment of the village.

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Zwarts&Jansma Architects

Level +1

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Level 0

Sports Centre Almere The Netherlands

The new sports centre for both top-class and recreational sports is part of the future quarter Almere-Poort. The building is located near the Hollandse Brug and is visible from the Highway A6 and the railway. It is the only building in this part of the polder, and that will remain so for a few years.

The top-class sports with its field of 40 x 20 metres functions as the home base for the Omniworld Volleyball and Basketball top clubs. It is also suitable for handball and indoor football. There are 2,235 regular seats, including 370 business seats; on the extension tribune there are 780 seats. The tribunes can be reached through a large walkway, which also offers a view of the field. Because of this flexible extension of seats the hall meets the norms of most important matches.

The recreational sports hall has a field of 76 x 32 metres and can be used for all kinds of sports. It will be used by schools in the daytime. For these occasions the hall can be sectioned into four parts by means of extendable dividing walls. At night and on weekends it will be used by recreational sports clubs. The hall features stands with 250 seats over the entire length of the playing field. It can therefore also be used for exams and small-scale events, such as jumble sales and fairs.

The building measures some 100 x 70 metres and its highest point is 15 metres high.

The dimensions of the building are adapted to the minimal heights that the various sports require. Therefore, the top-class sports hall differs in shape from the recreational sports hall.

The facilities are situated between the two halls. The changing rooms share the middle corridor, so that top-sports players and amateur players can meet one another. The cafeteria on the first floor is also situated between the two halls, providing the spectators with a view of both top sports and recreational sports.

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AH Asociados

Spain

AH is an architectural company established in 1995 with branches in Pamplona, Bilbao, Barcelona and Madrid. Its main purpose was to provide technical services for Planning, Design, Site Control and Project Management, after years of experience in housing, public facilities and urban design.

The AH group, based upon a standard organizational framework, is focused on inter‑disciplinary team work to obtain better results, adapted to the identity of each client, with the quality of a personalized office and the efficiency of a large company.

Now AH has specialized teams in the design and execution of Collective housing, industrial facilities, public centres for culture, education and health, architectural renewal, urban design and structural design, technical specifications, site control, quantity surveyors and project management.

Its work has been awarded with prizes in many local and international competitions and has been widely published in architectural exhibitions magazines and lectures including University Forums, Schools of Architecture and Professional Institutes.

Miguel A. Alonso del Val Miguel studied Architecture and Planning (1979) and a PhD (1983) at the School of Architecture of the University of Navarre (ETSAUN) earning, in both cases, the Extraordinary Prize. Master of Science in Architecture & Building Design, at the Columbia University N.Y. (1985). Apart from being Professor of Project Design at the School of Architecture of Madrid (ETSAM) and at the ETSAUN, he is also the Director of the Project Design Department at the ETSAUN (1990‑1993) and Director of the PhD in Architecture at the same university. He is lecturer at numerous University Schools and official Spanish architecture associations.

Additionally, he acts as visiting professor at the University of Arizona (Tucson), Diploma Unit 4 (AA Londres) and at the UPC (Barcelona), UPM (Madrid), Universidade da Coruña (A Coruña), Universidad del Istmo (Guatemala), ITESM, La Salle y UNAM (México). He is a researcher in the fields of Contemporaneous Architecture, Project Theory and Sustainable Urbanism.

Rufino J. Hernández Minguillón Rufino studied Architecture and Planning (1982) and a PhD (1991) at the School of Architecture of the University of Navarre (ETSAUN). Researcher on “New Skills in Light Construction” at the University of Illinois, Urbana‑Champaign (1988), Master in Building and Specialist in Building Systems, Organization and Technology of Works (1993). He is assistant Professor at the ETSAUN and Professor of Construction at the School of Architecture of the University of the Basque Country. He has been Assistant Director of the Program “Master of Building” (1991–96) and Director of the technical magazine “Revista de Edificación – RE” of the ETSAUN, Pamplona (1995–01). He has developed research in the fields of active light and sensitive facades, industrialized construction and thermo‑energetic behaviours of facades, and has collaborated with the National Association of Architect Colleges of Spain in the elaboration of the new Technical Law on Building, particularly in Safety and Habitability.

Antonino Cardillo Architect

Italy

Antonino Cardillo trained for five years with Professor Iolanda Lima and contributed to her various scientific publications about the history of architecture at the University of Palermo. Between 2003 and 2004 he worked at the Nonis Maggiore practice in Milan and the Manfredi Nicoletti practice in Rome. Since 2004 he has had an architectural practice based in Rome working in the fields of architecture, interior design, urban design and landscape architecture. He has written for the UK Blueprint magazine and has contributed

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several articles to the Alitalia airline magazine. He has worked with the laboratory of interior design directed by Cesare Casati, professor at the Rome Faculty of Architecture “Valle Giulia”. His works have been selected for the International Exhibition Dialog 08 in St Petersburg. Most of his designs are published in several international magazines.

BURO II

Belgium

BURO II was established in 1978 in Roeselare by Hendrik Vermoortel and Rita Huys. In 1983 BURO Interior saw the light of day, and in 2000 the Urban Planning division was added. Since that time the architect’s office has developed into a solid group with more than 125 employees, spread over offices in Roeselare, Ghent, Brussels and Guanghzhou (China).

BURO II’s methodology, in which a process approach is key, sets itself apart from the rest. The process is a joint process: the client is involved, invited and challenged. And if necessary, experts from other disciplines are consulted: historians, sustainability experts, economists and others, both from Belgium and abroad. A result is the team approach that typifies the firm.

BURO II applies this process approach to a wide range of projects in the fields of architecture, interior and urban planning: from housing projects, public and commercial buildings to mixed projects. A strict business organization and the in‑house availability of key competencies contribute to an integrated design.

CO Architects

USA

CO Architects, based in Los Angeles, CA, is a nationally recognized architecture firm specializing in healthcare, academic, and science and technology architectural planning, programming, and design. The firm’s healthcare experience ranges from existing facility evaluations to new, comprehensive medical campuses including, hospitals, outpatient facilities, specialty clinics, medical office buildings, and facility expansion and renovation.

CO Architects’ work on academic medical campuses includes new schools of medicine and allied health. Award‑winning projects by CO Architects are found throughout California, Arizona, Wisconsin, Texas, and Virginia.

Architektur Consult ZT GmbH Austria

Since 1998 the architectural offices of Günther Domenig, Hermann Eisenköck and Herfried Peyker have been merged under Architektur Consult ZT GmbH. From February 2008 on, Architektur Consult ZT GmbH will be reinforced by long‑time and leading staff members and partners, namely architects Christian Halm, Thomas Schwed and Peter Zinganel.

The Architektur Consult ZT GmbH sees itself much more as a modern service organisation, offering its clients complete solutions – site location, analysis of space requirements and economics, project management, accounting, building logistics. Its aim: to achieve a harmony between commercial value, sustainability and sophisticated architectural design.

The spectrum of projects realised to date stretches from hospitals, schools, power stations and housing through tourism and hotel developments, museums, private houses, university and college buildings and industrial facilities to the design of street, bridge and city square layouts. Also forming a significant proportion of its activities are regional development planning, project developments at home and abroad, as well as successful participation in EU‑wide competitions .

