: k x f ff 77 se 1 a, waren J / “Architektur heute / My é architecture d’aujourd’hui / Philip Jodidio Zs pn af. TASCHEN‘ow moDeRNITY ‘Tis Sth natant ef ARCHITECTURE WOW, festueng bln ana son Tone Fry 6.07 sire ters eons Tso aman Fest’ lant Cyl Wend project a Meso [ilies meters po vides an oven of wt opening rit ow in rchtecu, eit of ta tial spate, oath ery ee of cure tirkng. Wea s sit fis ‘amas eto doe acc elec te rahity asthe fet ead fe 2 oruy cans ma cose? Artec Now! 6 THE eeece forms aotrin and wa st ame a5y--nats stated #2 ens nce uret and recent proj, tinraties, cont oration ard webs Prilp Jodie suo’ at hstxy and oxonoies at Haar Uno, and ‘as eon ci fe leas French at our Cennaissance aes ts er to ads He has published numerous aes and books on conte porary accu, nung TASCHEN Arcee Mow sts, Baa Nw ‘Momo, ard manera on Taan Aca, Reo Pir, Sango Calta, ea Noe an ick ir. FLIESSENDE MODERNE Der roger sexist Bou en AROMTECTURE NOW setts rib Scheen smnsonrta auton wi das wing Tesaus Tet (7 m2 von “Tuo Fj ed Noman Fars marumentias Cyt: and Propo Mola (1 Mion ur tet een umtasinin Ober Gber cs ele Gestenen nd chk el an ational spit orb ‘yesh rot Wis dint don Zi unc wie manifest sich Kru Chttin der Acer goon Ene es en teas ds 2. anders? ‘Archies Now ist oh unecsthares Nachchagk Treat und ma en. sbrsntihen riage vesane in Bauer ‘geste Prete sane Brae, Konto nd ener, Plip Jodi cuits Kunsgaschche und Witscatssreecaton an ‘rer Haren wr dr we rain Cte dr an ‘> fanskenen Kurs Conse des Arts. Er hal ale ‘ka una Bocher verte, darumer bl TASCHEN de Ree Achat "ow, Tel Buln He Allen snie Wargratin ter To Ado, era Pa, Sanage Calatrava, ean Now und ica Mee ‘MooenwTé LOUDE (sibs volume TAROHITECTURE NOW, cst des rlstors ao ‘en —aale— dm pet ro eh Tat fo Ture Fare 6.07} 2u ggrissa prot eC seo Naan Foster Mess, ier de 18 Costu snel ec i se pss ays Case mane ars, tuseiben ipa vadionale a’ van ide doa oon seu le, Quel ast esprit ce nave temps et comment rcicturerefite--le Is Liatvee de ete prmiéredcemie inssaie ds se? Achiactue Non et LA ence au passe en artery deo ula st roduc. Les eee entrées crpreent despots récents ou er cots, es bape qu us arses et es ses niet ds architects. Prilp Jodi eu iste de att Saree Harvard Unive, puis il ae rhcacteuren chet oe Ie pile rene rt tanga, Comaisanc des Arts, pardart pus da ving ans. publé do nombrae tls etlnes dont che TASCHEN, colton Accs How Bulg 2 ‘or lai t des wanogapis su Tao An, Renz Fano, Saritano Catatrova, ea Nowe et Rear Mel FRONT COVER UMSCHLASVOROERSETE. COWERTE PTWAchitets, The rab, Natiaral Siig ere, Balla, hina (© Tn athovarcatdcok BACK COVER, USCHLAGROOKSETE 0S DE COLVEATRE. star and Parnes, Cs lar, Moszow, Rusia (© Faster and Parersmenu PROJECT MANAGEMENT PRODUCTION ‘COLLABORATION GERMAN TRANSLATION Bonn PRINTED IN SLOVENIA Them Ge, Clore erin Deston FRENOH TRANSLATION sep ld 5% Pats Brat Eon wre taschon.com TTARCHITECTURE NOW! Architektur heute /L’architecture d’aujourd’hui Philip Jodidio TASCHEN134 144 156 164 168 174 CONTENTS INTRODUCTION SDELUXE S3LHD ARCHITECTS ADJAYE/ASSOCIATES ‘Al WEI WEI/FAKE DESIGN TADAO ANDO ALEJANDRO ARAVENA ARGE GRAZIOLI KRISCHANITZ SHIGERU BAN BARKOW LEIBINGER BERNARDES + JACOBSEN COOP HIMMELB(L)AU OLAFUR ELIASSON EMERGENT KSP ENGEL UND ZIMMERMANN FAM ARQUITECTURA FOSTER AND PARTNERS TERUNOBU FUJIMORI Eistngiovadutn Leonard Gass Cube, Bas br, Garmny, 2004-07 Sports Hal Gl, Gal- Yate, roti, 2005-06 useun of CntempareryAr/Derer, Dene, Coad, USK, 2004-07 Tope, Oocuveta 12, ass, Germany, 2007 21.21 Design Soh Minato-ku, Tebyo, Jape, 2004-07 Coto Teo, Ursa Gata, San Joaquin Carus, Santogs, Cie, 2003-06 Museum Aetbey Extension, 2ufch, Stern, 2008-06 et Tour hain House, Kina, Hambartos, Si Lana, 2005-07 Tut Biking Seou, Korea, 2008-06 ‘TM Festal 2007, Rode Jae, le de ane, Bal, 2007 ‘on fet Museum, Aton, Ohl, USA, 2001-07 BW Wet, Munch, Gemany, 2001-07 he Mew York Cy tert, Now York, New ark USA, 2008 ‘Serpentine Galery Pailon 2007, Kersngon Gardens, Lenton UK, 2007 Shanzhen Museum of Contrporary Art, Stench, China, 2007 Nor Lbraryof he Czech Republi, Pragu, Czech Repub, 2008-07 ‘Borgr-Besen Documentation an norman Cnr, Cll, Germany, 2005-07 Marth 11 Mamoral ore Vins, Madi, Spain, 2008-07 usa Tor, Masco, Russia, 2006- Chl stad, Moscom,Fusi, 2008 (hashisu Tetsu leshouse Tet, Kyptaru Shiraaba Museu, Nama, Hokuto ly, Yamarasi Japan, 2005180 188 196 202 216 222 240 250 258 266 274 280 288 294 302 308 314 320 330 MASSIMILIANO FUKSAS ANTON GARGIA-ABRIL DIONISIO GONZALEZ ZAHA HADID HEATHERWICK STUDIO. HERZOG & DE MEURON STEVEN HOLL HOLZER KOBLER JUNYA ISHIGAMI TOYO ITO JAKOB+MACFARLANE JENSEN & SKODVIN CARLOS JIMENEZ KENGO KUMA LASSILA HIRVILAMMI LEGORRETA + LEGORRETA DANIEL LIBESKIND LIN FINN GEIPEL + GIULIA ANDI MIN ARCHITECTEN ‘Tenth Srasooug, Eokoshee,Srasteug, Fane, 2008-07 ‘SAE Cental Ole, Sartapo 0 Compostela, ala, pan, 2005-07 ‘Favela Sar, Ska Pula, So Pel, Braz, 2004-07 Norépark Cable Rana, lnsbruck, Asta, 2004-07 as Beach Cal, itampton, West Sasser, UK, 2008-07 Nato Stadium, Mal Stalun othe 2008 Ohmple Games, lino, Cin, 2008-08 Crinum, Mi, Spain, 2001-08 The Negor-Atks Museum o