In 2006 Günther Domenig retired from Architektur Consult ZT GmbH and the two managers Hermann Eisenköck and Herfried Peyker acquired his shares in the company.

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Diamond and Schmitt Architects Canada

Diamond and Schmitt Architects is based in Toronto with a practice that is worldwide. The firm presently has projects in the Middle East, France, Ireland, Bulgaria, the United States, the Caribbean and in all major cities in Canada.

The firm has achieved an international reputation for design excellence with unremitting attention to user needs and innovative and sustainable design solutions. Working with universities, health care institutions, government and private clients, the firm has completed significant master plans, medical and research facilities, performing arts venues, academic buildings, residential and commercial projects.

Diamond and Schmitt is on the leading edge in responsible environmental design and is committed to reducing energy consumption and the ecological impact of architecture. With over 15 years of sustainable design experience the firm’s green projects incorporate innovative thinking in displacement ventilation, geothermal energy systems, water management, sun shading and extensive natural light transmittance to reduce mechanical services and elevate user comfort levels. Diamond and Schmitt also pioneered the use of bio–filter plant walls – a complex ecosystem used to provide exemplary indoor air‑quality. Currently the firm has 32 projects pursuing LEED certification including two projects registered for LEED Platinum.

The work of the office has received over 140 national and international awards. Among these are six Governor General’s awards for architecture and design awards from the American Institute of Architects (AIA) and the Royal Architectural Institute of Canada (RAIC). Both the Foreign Ministry in Jerusalem (2004) and the Opera House in Toronto (2007) have been recognized

by Business Week/Architectural Record as one of the top ten projects in their Good Design is Good Business international competition. In 2004 the Royal Architectural Institute of Canada named Diamond and Schmitt Architects Firm of the Year and Queen’s University School of Business, KPMG, Deloitte and the Canadian Imperial Bank of Commerce included the firm as one of the 50 Best Managed Companies in Canada.

Dietmar Feichtinger

Austria

Dietmar Feichtinger studied architecture at the Technical University of Graz, graduating [summa] cum laude in 1988. After gaining initial experience with Prof. Huth, Prof. Giencke and Prof. Klaus Kada, he moved to Paris in 1989, working at Chaix/Morel where he was appointed associate architect and project manager. In 1994 he founded Feichtinger Architectes, with headquarters in Paris, and in 2002 he opened a subsidiary in Vienna.

Feichtinger has taught at a number of universities since 1994 – the University of Paris6 – La Villette, the RWTH Aachen, the University of Innsbruck and the University of Vienna. In 1998 he was awarded the Kunstpreis Berlin by the Academy of Arts.

Selected Awards 2008 German Bridge and Footbridge Award, Footbridge over the Rhin; Footbridge Award 2008, Catégorie Esthétique, Passerelle Simone de Beauvoir; Hayden Medal 2008, USA, Passerelle des Trois Pays 2007 Mies van der Rohe Award 2007, nomination of 3 projects of the office; European Steel Design Award, Simone de Beauvoir footbridge; Bauherrnpreis, Austria 2007, University Camus Krems; Renault Future Traffic Award 2007, Footbridge over the Rhin 2006 Equerre d’Argent, french architecture prize, Passerelle Simone de Beauvoir; Architecture Award of the Land of Styria, Award Geramb–Rose, Cultural Center Weiz; Culture and sciences Award of the Land of Lower Austria, University Campus Krems; Award for the best building 2006, Shanghai Bridge Hamburg 398

Enota

Slovenia

Enota was founded in December 1998 with the ambition to create contemporary and critical architectural practice of an open type based on collective approach to development of architectural solutions.

The main focus is research driven design of the environment, where contemporary social organizations, new technologies and arts are interwoven.

Partner Architects in Enota are Dean Lah (1971) and Milan Tomac (1970).

Selected Awards – Golden pencil ZAPS 2007 (Jurčkova housing, Ljubljana) – Mies van der Rohe Award 2007 (selected work) (Wellness hotel Sotelia, Podčetrtek) – Plečnik prize for Architecture 2006 (Wellness hotel Sotelia, Podčetrtek) – Piranesi Award 2006 (Wellness hotel Sotelia, Podčetrtek) – Golden pencil ZAPS 2006 (Wellness hotel Sotelia, Podčetrtek) – Trimo architecture award 2005 (office‑warehouse building Elcom, Ljubljana) – Plecnik prize for Architecture 2005 (nomination) (Wellnes center Termalija, Podčetrtek)

Featured Projects – Spa center Orhidelia, Podčetrtek, under construction – Regal GH border shop, Gruškovje, under construction – Jurčkova housing, Ljubljana, 2007 – Jazbec house, Ljubljana, 2007 – Wellnes hotel Sotelia, Podčetrtek, 2006 – Termal complex Terme Tuhelj, Croatia, 2006 – Wellnes center Termalija, Podčetrtek, 2004 – NKBM bank branch, Ljubljana, 2002

Frederic Borel Architect France

Graduated from the Ecole Spéciale d’Architecture in 1982, prize‑winner of the New Architecture Program (PAN) competition the next year, Frédéric Borel opens his office in Paris in 1985. He completes two housings in rue Ramponneau and Boulevard de Belleville in Paris (1989) which skillfully create interior public spaces in the hollowed areas traditionally enclosed in Parisian courtyards; their generous shape is emblematic of a new architectural hedonism.

This process is radically formulated again in the buildings of rue Oberkampf (1993) and rue Pelleport (1998): they seem to write actual story lines of forms disclosing the genius loci of working‑class districts. To the fragmented coloured volumes of these apartment buildings respond in a singular manner the more compact and introvert blocks of recent public buildings, which masses defy nature and the city in a calm and peaceful way. For instance, the Tax Centre at Brive (1999) seems to be floating like a ship, far from the bustling city.

The University of Agen (1998) and the school of rue Moskowa in Paris (2000) stand like suspended fractured monoliths, whereas the high school at Lognes draws a federative horizon that faces the frail and chaotic skyline of the new town. The Law Courts in Narbonne (2005) also develops a multiplicity of forms. Through their appeal to Paris in the way the city was experienced and described by surrealist poets – the abundance of secret areas, the collage of heterogeneous elements capable at any time of generating unlikely meetings and

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unexpected events – these buildings attest to a rather peculiar approach of the urban issue. While most of the buildings respect former continuities and cautiously follow the alignment of the streets, these fragmented or unifying figures, constantly on the verge of breaking up, take care of creating new collective places or new centres of attention, thus allowing social life to crystallize around them. This principle of dynamic architecture is still at work in Borel’s district development projects. The spaces he designs for specific atmospheres, in Vienna for the Ottakring Restaurant (1998) and in Athens on the Long Walls site (1997) and in Holland for the Hertogenbosch district (2002), intersect and superimpose on each other under the benevolent levitating blocks, and eventually invent a sumptuous city dedicated to walking and wandering, to luxury and voluptuousness. The sensible forms designed by Frédéric Borel for the fire‑station in Nogent (2006) and the new School of Architecture of Paris (under construction) open the eyes to the dreaming.

Gonzalo Mardones Viviani Chile Arquitecto

Gonzalo Mardones Viviani Was born in Santiago de Chile on July 8th 1955. He gets his degree as architect from the Universidad Católica de Chile, where he graduates with the Maximum Honors. He receives the First Prize in the Architecture Biennale, for the best degree project among all the Architectural Schools in Chile, for his project for urban renewal of the South‑West Center of Santiago. He has been a professor of architectural design workshops and directed degree projects in the Faculties of Architecture of the Universidad Católica, Universidad de Chile, Universidad Central, Universidad Andrés Bello and Universidad Finis Terrae, in addition to having been guest professor and lecturer in different universities in Chile, and abroad. His work has been published by the main architectural magazines and honored at Biennales. He has been a member of the National Commission of Competitions of the Architects Association in Chile and a founding member of the Association of Architectural Practices (AOA). In 2008 he receives the ‘‘Institutional Distinction UMSA for the Career’’ by the Universidad Mayor San Andrés, La Paz, Bolivia. At the date is the Master Director of the USS Universidad San Sebastian, Santiago de Chile.

Griffin Enright Architects USA

The Los Angeles – based firm of Griffin Enright Architects, established in 2000 by Margaret Griffin, AIA and John Enright, AIA, fuses interests in innovation and experimentation with a desire to explore cultural complexities relative to the built environment. Their versatile practice includes projects ranging from large‑scale commercial and residential commissions to furniture design and gallery installations. Their work moves beyond the traditional scope of architectural practice, underscoring connections with the surrounding urban fabric and landscape by reinforcing existing conditions or creating new ones that allow architecture, urban context and landscape to be experienced in new ways. Griffin Enright’s comprehensive approach to design depends on the simultaneous blurring and exploitation of distinctions between inside/outside, built form/landscape, site/urban context and theory/practice. The firm is the recipient of over thirty awards for design excellence including the 2006 American Architecture Award from the Chicago Athenaeum. The firm’s work has also been published and exhibited extensively in national and international publications and exhibitions and their project ‘Paradox Box’ is part of the permanent collection at the MAK (Museum for Applied Art / Contemporary Art) in Vienna, Austria.

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Hans Ruijssenaars architecten

The Netherlands

After splitting up in 2005 the important and large Dutch architectural office ‘de Architectengroep’ into 4 smaller offices, Hans Ruijssenaars (1944) continued his part of the office in ‘Hans Ruijssenaars architecten’.

In 1969 he graduated cum laude at the Technical University in Delft under Jaap Bakema and Aldo van Eijck. The same year he went to the USA. He studied at the University of Pennsylvania under Louis Kahn and Robert le Ricolais and graduated again in 1970.

After practicing as an individual architect in Philadelphia for about one year, Hans Ruijssenaars returned to Amsterdam and joined ‘de Architectengroep’. He designed and built a large number of projects, from small scale furniture to large scale buildings and extensive city‑complexes. New buildings, housing projects, renovations, restorations, urban designs and supervision projects were realized by him throughout the Netherlands.

As city architect in Hilversum, Hans Ruijssenaars took care of an important part of the Dudok‑legacy. From 1995 until 2000 he was the Chief architect of the Rijksmuseum in Amsterdam and he produced the Masterplan (2000) for the now ongoing renovation.

He won many architectural prizes, his projects were widely published and he took part in many juries for architectural competitions.

From 1989 until 2006 Hans Ruijssenaars was part‑time professor at the Technical University in Eindhoven and lectured extensively in the Netherlands as well as abroad.

Hitoshi Abe + Atelier Hitoshi Abe

Japan

The atelier was founded in 1992 by Hitoshi Abe. The force of matter forms the concept for Hitoshi Abe’s projects. Matter becomes the site of techniques where techniques force matter – providing matter with a dynamic quality. While each project has its own programmatic map – private residence, restaurant interior, office and factory, stadium, clinic, community hall, and museum, these projects will present his exploration of how matter and technique affect each other.

Hitoshi Abe 1962

Born in Sendai, Miyagi, Japan

1989

Master of Architecture, Southern California Institute of Architecture

1988–1992 Coop Himmelblau, Los Angeles 1992

Established Atelier Hitoshi Abe

1993

Dr. Eng., Tohoku University

1994

Lecturer, School of Architecture, Tohoku Institute of Technology

1998

Associate Professor, School of Architecture, Tohoku Institute of

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Professor at Tohoku University

2006

Visiting Professor at University of California, Berkeley (Friedman

Technology

Professor) 2007 –

Chair, Professor at Department of Architecture and Urban Design, School of Arts and Architecture, UCLA

Visiting Professor at Tohoku University

Visiting Professor, Salzburg International Summer Academy

Selected Awards 2007

International Architecture Award for SSM / Kanno Museum

2005

Good Design Award, “Sasaki Office Factory for Prosthetics”

2003

Business Week/Architectural Record Award, “Sekii Ladies Clinic”;

Architetural Institute of Japan Award, “Reihoku Community Hall”

2001

42nd Building Contractors Society Award, “Miyagi Stadium”;

Tohoku Architectural Award, “Michinoku Folklore Museum” 401

Hodgetts + Fung Design and Architecture

USA

Hodgetts + Fung Design and Architecture is an internationally recognized, award‑winning architecture firm established on the premise of exploration and innovation. Founded in 1984 by Hsin‑Ming Fung, AIA, and Craig Hodgetts, FAIA, the firm is dedicated to skillfully creating a specific syntax for each project, relating to site, intent, and context. Reaching beyond architecture, the firm integrates creative solutions into its designs, which are marked by humanity, environmental sensitivity, and ingenuity. Fung’s background in artistic design and Hodgett’s engineering experience lend a playful, theatrical approach to architecture while fusing technology and fabrication to achieve the architects’ vision. Their monograph, Scenarios and Spaces, is regularly found on the desks of students. Hodgetts + Fung is highly regarded by the architectural community and has been honored with more than 50 international and national design awards.

Jensen & Skodvin Architects

Norway

The practice was established in 1995 by Jan Olav Jensen and Børre Skodvin.

Starting with 4 architects, the staff has grown to 8 architects in 2008. During these 13 years the office has completed a variety of projects, for public as well as private clients.

Jan Olav Jensen Born 1959. Professor of architecture at Oslo School of Architecture 1985.

Founded Jensen & Skodvin Architects with Børre Skodvin in 1995. Frequent lecturer nationally and internationally. Teacher and members of juries at various Schools of Architecture. Kenzo Tange Visiting Critic at Harvard University, Boston 1998. Aga Khan Award for Architecture 1998. Norwegian Award for Timber Architecture with Børre Skodvin 1999. Grosch Medal 2003. Prince Eugen Medal 2006, Schelling prize for architecture with Børre Skodvin 2008.

Børre Skodvin Born 1960. M.Arch. Oslo School of Architecture 1988. Founded Jensen & Skodvin Architects with Jan Olav Jensen in 1995. Frequent lecturer nationally and internationally. Teacher at Oslo School of Design and Architecture since 1998.

Master of steel workshop 1999‑2004. Censor and external critic at various Nordic universities. Norwegian Award for Timber Architecture with Jan Olav Jensen 1999. Grosch Medal 2003. Schelling prize for architecture with Jan Olav Jensen 2008.