rt Bach Buln, Kansas Cy, Missout, USA, 2002-07 ‘Arce Nebea tr! Contr, Wangor, Gemray, 2006-07 Fact, Kanagawa inst of Tecnology, Keng, Japan, 2007-08 Tama At Univers Naw Lary, Halo iy, Tokyo, Japan, 2004-07 Cy of Fashion ané Dag, Pars, France, 2007-08 Tara Maia Cnet Tau sland, Noray, 2004-08 ie Litrary Sv Contr (2002-05 and le Ota Canter 2006-07), ica Unversity South Garous Master Plan, Houston, Tras, USA Surry Musoun of, Minso-k, Toto, Japan, 2004-07 Xérsinahi uch, Kistmak, lang, 1909-2004 Le Prada Boutique Het, Publ, Mexico, 2006-07 yal Ortario Nuseum Extension, Toon, anata, 2002-07 ole 14, Susrina Base Retin, Quartier Vile Por, Sit zie, France, 2008-07 Intratin Center, National Centar frArtoruture, Bar, The Neternds, 2001-05334 340 346 352 358 364 372 378 382 386 394 404 412 418 424 430 438 442 456 CONTENTS MADA S.P.A.M. PAULO MENDES DA ROCHA CORINNA MENN MERKX + GIROD ARCHITECTEN JOSE RAFAEL MONEO MORPHOSIS MvRDV MANFREDI NIGOLETTI VALERIO OLGIATI STUDIO PEI-ZHU RENZO PIANO PTW ARCHITECTS STUDIO ARNE QUINZE RCR ARQUITECTES ROJKIND ARQUITECTOS MARC ROLINET HANS-JORG RUCH SANAA/SEJIMA + NISHIZAWA THOMAS SCHUTTE comarehesieOfige Bulg, Zita Mnstain Center, Gung, Shang China, 2004-06 (ur Lat ofthe Goncertion Chae, esl, Perambuco, aa, 2004-06 Coan Viewing Patio. Fins, Stand, 2005-06 ‘SseneDaminanen Boose, Meas, The Neer, 2005-07 Prado Museum Extension, Mai Seal, 2001-07 po Al Aca Bank Headquarters, Ui, ay, 2004-05 GYRE Bultng, Shines, To, Japan, 2008-07 New ceo Half Juste rez ay, 2001-07 Air Bac, Scere, Sittin, 2008-07 Dig fing, Cnt! Center forte 2008 Ohmpis, Bling, hina, 2005-08 The New York Tine Bulking New Yr, Na Yrk, USK, 2005-07 Te Wetrcube, Naina Sing Caer Siio,China, 203-08 Lotvonla: Message ou of the Ftv, Burrng Man Festal, Slack Rack Cy, lack Rak Desert vaca USA, 208 The Fem, Business Bay, Oubal, Unie Aa Eats, 2008 Nestlé Chosate Museum (Phase, Tau, eves Cy Meio, 2007 (Chapa of he Dsseonsaas ef ov, Vale, Fone, 2004-07 (hes Malena, Zz, Sitzetand, 200-02 ‘De Kunst, Theater and Cultural Centr, Amer, The Netarlands, 2004-07 Now Museum of Contemporary it, How York, New Yok, USA, 2005-07 Nl fo a Hote Fourth Pin, Yafaloar Sua, Landon, UX, 2007-08460 466 484 492 496 502 516 524 530 540 546 552 560 872 576 SCOPE CLEAVER ALVARO SIZA VIEIRA SNOHETTA TONKIN LIU BERNARD TSCHUMI UNSTUDIO URBANUS PEKKA VAPAAVUORI VARIOUS ARCHITECTS: WANDEL HOEFER LORCH JEAN-MICHEL WILMOTTE RIKEN YAMAMOTO PETER ZUMTHOR INDEX CREDITS Princeton Unies Galery ofthe Ars, Pinan Users (120, 204, 24), “Second Lie,” 2007 ga Mayor Winery. Arpamassa Estate ~ Cama Malo, Pstugal, 2005-06 bere Oamarg Founcatn, Pero Aere, lo Grande do Su, rai, 1996-2008 sto Opera House, lo, Norway, 2003-08 ‘Singing Pinging Te, own Poi, Bue, UK, 2005-06, “enh Concert Hal, Linas, France, 2005-07 Huet Castel, Zum. Sized, 2001-04 Thana Ara, Leta, The Netertnds, 2004-07 Deen At Museu, Daf Vilage, Shenchn, China, 2006-08, MU, Mala Bulg ofthe At Museum of Esto, alin, Esta, 2008-08 Mako I Fgh/Pink Projet, New eas, Loulan, USA, 2007— (he akobSimagove,Jwsh Cartan Munich, S-~akabsPte, Mune, Germany, 2002-05 tens Cente Cartemparary At UOC, Bling, Chin, 2006-07 ‘okasuk Museu oft, Yokota, Kanagawa, Japan, 2004-07 St Mus vor Fle Chapel, Mecharichachonde, Geen, 2008-07 ‘olumbaAt Museum fhe Arhdingese of Color, Colgne, Germany, 2008-07INTRODUCTION ARCHITECTURE IS ALIVE The architecture ofthis moment is nothing if not varied nd inventive. The extravagant blobs that were born ofthe frst generation of computer design have all but cisappeared, while computers have nonetheless made ther inroads ina more far-reaching way. Even buildings that appear tobe rectilinear or Moder in their inspiration are now fl of dtl and elements that could not have existed before 30 mad- ling and CNC (computer numerical contra) miling became common, This edition of Architecture Now Features buildings ranging in size from Terunobu Fujimor' tiny (6.07 m?) Teehouse Tetsu to Norman Foster’ gigantic Crystal sland project in Moscow (1.1 milion mand this is no accident. Without any nat pis, tis book attempts to gve a useful overview of what fs happening right now in architecture, be It of thor- ‘oughytradtonal inspiration, or atthe very edge of current thinking, What iste spr of this moment, and how does architecture reflect the creativity asthe first decade of th 21st century craws to a cise? The eminent socilogist 2ygmunt Bauman imagines the condition ot mod- em society in terms that may wel be applicable o contemporary architecture when he speaks of "quid modernity” “Living in a iquld’ mod- em wor breaks down into three conditions, We need to act under the cancion of frst: uncertainty; secand under the condition of contin- uous risk which we ty to calculate but which in principe Is no ful calculable, as there are always surprises; and third: we need to act under ‘he condition of shifting rust. A comiman trend thet was trustworthy today may hecome condemn! and rejected tomorrow, This f not onty ‘rue in the field of work but everywhere. The fod that you are recommended by doctors as healthy today wil be proclaimed as carcinogenic tomorrow. If you lok into glossy weeklies or glassy attachments of daly newspapers, you wil see that virally every week there is a column \which informs you about te latst fashions, not only dessing fashions, but fashions of behavior, of decorating your house, of the fashion- ‘ble celebrities which you must be informed about, and so on, columns which Infor you what is ‘on.’ But next tit isa column that informs you what is out and what you shouldbe ashamed of yourself if you stil fllow i" ‘THE BOYS IN BEIJING Contemporary architecture has often sought the state of liquid modamity as a virtue. PTW's monumental Watercube (Natonal Swim- ming Conta forthe 2008 Beijing Olympic Games, page 404) s a solid square biock of a building wearing a mast ephemeral dress—skin ‘made of ETFE (Ethylene Tetrfiuoroethyene) ilows with a “rancom, organic appearance” based on the natural formation of soap bubbles. Few images conjure up the ephemeral better than soap bubbles, and yet the lausty of architecture must surely have its limits. Architecture takes time to design and build, can costa great deal, and mast often serves a specific purpose—conditions that run counter to the “uncer tainty* sought by some architects with such alacty. The pursult of fashion can, of course, make itself felt in such monumental buildings 2s the Wetercube, the neighboring Main Stadium for the 2008 Olympic Games (Herzog & de Meuron, page 222}, or the double Koolhaas/OMA, CCCTY tower. Intended to give contemporary Beling the iconic architectural presences that it has conspicuously lacked until now, these struc- tures pose the question of just where architecture is going as China, india, and the Arabian Gut build a breakneck speed. The Financial Times pointedly questioned the architecture ofthe Olympic Games in December 2007: “ln Bling, the world’s greatest architects have vitally given Up on the idea of the city. This is modernism minus utopia, and with na cantext—physical, topographic, political, theoretical or urban. TheDiatrEvasson, Te New York iy a few York, Nw York, USA, simple, single image is everything. Any ofthese buildings could have been built anywhere else. Bejing is becoming a realization of the most superficial aspects of a contemporary design culture obsessed with the gesture andthe Icon, withthe cleverness and complexity ofits own siructure. This is architecture as stage set forthe Olympics, for a regime determined to demonstrate its modernity and it emerging economic and cultural power. Racal architecture has let itself be used for spectacle and propaganda, Cities are made of buildings but great buildings are not enough to make ciies."2 (Quoting this article does not represent an acceptance ofits substance, but rather acknowiadges the varety of emotions and opinions elicited bythe mast spectacular expressions of contemporary architecture. It may look good, but what does it represent in terms of he Inevitable compromises that go with any large projact? Ii said that Norman Faster once red to explain to Chinese clients thatthe reliance of thelr coun- ‘ry 0n bicycles was an ecological plus, something that they should strive to perpetuate. He was told in no uncertain terms that China aspired not to bioycis but to cars and jats. There isa powerful trand toward iconic architecture driven by vast amounts of money spread across the ‘lobe in new patterns from Mumbai to Dual and on to Shanghal. One can eiiciz such trends, but contemporary architects are nat so much agents of politcal protest as they are the creators of useful abject. Like everyone els, they seek to make a living and to leave their mark This book includes three icons stuctures designed for the 2008 Beijing Olympic Games, but aso the Uilens Canter for Contemporary ‘Art (UDCA, 2006-07, page 546), a remake of a 1960s factory by the Frenchman Jean-Michel Wiimotte (with MADA s.p.a.m.) The UCCA shows that te stash-and-bum demolition favored by local authorities isnot the only way to make Bejing the kind of cosmopolitan center that ‘many dream of also provides @ counterpoint to the "superficial gestures” excoriated by the FTnancia Times. Even in a burgeoning capital like Being, it may not be possible to generalize about the directions of contemporary architecture, ‘The Architecture Now! series has also made frequent reference to works that can best be described as being situated atthe frontier between art and architecture, or between architecture and design. This edn is no exception, withthe decidedly "un-monumental” 2007 Serpentine Gallery Pavilon In London designed by the atst Olafur Elasson and Snohetta principal Ket Thorsen (page 138). Ellasson appears again with his New York City Waterfals—installatios that question the rapport ofthe city with is rivers (2008, page 134). Another artist, the German Anselm Kiefer, occupied the Grand Palas in Paris inthe late spring and eary summer of 2007 with an installation (Stemenfall, or Falling Stars, 2/3) that owes much to architecture, or perhaps, more precisely, to runs. ‘What you see is despair” says Kiefer. *! am com: pletely desperate because | cannot explain why | am here. It's more than mourning, i's despa: But to survive, you build, you creat ilu sions."