Selected Awards 2007 Mies van der Rohe Award – Selected Work (Tautra Monastary) 2007 MARMOMACC International Stone Award (Tautra Monastary) 2006 Norwegian State Award for Architecture (Norwegian Centre for Design and Architecture) 2003 Mies van der Rohe Award – Selected Work (Mortensrud Church) 2003 ECCS European Steel Design Award (Mortensrud Church) 2003 Grosch Medal (Works)

Jourda Architectes Paris France

Françoise‑Hélène Jourda (born 1955) 1979

received degree in architecture in Professor

1979 – 1983 at the School of Architecture at Lyon, France 1985 – 1989 at the School of Architecture at Saint‑Étienne, France

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1990

at the Oslo School of Architecture and Design, Norway

1992

at the University of Minnesota, USA, and at Polytechnic of

Central London

1998

at the University of Kassel, Germany

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at the Vienna University of Technology, Austria

Françoise‑Hélène Jourda practices architecture from her office at JAP (Jourda Architectes Paris). Since 1999, she has taught in Vienna, Austria.

Additionally, she heads the company EO.CITE, an architecture and urban planning consulting firm. All three of these activities are centered around the principle of sustainable development. This is the fundamental subject of her teaching at the Technical University of Vienna, the essential mission of EO.CITE, and the objective of her urban and architectural works at JAP. She served as the commissioner of the French Pavillion at the 2004 Venice Biennale, where the theme was “Sustainable Metamorphoses.” She has given a number of lectures and written many articles concerning this theme both in France and on the international level. She is one of the signatories of the 1996 European Charter for Solar Energy in Architecture and Urban Planning.

In October 2007, Françoise‑Hélène Jourda completed a report concerning sustainable development in construction at the request of the Minister of Ecology and Sustainable Development, Mr. Jean Louis Borloo.

Françoise‑Hélène Jourda is Knight of the National Order of Merit, France; Knight of the Order of Arts and Letters, France; Honorary Member of the German Association of Architects; Director of the Institute and Chairman of “Space Design” at the University of Vienna (Austria); Member of the PUCA Orientation Committee (Plan Urbanisme Construction Architecture); Member of the German Academy of Fine Arts, “Akademie der Künste”; Member of the French Academy of Architecture, “L’Académie d’Architecture”; Commissioner of the French Pavillion at the 2004 Venice Biennale; Auditor of the Advanced Studies for Economic Development (CHEDE) 2003/2004; Professor at the International Academy of Architecture; Nominee for the “Global Award for Sustainable Architecture”; Member of the National Commision of Historical Monuments.

Kohn Shnier Architects

Canada

Kohn Shnier Architects have established a reputation for bringing inventive yet practical solutions to any number of different design challenges. Their work is at once restrained and expressive, creating contemporary environments that stand the test of time and take a common sense approach to their relationship to the environment and its sustainability.

They have become well known for their poignant combinations of materials, often effortlessly combining the organic, the industrial and occasionally, the acidic. Their eloquence in detail is echoed in their use of space, enabling the communal to co‑exist with the intimate resolved in both power and grace.

From Single Family Houses to University Buildings, the office is not constrained in its range of design challenges. Projects include The Umbra World Headquarters, The Student Centre at The University of Toronto at Mississauga, The 519 Church Street Community Centre; The Eric Arthur Gallery and Shore and Moffat Library at the U of T Faculty of Architecture Landscape and Design, The EJ Pratt Library on the Victoria College Campus of U of T, and The Claude Watson School for the Arts.

Research into an alternative residential stream has resulted in the development of an innovative contemporary prototype for Royal Homes, manufacturers of pre‑fabricated factory built houses. The “Q‑Series” has received widespread praise including being named by Fortune Magazine as one of the “Top 100 Ideas of 2004”. An offshoot of this venture has resulted in the construction of a two family home – comprised of seven combined prefabricated modules – on a lakeside site in Muskoka.

Kohn Shnier Architects has also developed new products for Teknion Furniture Systems. Spandrobe, a compact storage unit for the minimal work environment, was chosen to be exhibited at “Workspheres” at The Museum of Modern Art in 403

New York and has since been selected to become part of the MoMA’s permanent collection.

Recognition for Kohn Shnier’s work includes an ID Magazine Award of Excellence, several Ontario Association of Architects Design Awards; National Post/DX Design Awards, City of Toronto Urban Design and Architecture Awards, and The Plachta Design Award. Kohn Shnier has been nominated for the prestigious Chrysler Design Award and The New York Architectural League for Emerging Practices.

Kohn Shnier have been frequently featured in both local and international media including Domus, Objekt, ID Magazine, Orange Life, Inside Out, Praxis, Architecture and Dwell. John Shnier was Canada’s first winner of The Prix de Rome in Architecture. He is a respected educator and critic and has lectured internationally. He is currently a professor at the University of Toronto Faculty of Architecture, Landscape and Design and is the 2007 recipient of the Gerald Sheff Visiting Chair in Architecture at McGill University in Montreal.

Königs Architects

Germany

The erosion of traditional urban planning mechanisms and new computational planning methods presents Königs with the chance to try out their designs, which are perhaps more appropriate to future developments. Systems are sought after which – in contrast to the existing additive systems – result in more than the sum of what is put in. As architects, Königs are looking for systems, which are in a position to produce something unpredictable and new from known elements.

Adaptive and self‑organisational systems offer a range of starting points, which allow useful architectural applications; from the replacement of master plans for urban development to the process of controlled planning tools, and the development of adaptive materials in the building sector.

In order to give rise to something new, the strategically placement of emergent systems could be used in architecture. In opposite to compositional design strategies, emergence cannot be formed. One can simply define the initial conditions and then develop these emergently. In this case, designing is limited solely to the choosing of parts and the speculation about their possible emergent behaviour through interaction.

The chances of such a development depend on adaptability, as well as on the extent of external (socially relevant) and internal (biocompatible) influences.

Architecture is permanently updated by self‑organisation, and thereby gains in terms of dynamics, speed and relevance. The formal fossilisation of a property is replaced by reactive upkeep, which gives rise to characteristic properties by its system boundaries. Space and programming are no longer to be considered a constant, hut surrender to the viscous condition of permanent change: architecture as a challenging and encouraging reflection of life.

Lahdelma & Mahlamäki Finland Architects

Lahdelma & Mahlamäki Architects Ltd was founded in 1997. The partners of the studio are Ilmari Lahdelma, architect SAFA, professor and Rainer Mahlamäki, architect SAFA, professor. The partners have been working together since 1985.

A very large number of the studio’s works has been published both nationally and internationally. In 2008 the partners received the Finland Prize for achievements in architecture.

Lahdelma & Mahlamäki Architects’ practice is based on wide range participation in the field of architecture. They think, that all this – teaching, lecturing, planning new and renovating old, land use or development projects and taking part in competitions, is complementary to each other: each sector can obtain

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visions from another. Ambitious and great interest in each project qualifies the received experience to be transferred into the built environment.

The partners take actively part in competitions both nationally and internationally. This is an important possibility to re‑educate and also to examine ideas about architecture freely, with an innovative touch. Thus, the main part of the commissions has been received thru the competitions during the years. They aim, and believe that they also have succeeded in it, to keep the innovative touch started with the competition phase and transfer it into the building form.