® A questioning of the reasons for exstence might well seem contrary tothe “liquid modernity" defined by Bauman, but the point is precisely that architecture, the at of the bull environment, expressed in its myviad forms, can ether confirm or negate most theories of ‘modernity. Salid enough to withstand the test of time, itis the object of ceaseless etfrts to dissolve its substance practically nto thin alr. The March 17 Memorial in Madi (Spain, 2005-07, page 164) by FAM Arquitectura, a ring of glass over a blue subterranean room, comments on a tragedy, again, curiously enough, inscribed on a membrane fashioned with EFTE, a sort of transparent Teflon, there, but hardly there Like the wounds of some and the heartache of others, afchitecture here assumes an evanescent yet lasting tribute to an event that played ut in few moments of death and destruction.243 ‘set Koo, Sterne, Grand Dali, Pars, France, 007 FROM THE SHOCK OF THE OLD TO THE CHARMS OF THE METAVERSE Perhaps because buildings take 80 ong to bud 2s compared to the quck creative cycle of artists, for example, or, rather, because they engage so much money, architecture has @ curious rhythm, not quite lke that of othe “sociological” manitestation of fashion The Young Turks wo burst nto the scene with theories and forms that astonish goon to build, but so many years later their innovations seem to be relics of the past. Thus, the “Deconstructist Architecture show at New York's Museum of Moder Art (1988), curated by Philp Jonnson, showed mosty untwit work by Frank 0. Gehry, Daniel Libeskind, Rem Koolneas, Potor Eisenman, Zaha Hadi, Bernard Tschumi, and Coop Himmelo()au, Today, looking at the BMW Welt (2001-07, page 124) in Munich by Coop Himmelt()au, thelr Akron Art Museurh in Ohio (2001-07, page 114), or Liteskind's Royal Ontario Museum Extension (Toronto, Canad, 2002-07, page 314}, one. coud be forgiven for assuming that the MoMA show was particularly prescient, revealing trends that would only take form 20 years ltr. Deconstucvst arch tecture,” wrote Mark Wigley, associate curator ofthe MoMA shaw, “does not constitute an avant-garde. Rath, it exposes the unfamiliar hid den within the tration. tis the shock ofthe old"* The aesthetics and forms of contemporary architecture are surly nat only determined by the age of architects. Steven Hol, for example, was born in 1947, just one year after Denil Livesind, and yet ne has taken an inde Pendent, atistio approach to his designs. Hl's extension forthe Nelson-Atkins Museum of Art (Bloch Building, Kansas Git, Missouri 2002-07, page 240) was the winner of a 2008 American Intute of Architects Honor Award. The jury commented, “The expansion ofthe Netson-Atkins Museum of Art fuses architecture with landscape to create an experiential architecture that unfolds for vistors as it sper Celved trough each individual's movement through space and time.” The luminous boxes that form the new bulding take an approach to surface, light, and space that isnot the pradut of a *schoot” Ike Deconstructvism, but today this architecture may seem much more con- temporary than fractured forms frst publicized in the late 1980s, Tadao Ando, born in 1941, i ve years oer than Libesknd, and has taken a route that's clearly anchored inthe history of modern architecture, beginning with Le Corbusier. Yet Ando ke Steven Holl has an artiste approach to his work that has alowed him to evolve and to create such surprising buildings 2s 2121 Design Sight in Tokyo (Japan, 2004-07, page 76). Part ofthe ambitious Tokyo Midtown com. ple bult onthe ste of the former Saf-Defonse Agancy, 21_21 Design Sight does include a numberof the concrete walls for which And is known, but its essential visible structure is a folded meta oof that brings to mind the pleats of the fasion designer Issey Miyake, who was aso involved inthis project. A reduced, geometric vocabulary does seem to allow fora more “timeless” building than fractured complexity, but the general public may have mare dificulty dating ideas than those who lie in the world of contemporary architecture. ‘A number of Important gues have influenced modem and contemporary architecture more through their drawings than through their built work. This trend can easly be dated back to Antonio Sant Elia (18861916), Hugh Ferriss (1889-1962), or more recently John Hejduk (1929-2000), Peter Eisenman, and Zaha Hadid, Bot Eisenman and Hadid have, ofcourse, mace the transition to more active bulcing, but their reputations were establsned on the basis of theory and drawings much more than on their but work, unify recant date. Com: puter imagery has, ofcourse, facilitated the task of architects, who have the ability o Imagine new worlds without making use of concrete and glass. It might be interesting to nate tht an architect who was a Chief Designer and Project Partner at Coop Himmelb()au for over 10years, in charge of bath the Akron Art Museum in Qhio and BMW Welt in Munich, nes since strck out on his own, creating astonishing competion designs that seem to take the complex forms of te late 20th century one large leap forward. Tom Wiscombe created is own fim, EMERGENT, in 1999 and worked recently on two projects published inthis volume, the National Library of the Czech Republic Prague, zach Republic, 2006-07, page 150) and the Shenzhen Museum of Contemporary Art (Shenzhen, China, 2007, page 144}. Wiscombe's secutive imagery for these unbultprojacts may blend the powerful anges of Coop Himmeiau with the Kind of computer technology from which "blobs" first emerged, but he puts forth a thoroughly contemporary vision tat coud well be very Influential In years to come, ‘While Wiscombe has considerable experince in transiting computer-crven ideas ito bul form, others seem to have accepted the idea that some of today’s architecture will never be bul inte reel word, Worldwide press attention has been focused onthe Wob se “Sec- ond Life" (wosecondife.com) that has been described as a “metaverse’—wich isto say a fully immersive 3D viral space in which layers interact as avatars) with each ote socaly and economical. One architec featured in ratitecture Now! 6, Soape Cleaver, can only be desorbed as beng virtual himself, since he declines to give any “real-world” information about himself. Rather he writes that he “entered ‘Second Life’ in January 2006," as though he might well not have existed at all before that date, Scope Cleaver has designed a large ruber of vital uldings in “Second Lite" that can readily be wsted. His Princeton University Galiry ofthe As (2007, page 460) is part of a rather extensive effort by the prestigious university ta project ise ito “Second Lit.” The University owns seven sims (65596 m? ‘egjons) in "Second Life," administered by Princeton's Oie of Information Technologies, Academic Services. Scope Cleaver has emerged as ‘principal designer of structures that may well lay a “real-world role in broadening the horizons of education Athough he is clearly not bound ty the usual rules of architecture, Scope Clever creates his structures without relying on external CAD tools, preferring to use only ‘elements that can be found within “Second Life." As he says, "SecondLife buildings involve “Tantastic shapes that push the limits of vital building while retaining realistic structural components. Though fashion certainly plays some role in the success ofa site ike "Second Life,” is 20 milion registered uses (many inactive) are an indication ofthe potential or similar vital envionments that may wel take a place in ‘he future development of architecture ‘THE WAYS OF THE LORD. ‘Though surely not as great a source of significant contemporary architecture as cultural institutions, places of worship, in one form or another, continue to generate Invention and cutting-edge design. The reuse of places of religion for other purpases sometimes poses the problem af deconsecration, withthe reticence some users may have when asked to dine or partyin & former church. One ofthe mare suc- ‘cessful of such recent initiatives isthe Selexyz Dominicanen Bookstore (Maastricht, The Netherlands, 2005-07, page 352) bythe architects Merkx-+Gired working within the former Dominican church of Maastricht, bu in the 13th century, Though the building had not infact been used as @ church since the French occupation that began in 1794, the architecture retained is decidedly ecclesiastical, even Gothic anpear- ‘ance, The designers won a prestigious Dutch award for this project in 2007, the Lensvalt de Architect Interior Prize. The jury's comment on ‘their work deserves to be cited: “In Maastricht, Merkx-+Girod Architecten have crested contemporary bookshop in a former Dominicanenero arene Dominican Bookstore, Tha Watberiande, 2008-07 densen& Shot Arktktkontr Tata Maria Conve, aa lng, Norway, 2004-06 church, preserving the unique landmark setting. The church has been restored to its former ploy and the utilities equipment has been housed in the extended collar, inorder to preserve the character of the church while achieving the desired commercial square footage, the architects erected a two-story structure in black staal on one side, where the books are kept. Keeping the shop artangement an the other side low ere ‘ated a clear and decipherable shop. The jury was vey lmpressed by these spatial solutions, as well as by the gorgeous lighting plan. The Comisinaton of book complex and church interior was deemed particularly successful.” ‘A numberof ether buildings designed intentionally as places of worship are included inthis edition of Architecture Wow, The Qur Lady ofthe Conception Chapel (Recife, Pemambuco, Braz, 2004-06, page 340) by the noted architect Paulo Mendes da Rocha was but within ‘the walls of a 19th-century run on the grounds of the Brennand Ceramics factory, 16 klometers trom the city of Recife, Mendes da Rocha, winner of the 2008 Pritzker Prize, ks Known for his powerful concrete shapes, and yet here he has devoted himself tothe restoration af old brick walls, while stil covering he new structure with a concrete slab root. The very weight and soli of his architecture embrace and trans- form the existing ruin, modulating