Lehrer + Gangi Design + Build

USA

Lehrer + Gangi Design + Build was created by Michael B. Lehrer, FAIA, Mark Gangi, AIA, and Frank Gangi, MBA, for the Water + Life Museums project. The collaboration between the two architects and builder, forming a design/build alliance, was instrumental in bringing this project in on time and on budget.

Lehrer + Gangi Design + Build was hands–on from initial conception, through design, building, and LEED commissioning. Lehrer, principal of Los Angeles – based Lehrer Architects, is well known for his community – based work, such as the award – winning James M. Wood Community Center and Downtown Drop – In Center, both in Downtown LA. Gangi has been principal of Burbank – based Gangi Architects since 1990, and has produced an array of urban projects.

Luca Gazzaniga Architetti

Switzerland

Luca Gazzaniga was born in Lugano, Switzerland in 1963. He graduated in architecture in 1988 from the Federal Polytechnic in Zurich (ETHZ). During his academic years he worked for various practices in Switzerland and abroad, most notably with Hans Kollhoff and Carlo Aymonino. In 1990 he set up a practice with architect Carlo Ceccolini, a partnership that lasted up until 2001. A number of books and exhibitions have been dedicated to his work, including two monographs. In 2001 he was invited to represent Switzerland at the International Architectural Biennial in Buenos Aires.

He has always been active in the field of architectural criticism and theory in all forms, in particular in publishing, contributing to various specialized magazines across Europe, including Domus where he was editor of the architectural section from 1992 to 1996. His architectural design, initially oriented towards residential buildings, in particular single‑family dwellings and collective housing, now encompasses all fields. At present his major projects are concentrated in Switzerland and Romania. He lives and works in Lugano.

Macy Architecture

USA

Macy Architecture is a versatile architecture and interior design firm based in San Francisco. They strive towards the highest standards of contemporary practice; to realize optimal architectural solutions using the best of current technology within the parameters of each project. Macy Architecture listen carefully to their clients in order to be responsive to their needs while always framing their work within the larger social and environmental context. They realize design solutions that are sensible, handsome, durable, cost‑effective, resource‑efficient and environmentally sensitive.

Principal Mark Macy, AIA, LEED® AP, has over 25 years of experience working with diverse clients on challenging and unique projects. He received a Bachelor of Architecture from the California Polytechnic State University at San Luis Obispo in 1985. He went on to study in Florence, subsequently working for the noted Italian architect Cristiano Toraldo di Francia (Superstudio). He returned 405

to California and worked nine years for the award‑winning firm of Fernau & Hartman in Berkeley, eventually becoming their Senior Project Architect.

In 1994, he co‑founded ARC Manufacturing Company, which developed and manufactured a unique low‑voltage lighting system. He has taught courses in architectural design at the California State University International Program in Florence, Kent State University’s program in Sesto Fiorentino, and at the California College of the Arts in San Francisco.

Ogrydziak / Prillinger Luke Ogrydziak, AIA 1995 Princeton University USA Education Architects

Masters in Architecture

1992 Princeton University Bachelor of Arts in Architecture, summa cum laude Professional 2000 – Ogrydziak / Prillinger Architects, Design Principal San Francisco, California California Architecture License C–29338 Teaching

2008

University of Michigan, Taubman College of Architecture and Urban Design, guest jurors for final reviews (Spring Term), Zoë Prillinger and Luke Ogrydziak

2007

University of California, College of Environmental Design Friedman Visiting Professor, Architecture 201, Time‑Out (with Zoë Prillinger), Fall 2007.

Zoë Prillinger Education

1995

Princeton University Masters in Architecture

1992 Princeton University Bachelor of Arts in Architecture, magna cum laude Certificate in European Cultural Studies Professional 2000 – Ogrydziak / Prillinger Architects, Design Principal San Francisco, California Teaching

2008

University of Michigan, Taubman College of Architecture and Urban Design, guest jurors for final reviews (Spring Term), Zoë Prillinger and Luke Ogrydziak

2007

University of California, College of Environmental Design Friedman Visiting Professor, Architecture 201, Time‑Out (with Luke Ogrydziak), Fall 2007.

2000 – University of California, College of Environmental Design Lecturer Architecture 200B, Vector City: Paris/London, (with Anthony Burke), Spring 2005.

Architecture 100A (with Mark Anderson), Fall 2004.

Architecture 200B, Rome Studio (with Susan Ubbelohde), Spring 2004.

Architecture 201, SUPERNATURAL®, Fall 2003.

Architecture 200B (with Raveevarn Choksombatchai), Fall 2002.

Architecture 101, Hotel California, Fall 2001.

Architecture 100B (with Ray Lifchez), Fall 2000.

Selected Awards 2008

AIA San Francisco Home Tours, Honighaus Selected as one of ten projects for annual AIASF Home Tours program.

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2007

AIA San Francisco Design Awards – Interior Architecture

Citation, Concrete House.

Pamphlet Architecture 29, Single Runner-Up.

2006

AIA East Bay Exceptional Residential: Bay Area Residential Design Awards – Merit Award, T House.

AIA Central Valley Design Awards – Citation, Kayak House.

2005

AIA California Council Emerging Talent Lecture Selected as one of four architecture firms to represent “Emerging Talent in the state of California” at the bi‑annual AIA California Monterey Design Conference.

AIA San Francisco Design Awards – Honor Award, Unbuilt Design, 20º Isometric House.

AIA San Francisco Home Tours, T House Selected as one of eleven projects for annual AIASF Home Tours program.

OJMR Architects

USA

OJMR Architects is a multi‑disciplinary architecture practice established in 1991 by Jay M. Reynolds, AIA. The office was moved to Los Angeles in 1994 from New York City, where Reynolds had previously worked with I.M. Pei and Partners. Throughout the years, the firm has expanded its scope of work and staff, presently employing a staff of 19 professionals. The firm’s work includes international and domestic projects for both private and institutional clients. In addition to architecture, OJMR Architects also provides services in urban design, master planning, and interior design. Project types include multi‑family housing, commercial (banks, medical facilities, offices), institutional work (churches, schools, community centers), and private residences.

PAGE / PARK Architects UK

Page & Park Architects was established in 1981 by David Page and Brian Park and has developed as one of Scotland’s best known practices undertaking work over a wide range of sectors.

In the 1980’s, the practice won a number of significant design competitions, which were followed through to construction and became national award winners in various design award programmes. Parallel (but not mutually exclusive) interests were developed in the fields of conservation and historic buildings work and design and the design process of working creatively with others including clients, consultants, artists and craftsmen. During the 1980’s the need to ensure that quality was maintained across all aspects of the architectural process through to delivery on site led to the appointment of two further partners, Chris Mummery and David Paton. They brought extensive experience of working to deliver quality on the ground. The four partners have continued to develop their areas of interest and expertise in a complementary manner.

The practice has developed considerable expertise and wide recognition over a diverse range of projects, which may be broadly categorized under the following headings: – Conservation and Historic Buildings – High Quality Environmental Works in historic urban settings – Adaptive Re–use of Existing Buildings (including many listed buildings) – New Build Social Housing – Strategic Planning and Masterplanning – Public Buildings, largely in the Arts, Leisure and Cultural Sectors – Commercial, largely offices in high quality and challenging environments 407

– Universities including new residential and teaching / research buildings In 2006 the office won the Andrew Doolan Award for the Best Building in Scotland. This was in recognition of the Maggies Cancer Caring Centre in Inverness.