light, along with transparency and obvious mass to ends that are special religious. The very thought that contemporary architecture is unable to evoke spitualiy can be put aside witha building such as the Brennand chapel Far from the style and fame of an architect such as Mendes da Rocha, contemporary designers show a consistent and Inventive ‘dedication to church or chapel spaces, as witnessed by the French architect Marc Rolinet, who recently competed the Chapel of the Dea- cconesses of Reuly (Versailles, France, 2004-07, page 430), Working with a limited budget, but fr ents who were open to his ideas, Rolnat has blended a modern and transparent envelope with an inner volume cloaked in wood. The boat-lke form af the chapel itself brings to mind (Christian symibolisn—the boat of Saint Peter, or the words of Chit, *Folow me, and I will make you fishers of men* (Matthew 4:19; Mark 1:17). devout Protestant, Rolinet has given a simple and modern form to his faith that suits the Deaconesses of Reully. This isnot the sor, (of building that wil draw worldwide attention, but iti nonetheless worthy of note ‘Much more in the media spotight, albeit somewhat against his own wil, the Swiss architect Peter Zumthor has emerged from a rather long period of litle construction to sign at leat two interesting and important bulcings—the Kolumba Art Museum in Gologne (Germany, 2003-07, page 866) and, not far away, the much smaller St. Niklaus von Flde Chapel (Machernich-Wachendort, Germany, 2003-07. page 560). With seminal buildings such as his Thermal Baths in Vals, Switzerland (completed in 1996], Zumthor showed @ strong attachment to the roots of Swiss history, an this chapel, dedicated to the patra sain of his country (St. Nicholas of File, 1417-87, also knowm as Brot cr Kis}, can be seen as a furter expression of his wilful evocation of hs heritage With its extremely simple exterior form, and unusual interior shaped by saruce formwork burned atthe end of the constuction process, the chapel is also the product of essentaly local labor, eschewing the kind of sophisticated multinational computer-driven spectacles favored by many architects who are as well known as Zumthor. ‘Another modest, yet powerful, plece of religious architecture isthe Tautra Maria Convent by Jensen & Skodvin(Taura Island, Norway, 2004-06, page 260) made for 18 Cistercian nuns. Much as the Deaconasses of Reully in France, these runs played an active role in the velopment ofthe architecture, and are cited by the architects as being responsible forthe landscape design. Relatively simple in is erchi- tectura expression, the Convent rose not far trom the runs ofa Cistercian Manastery founded on the island of Taura 800 years ago. By careor Zumt, Kotunba ae mseum farohaacee af Cologne, oigne, Germany, 2003-07 {ully examining the daly routines of the nuns, the architects managed to devise simple, economical solutions to thelr needs, wile binging ‘onward unexpected ideas such as the refectay, where the nuns are al alignad on the same side ofthe table (‘Ike Leonardo da Vinci's Last ‘Supper according tothe atcitects), looking out atthe countryside. The remate location ofthis convent, but also its dedication to simplicity ombined with an openness to an architecture that does not imitate the pas, alows it to generate a sense of spirituality that does nat depend any cliché about religious architecture. Its madern but respectul ofits function in the best sense of the terms. ‘BURN BABY BURN Perhaps inspired most by contemporary art that has long sinoe assumed the beauty ofthe ephemeral, architecture, too, has aocept ed and even sought out the virtues ofthe temporary. Naturally, burgeaning new cities, perhaps fist amongst them Los Angeles, gave rise to admittedly short-lived buildings that had no pretense to the kind of permanence to which architecture long aspired. in previous editions of the Architecture No! series, works of art have figured prominent. Volume 3 had an image of Olafur Elasson's Weather Project (Turbine Hall, Tate Modern, London, UK, October 16, 2003-March 21, 2004) an its cover. The relation between an architecture-related work of art and some obviously ephemeral buldings isnot a negligible aspect of the evolution of contemporary architecture. Ideas that emerge atthe border between art and architecture often go on to Influence more durable types of buldings in a substantive, or sometimes only aesthetic, way, Arne Quinzeis neither an architect nor really a pure artist. Rather, he i aself-educated designer of some importance. His elaborate instal- lation forthe 2006 Burning Man Festival, Uchrania: Message out ofthe Future (Black Rock City, Black Rock Desert, Nevada, page 412), was intended from the fist tobe burnt tothe ground after a week of festivities. A movie and @ book chronicling the construction (and destruction) ‘ofthe open pavilion is the only remaining trace of its existence. Some may liken Uohranfa to an art event as opposed to an architectural re ization, but its function as a dance or party locale clearly places it in the realm of buildings. The collective nature of its realization and its meandering, almost organi structure make Ucronia aesthetically interesting, and, indeed, Ame Quinze has since but a lass fosting ver sion ofthis design in Brussels Shigping containers have enjoyed something ofan architectural fashion in recent years with such stiking temporary) realizations as ‘Shigeru Ban's Bianimale Nomadic Museum (Pier 54, New York, New York, 2005). The Brelian architects Bemnardes + Jacobsen used suct containers ta create the location ofthe TIM Festival 2007 in Rio de Janeiro (Rio de Janeiro, Braz, page 108). Using no less than 250 six- and 12-meter-long contanars, they created the essential structure fora popular music fstval that lasts only two nights. Shipping contain rs wore standardized as of 1956, based on the Ideas of the American Maloom McLean, and have become a frequent fixture of a contem- porary architecture that has admitted It can (or should) be ephemeral, The TI Festiva is a case in point ofthe need for rather substantial architectural elements that can be easly moved into place and removed just as realy. In tis instance, it is more the realm of industrial ‘design and transportation that shapes architecture, but ust as art can play this rol, s0, too, i seems, can more practical oriented disipines. Works of art often verge onthe architectural, just as some architects aspire tothe status conferred to their less down-to-earth fiends In the at world, The German artist Thomas Schitte has shown a frequent interest in architectural forms in his valed production. One of hisa Fanzo Plano, The How York Ses Buln, How Yorke ar, USA, 2005-07 2 Fanzo Plano (os Aogeles County oseum ort oe angeles Caltorn, USA, 200008 ‘mast recent work, an Installation forthe so-called Fourth Plinth in London's Trafalgar Square (Model for 2 Hotel,2007—08, page 456) isin realty nothing more than a stack of skewed, colored glass plates, and yet its appearance, varying considerably depending on the angle of ‘view, poses interesting questions atout how architecture can go about better dissolving ts sometimes oo heavy presence. From some angles, Schitte's work almost disappears, a result thet many arctitects have sought to no aval. But then again, art does not obey the same rulas as architecture in most instances—a rula that certanly applies tothe Fourth Pinth installation. What can be admitted ready is that architec: ture has sought out a crass-ertilzation that can be found in art, design, or even industrial applications, as the use of shipping containers shows. The openness demonstrated by this fact alos architecture to evolve in sometimes unexpected directions, and sometimes to break free ofthe gravity that so veighs down many “traditional” buildings. Though few buildings are meant to be incinerated lke Arne Quinze's chron, the escape from the rules of architectural permanence implied by the work of Quinze dogs have an almost Immediate bearing on what contemporary architecture can do, FEET IN THE SAND, HEAD IN THE STARS. though it may be fashionable to affim that “globalization” is greatly reducing the varity of contemporary architecture, the fact remains that diferent cities, and indeed cifrent climates, impose varying approaches, even ifthe fundamental methods and materials of architects are often quite similar. The skyscraper culture ofa city ike New York imposes mits, bath in terms of potential use and because ofthe rather complex zoning restrictions that may apply, according to the sites concerned. Two of architacture’s ‘star designers have been called to Manhattan to work on towers that may, in their own way, each redefine some ofthe stylistic corwentions that have long applied to the city. Renzo Plana completed the New York Times Building near Times Square in New York in 2007 (page 394), marking an improvement in the quality ofthe architecture in the immediate area. Piano’s 52:slory, 228-meter-hgh tower Is cccupied on the lower 28 floors by the newspaper, and on the upper 24 by real estate and law firms. The core of the dasign, the newsroom of the dally, ancupies three floors, ‘rouped around an internal garden planted with 15-meter-tall paper birch trees, fems, and moss. This garden, and its tees, which ar, after all, the source of the paper used by The New York Times in a metaphorical and even a literal sense, together withthe wilful transparency Imposed by the architect, demonstrate the tallan’s ability to deliver a quality design that does not necessarily meet with the expectations that ‘ne might have had ofthe co-designer (wth Richard Rogers) ofthe Centre Pompidou in Paris (1977). Since the basic frm of @ Manhattan tower is impased by the ciy’s grid and the high cost of land, Piano has used the subtlety for which he is know to create an American build ing with a European sensibiy While Piano may well have lft his radical Inetincts behind some time after the completion ofthe Centre Pompidou, it can be sald that Jean Nouvel has remained something ofan irttant inthe ranks of well-known architects. His buldings retain ther abt to surprise and even to upset. The new Tour de Verre (New York, New