Architectenbureau Paul de Ruiter The Netherlands

In 1990 Paul de Ruiter (born 1962) completed his studies at the Technical University Delft (Netherlands). Before founding his own office in 1994 in Amsterdam he worked with leading architectural offices in Canada, Australia and the Netherlands.

From its very start Architectenbureau Paul de Ruiter is a great advocate of sustainable, energy saving architecture. The office works from the conviction that research and innovation are necessary to design buildings that are not only aesthetically beautiful but also sustainable, energy saving and healthy to stay in. Product development plays an important role. Among other products Architectenbureau Paul de Ruiter developed the so called Mercator climate facade and special sun screens for villas and office buildings.

Some of its well known projects are the office building for Rijkswaterstaat Zeeland in Middelburg, the Veranda car park in Rotterdam and the Bijlmer Park Theatre in Amsterdam.

Besides his design activities Paul de Ruiter works at a doctoral dissertation on climate active facades. He gives lectures, writes articles for professional journals and teaches at the Dutch technical universities. Paul de Ruiter is chairman of the foundation Living Daylights and is committed to several institutions that aim at a sustainable world.

Pugh + Scarpa Architects

USA

At Pugh + Scarpa, they believe that architecture should engage the user, heighten their sense of awareness, and bring a deeper understanding and vitality to their experience. They strive to create environments that stimulate their occupants and leave lasting impressions. They encourage a culture of ingenuity and exploration that enables them to maintain a fresh approach to every project we undertake. This is true regardless of the scale – big or small, whether for public or private use, for rich or for poor. This is an approach that has often led us to reinvent established building types.

Pugh + Scarpa approaches each project as the continuation of an ongoing inquiry. This belief has produced a constant stream of inventive work leaving each client with a building which is solely their own, non‑formulaic, and yet facilitates even the most mundane requisites.

Fulfilling this model of place‑making drives our firm to continually explore and create new possibilities for materials, form, construction, even financing, in order to suit the organic characteristics of each commission. It also produces new incarnations of formerly common materials, which reveals extraordinary beauty from within ordinary materials. This resourceful creativity provokes thought and creates lasting connections for all who encounter our buildings.

Pugh + Scarpa is committed to conserving the environment and making intelligent use of the natural and cultural resources. They believe that societies across the globe are experiencing a shift in attitude from one merely concerned with surviving on earth to one concerned with changing how people live so that the earth can survive. They embrace this shift and seek to enhance the impact of sustainable design and development as a basic tenet of their practice. Rather than diminishing in meaning, the ideas of sustainability have the potential and power to enrich and broaden their culture as well as their architectural language.

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Pugh + Scarpa is an architecture, engineering, interior design, and planning firm founded in Santa Monica in 1991 and maintains offices in Santa Monica, California and Charlotte, North Carolina. Gwynne Pugh, AIA, ASCE, LEED AP, Lawrence Scarpa, AIA, and Angela Brooks, AIA, LEED AP, are the sole principals and the firm is consciously structured to ensure their participation in each project.

Querkraft Architekten

Austria

Querkraft was founded 1998 by Jakob Dunkl, Gerd Erhartt and Peter Sapp in Vienna. (michael zinner until 2004)

Jakob Dunkl 2007

member of BDA niedersachsen

2001 / 2004 guest professor roger williams university r.i. USA 2002 – 2004 speaker ig – architectur 1998

Querkraft Architects zt gmbh with gerd erhartt, Peter Sapp

1996 – 2004 teaching at the technical university of Vienna, helmut richter 1994 – 1998 office community “Dunkl, Erhartt” with Gerd Erhartt 1994 ziviltechnikerbefugnis 1992 – 1994 practice architect helmut richter 1990 – 1992 practice architect sepp müller (industrial buildings) 1990

diploma at the technical university of Vienna

1989

practice behnisch + partner, Stuttgart

1986 – 1990 student assistent at institut zeichnen + malen, TU Wien 1985

civilian service in Wien

1982

final secondary school in Stuttgart

1963

born in Frankfurt/main

Gerd Erhartt 2001 – 2004 teaching at the technical university of Vienna 2001

guestlecture roger williams university r.i. USA

1998

Querkraft Architects zt gmbh with Jakob Dunkl, Peter Sapp

1998

member of the architectural association baden württemberg, Germany

1994 – 1998 office community “Dunkl, Erhartt” with Jakob Dunkl 1993 – 1994 practice architect helmut wimmer 1992 – 1993 practice architect helmut richter 1992

diploma at the technical university of Vienna

1987 – 1990 practice atelier in der schönbrunner straße 1984 – 1987 practice arge reinberg/trebersburg/raith 1989 – 1990 student assistent at institute zeichnen + malen, TU Vienna 1981

final secondary school in Vienna

1964

born in Vienna

Peter Sapp 2006 –

professorship akademie der bildenden künste münchen

2001 – 2004 teaching at the technical university of Vienna 2001

guestlecture roger williams university r.i. USA

1999 ziviltechnikerbefugnis 1998

Querkraft Architects zt gmbh with Jakob Dunkl, Gerd Erhartt

1994 – 1998 practice architect helmut wimmer 1994

diploma at the technical university of Vienna

1989 – 1992 own office 1981 – 1990 practice riepl/riepl, perotti, albert wimmer 1980 – 1990 study trips to morocco, egypt, algeria, sudan, tanzania, uganda,

kenya, rwanda, zaire, congo, republic of central africa, cameroon

1980

final secondary school in Linz 409

1961

born in Linz, upper Austria

Selected Awards 2007

award ‘best house’ for dra‑house

2006

nominated for the bavarian architecture prize for adi dassler brand center/Germany

2006

award ‘built 2005’ for espresso weinwurm

2006

award of excellence for good building in Franken (Germany) for adi dassler brand center

Robert Harvey Oshatz Architect USA

2004

award BD ‘young architect of the year’

2004

promotion of architecture’ prize awarded by city of Vienna

In 1971, Robert Oshatz established the studio of Robert Harvey Oshatz Architect in Portland, with the belief that architecture should be at peace with its environment and that people should be at peace within. Throughout the years this has resulted in an architecture that is a synthesis of logic and emotion, exploring and fulfilling the dreams, fantasies and realities of my clients.

Saia Barbarese Topouzanov Canada architectes

Saia Barbarese Topouzanov architectes focuses its practice on architecture as well as urban and environmental design. Mario Saia co‑founded the firm in 1968, while partners Dino Barbarese and Vladimir Topouzanov joined in 1987 and 1991 respectively. Clear concepts that organize even the most complex programs, along with convivial environments, the presence of light and a current architectural vocabulary, all characterize the work of the firm.

The firm’s partners and twenty employees come from various disciplines. Their talent and wealth of international and local experience enrich a modern architectural approach that embraces both contemporary avant‑garde global currents and more social, local and natural contexts.

The three partners jointly direct the activities of the firm and are involved in all phases of the projects. The studio combines the spirit of youth with the strength of experience, the creative with the practical, and an international perspective with a distinct sensitivity to regional contexts. The firm relies on successful teamwork and communication to satisfy every project requirement as integral parts of a collaborative process. A balanced approach to each project involves the implication of experts in all aspects of the design, from the initial concept throughout the construction phase.

Renowned for their innovative and provocative architecture, the firm has been recognized with numerous awards including: two Governor General’s Medals in Architecture, fifteen prix d’Excellence from the “Ordre des Architectes du Québec”, as well as a HUE International Award, and has also obtained gold and silver LEED certification for its newer buildings. In 2007, Mario Saia was awarded the Gold Medal from the Royal Architectural Institute of Canada for his contribution to Canadian architecture. The firm’s work has been featured in over 50 national and international publications.

SAMYN and PARTNERS architects & engineers Belgium

Founded in 1980, SAMYN and PARTNERS is a private company owned by its partners and staff. It is active with its affiliated companies (FTI (services), founded in 1985; DAE (technical interiors), founded in 1994; Air S.R. (fluid mechanic), founded in 2003), in all fields of architecture and building engineering. Its architectural and engineering design approach is based on questioning which can

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be summarised as a “why” methodology. The firm approaches projects openly to all sorts of possibilities whilst listening, closely to its clients demands.

Its projects are often published in the international specialised press.

The firm’s client services include Planning and Programming; Urban Planning, Landscaping and Architectural Design; Building Physics, MEP and Structural Engineering; Interior Design, Project and Construction Management, Cost and Planning Control, Quantity Surveying, Safety and Health Coordinator.

Staff members are involved in architectural and professional organisations, as well as academic and R&D activities including teaching, research and development.

Scott Hughes Architects

USA

Scott Hughes Architects is a design oriented firm who believes in creating solutions through design and not sticking design onto solutions.

The team foster intensive collaboration and dialogue with their clients, site and program. Balancing these forces is essential to the success of their works. Through this process Scott Hughes create meaningful space and structures intimately connected to function and context, craft and detail, living and building, that elevates them to a high level of beauty and practicality.

Principal Scott Hughes and partner John Umbanhowar have worked together since 1998, with offices on the coast of Florida and California. The junior Umbanhowar keeps Hughes on his toes, while senior Hughes’ experience gives Umbanhowar a useful “touch of grey”.

Since its 2001 reinception Scott Hughes’ strong body of work has earned the firm unique recognition within the design community across the country. The team has been the recipient of numerous awards recognizing its wide range of design accomplishments.

Shubin + Donaldson USA Architects

Shubin + Donaldson Architects is a high‑design architecture firm that specializes in developing livable environments. Established in Culver City and Santa Barbara, CA, in 1990 by partners Russell Shubin, AIA, and Robin Donaldson, AIA, the firm’s current work includes a diverse listing of commercial and residential projects ranging from entertainment-business studios, creative offices and retail stores, to community centers and custom residences. The architects tailor their projects — custom residential, office buildings and interiors, retail, planning, and multi‑family housing — with a refined sensitivity toward the land and context.

Stanton Williams Architects UK

Stanton Williams is an award winning architectural practice with an impressive portfolio across a number of sectors. The practice is characterized by a deep involvement with the way in which people engage with the completed building, and with the skilful manipulation of light, material and space, all of which create an outstanding user experience.

The partnership was formed in 1985, following Alan Stanton and Paul Williams’ extensive study, teaching and practice in museum, gallery and exhibition design in the UK, Europe and the US. The directors’ shared passion for art and architecture continues to guide Stanton William’s design ethos, with every space approached from the inside out – putting people at the heart of the design.

Now with three further directors and six associates, the young and progressive 50‑strong team has successfully worked on spaces large and small, in the fields of the arts, culture, education, retail, commerce, urban design and 411

residential for both public and private clients.

Featured projects include the Anchor Department Store in Bristol, Compton Verney Art Gallery in Warwickshire, the Wellcome Trust Millennium Seedbank in Wakehurst Place and the Belgrade Theatre in Coventry. Their work has been recognized with more than 45 awards.

Stanton Williams also have an extensive experience in exhibitions and have designed installations for more than 50 permanent and temporary exhibitions in the United Kingdom and abroad.

Teeple Architects Inc.

Canada

From its inception in 1989 (incorporation 1995), Teeple Architects Inc. has built a reputation for innovative design and exceptional service. The Full‑Service firm has established this reputation through a broad range of institutional, commercial and residential projects including community and recreation centres, libraries, schools and university buildings. The firm has become known for designing projects of exceptional material and spatial quality, with a strong conceptual basis derived from the specific needs and aspirations of each client.

The team has consistently been mindful of the impact of new construction on the surrounding environment. Pioneers in sustainable architectural practices, Teeple Architects embrace the recycling of building materials, adaptive reuse, and environmentally sensitive site planning. Their current work employs the latest technology in passive solar design, indigenous materials, geothermal energy, enhanced air quality, energy and water efficiency, and sustainable landscape design.

Teruo Miyahara / Teruo Miyahara Miyahara Architect Office Born in Tokyo in 1966, Teruo Miyahara studied concrete engineering at Japan University. After graduation he joined Takenaka Corporation. At 1999,

he

established Miyahara Architect Office to pursue an original approach in achieving quality living. He is also teaching at the faculty of engineering of Gunma University from 2002 as a lecturer.

It is easy to become immersed in preconceived ideas called “common sense” and “experience”. But these can at times hinder the creation of truly natural and comfortable spaces. It is therefore essential to keep an open mind. Pure design work is a process that involves identifying what is truly needed, and placing the necessary quantities in the necessary places. Architecture, whether it is a small house for a single family, is the accumulation of this fundamental work process, outweighing all elements of purpose, scale, method of construction, or structure. This is the very essence of Teruo Miyahara’s design.

Selected Awards 2007 House TTN was awarded at Warm Living Space Design Competition 2006 2006 House TTN was awarded at the JIA Architect of the Year 2006 2002 Awarded at the Toyama Product Design Competition 2002 sponsored by The Design Center of Toyama 2002 House K won First Prize in the Overall Category at the 19th Housing Renovation Contest 2002 sponsored by the Center for Housing Renovation and Dispute Settlement Support 2002 House K was awarded at the First Renovation Design Contest sponsored by Tetsuado Publishing

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Tighe Architecture

USA

Tighe Architecture is committed to creating an authentic, contemporary Architecture informed by technology, sustainability and building innovation.

The work is not of style but of process – a process driven by influences such as site, environment, budget, society, and culture. Since the inception of Tighe Architecture, a strong and diverse body of projects has been realized including city developed affordable housing, commercial and mixed use projects, civic art, installations and residences. The firm advocates a collaborative approach and has developed an extensive network of highly skilled consultants, artisans, and trades people.

Sustainability is an integral component in all the work as evidenced by The Sierra Bonita Mixed use Affordable Housing project for people living with disabilities. The building is now under construction and serves as a pilot for the City of West Hollywood’s newly implemented Green Building Ordinance.

Recently, Patrick Tighe Architecture completed the US headquarters for the UK based Moving Picture company, (a division of Technicolor) located in downtown Santa Monica. Projects are now in development in Morocco, Asia and the Middle East.

Tighe Architecture has gained recognition for unique solutions that re‑evaluate the way people inhabit their environments. The Firm has won several National AIA Honor Awards. The work of Tighe Architecture has been published extensively appearing in Architectural Record, Architectural Digest, The LA Times Magazine, Interior Design, LA Architect, Form and Newsweek. The work has been included in numerous architectural book compilations.

Projects have been realized in New York, Texas, Maine, Massachusetts, and many of the culturally diverse communities within the greater Los Angeles area.

Tighe Architecture is located in Santa Monica, California.

Undurraga Deves Arquitectos

Chile

Architect Cristian Undurraga graduated from Universidad Católica de Chile 1977, with highest degree. The same year he obtained first prize as young architect at the Chilean architectural bienal. In 1978 he founded Undurraga Deves Studio. Among his foundational works are ‘Plaza de la Constitución’ and the ‘House on a Hill’, a work that announces a new era in Chilean architecture. Its particular dialogue with geography and its balance between tradition and modernity lead it to be recognized with the Andrea Palladio International Prize, juried by J. Stirling, R. Moneo y M prize in 1990. Recently, the civic center at Santiago has been reshaped with the completion of the ‘Plaza de la Ciudadanía’, allowing Cristian Undurraga to enhance the urban quality of the whole area. His works has received gold medal at the Miami biennale in 2004, and the biennale Iberoamericana de Quito, 2004.

In 2005 he was recognized in the Ten Winners Entries Honorable Mention for the “New Multi‑functional Administrative City of Korea International Competition”.

Three monographic studies about his work and projects, were published in Chile, Colombia, and Korea, and many articles show Undurraga’s commitment to excellence in architecture. Cristian Undurraga has played a significant role in Chilean and Latin American architecture not only as an architect but also as President of the XV Biennial of Architecture, as Professor at the Universidad Católica School of Architecture and as lecturer at many universities and educational centers in Latin America.

Valerio Olgiati

Switzerland

Valerio Olgiati studied architecture at the ETH Zuerich. Having lived and worked in Zuerich and later in Los Angeles for some years, in 1996 he opened his own practice based in Flims.

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His major projects include the schoolhouse in Paspels, the Yellow House in Flims, house K+N in Wollerau, the new University in Lucerne, a house in Sari d’Orcino Corsica, a small house in Rottenburg Germany, the project for Lake Cauma in Flims, house for a musician in Scharans and the museum for the Swiss National Parc in Zernez Switzerland.

He has been awarded the German Architecture Prize Appreciation Honor in 1993 and the prize for “the Best Building in Switzerland” in 1998 and 1999. In 1999 he received the International Architecture Prize Appreciation “fur Neues Bauen in den Alpen” and in 2001 the Swiss Concrete Award.

As guest professor he taught at ETH Zuerich, at AA London and at Cornell University, NY. Since 2002 he has been a professor at the Accademia di architettura Mendrisio at the Università della Svizzera italiana.

Zwarts & Jansma Architects The Netherlands

Zwarts & Jansma Architects was established in 1990 by professor Moshé Zwarts of Delft University and Rein Jansma. The year after, Zwarts & Jansma boosted their fame with their design of the Dutch pavilion for the Expo’92 in Sevilla (Spain).

Since then the office has grown steadily and has accumulated a thorough experience. The firm has acquired a reputation in designing large‑scale projects such as sports and leisure buildings, bridges, public transport & infrastructure projects, shopping malls, and office buildings. The Netherlands however can house only a limited number of large‑scale projects. Therefore Zwarts & Jansma expanded their activities to other countries such as Germany, Belgium, Eastern Europe, Georgian Republic and the UAE. Their office in Dubai takes care of their daily affairs in this region. One of their designs, the headquarters of the Dubai RTA, is being built at present (budget: 125 Mio $), while others are scheduled to be realized in the near future.

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Renovation of Arantzazu, pp10‑19. © José Manuel Cutillas‑Proyectar, Gotzon Aramburu.

Cancer Center Clinic at UMC, pp34‑41. © Robert Canfield Westminster Rose Center, pp42‑45. © Benny Chan Provincial Hospital Graz‑West, pp46‑49. © Paul Ott, Graz T‑Center St. Marx, pp50‑53. © Paul Ott, Graz Cambridge City Hall, pp54‑57. © Tom Arban, Diamond and Schmitt Architects Computer Science and Engineering building, University of Michigan, pp58‑61. © Tom Arban, Diamond and Schmitt Architects Danube University Krems, pp62‑69. © Margherita Spiluttini, Angelo Kaunat Art Center Weiz, pp70‑73. © Paul Ott Hotel Sotelia, pp82‑87. © Miran Kambič Jurčkova Housing, pp88‑91. © Miran Kambič Paris Val‑de‑Seine School of Architecture, pp92‑97. © Nicolas Borel Faculty of Law: University of Leiden, pp118‑123. © Jan Derwig, Rob Hoekstra Ftown Building, pp124‑127. © Daici Ano K‑museum, pp128‑133. © Daici Ano Bordeaux Botanical Museum, pp170‑175. © Jourda Architectes Claude Watson School for the Arts, pp176‑179. © Tom Arban Helsinki University, Exactum, pp206‑211. © Jussi Tiainen, Veikko Niemelä The Urn Cemetery of Tapiola Church Yard, pp212‑215. © Jussi Tiainen Water + Life Museums, pp222‑229. © Benny Chan, Michael B. Lehrer, Tom Lamb Casa Cedrini, pp230‑233. © Ramak Fazel Sustainable Steel Home, pp234‑237. © Scot Conti Kayak House, pp238‑243. © Tim Griffith 2801 South Palm Canyon, pp250‑257. © Clark Dugger, Erhard Pfeiffer Office of Rijkswaterstaat Zeeland, pp270‑275. © Pieter Kers, Rot’s Hart Broadway Court, pp276‑279. © Marvin Rand Bronson Lofts, pp280‑281. © Don Lewis ML museum liaunig, pp282‑287. © Lisa Rastl Fennell Residence, pp288‑293. © Cameron Neilson Wilkinson Residence, pp294‑303. © Cameron Neilson House in St‑Henry, pp304‑305. © Vladimir Topouzanov, Stephane Ivanov Lassonde Building (School of Engineering),University of Montreal, pp306‑311. © Marc Cramer, Alain Laforest, Vladimir Topouzanov Pierre Dansereau Science Complex, University of Quebec in Montreal (UQAM), pp312‑319. © Marc Cramer, Alain Laforest, Frederic Saia, Vladimir Topouzanov Akademisch Ziekenhuis, Vrije Universiteit Brussel, pp320‑323. © Marie‑Françoise PLISSART THE GLASS CENTRE, Flemish Centre for Modern Art, pp324‑329. © Philippe SAMYN and PARTNERS, architects & engineers / Marie‑Françoise PLISSART Langara College Library & Classroom Building, pp342‑347. © Shai Gill Scarborough Chinese Baptist Church, pp348‑351. © Shai Gill Chemical Sciences Building, Trent University, pp352‑355. © Tom Arban, Shai Gill, Michael Asad House TTN, pp356‑359. © Mitsumasa Fujitsuka House Uc, pp360‑363. © Mitsumasa Fujitsuka LA Loft, pp364‑371. © Art Gray Photographer Lakeside House, pp380‑387. © Guy Wenborne Atelier Bardill, pp388‑391. © archiv Olgiati / Javier Miguel Verme Sports Centre Almere, pp392‑395. © Katrien Franken

All drawings and sketches are by architects as credited.

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Architecture Highlights Series