York, 2007-12, 10/11), designed by the French architect withthe developer Hines, wil change the very profile of mid-lown Mantattan, rising 76 stories next to the Museum of Modern Art. The New York Times, which has long been something ofan arbiter of taste inthe city, wrote of the prjectin glowing terms, *A new 75-story tower designed by the architect Jean10st ean Nowe, Teur oe Ver, Mew York, Wow Yok Se, 2007~12 Nouvel fora site next tothe Museum of Modern Art in Midtown promises tobe the most exilaating dalton to the shyla ina generation Its faceted exterior, tapering toa series of crystalline peaks, suggests an atavistic preoccupation with celestial heights. brings to ming John Fuskin's praise for the irrationality of Gothic architecture: 't not only dared, but delighted in, the infringement of every servile principe Nowval's tower is leary more audacious than the recent adltions to the Museum of Modern Art signed by the Japanese architect Yoshio ‘Taniguchi, a fact that lad The New York Times to make a rather unfavorable comparison between the two projacts. Nowel’s Tour de Verre is also sated to add new space to the Museum, and the paper commented, "The aaltional gallery space isa chance for MoMA to rethink mary of these spaces, by reordering the sequence of its permanent collection, for example, or considering how it might re-stuate the contempo: rary galleries inthe new tower and gain more space for architecture shows in the old. But to embark on such an ambitious undertaking the museum would first have to acknowledge that its Taniguchi-designed complex has posed new challanges. In short, it would have to embrace a fearlessness that it hasn't shown in decades. MoMA would do well to take a cue from Fuskin, who wrote that great ar, whether expressed in ‘words, colors or stones, does not say the same thing over and over agin."® Whether because of zoning restrictions or simple conservative thinking, New York has not proven tobe the most inventive city when it comes to contemporary architecture. Manhattan as a whole might be considered a quintessantialy modern urban area, and yet ts bits and pieces seem to date more from tne 1990s than from the new century, One cities, such as Dubal in the United Arab Emirates, are rising at a hectic speed and hope to become new centers in their own rghit, for business of course, but also for architecture. Until recently, Dubai as relied on large Western architectural practices wit Iitte imagination, but that situation is fast changing with such famous names as Zaha Hadid now signing major projects. Siting on the Arabian Gul, just next to the great deserts of Saudi Arabia, Dubai must cope with 2 series cf complicated circumstances that make it physically diferent from New Yor, for example, With population made up largely of expatriates ‘and summer temperatures that can soar to about 50° centigrade, this is oot realy a place for walking about, enjoying the urban scenery. People move in cars and seem astonished to see anyone other than workers from Bangladesh exposed to the afternoon sun. Cites ke Los Angoles long ago developed a car-based urban culture, but in Dubal It is @ matter as much of climate as of distance. The Saudi developer ‘Adela Moi has sought, through a high-level competition including such architects as Ryue Nishizawa and Kazuyo Sejima, to pose the ques- tion of just what kind of person might want to use the enormous complex he plans to bul tthe limit ofthe new Business Bay area in Dubai Cling his project "The Edge” (Dubai, UAE, 2008 page 418), Al Mojl asks what the needs ofthe “knowledge worker” ofthe future may be, Posting the emergence of Dubal asa real world financial canter and not simply an oll-fueled mirage, The Edge is to be a 250000-square- ‘meter, 600-milion-euro colossus of a project including offices, notes, residences, retain snort everything needed fora "knowledge work er” 10 lve, eat, and sleep the few months he or she may remain in the United Arab Emirate. This is surely not the scheme imagined by Renzo Piano when he designed the New York Times Building, a pure office facility. Nouve's Tour de Vere will have hote and apartment space, as well as gallries for the Museum of Madern Art and offices, but residents would by no means be encouraged to live their entire ite within its \wals. The inventive Spanish firm ROR was selected to build The Edge after the 2007 competition. Their mirage-tke series of towers rising from a *laating carpe” platform is aesthetically interesting and quite new in ts conception. Although the project may evolve somewhat before2 Savor Meyer Fabri Aretecte Hate! ga Post, Sore, Swizriane, 2006-07, ‘actual construction, AGR's proposal will remain a fst step along the path to designing a very large bulding specifically meant for a place ‘ike Dubai. Climate, mora than local culture, really seams to be the driving force behind the development of such practically self-contained complexes, but The Edge is big enough ta be a sot of city unto itself, no longer bound by the more traditional constraints of urban It, In one of his recent pamphlets called “The Gu.” Rem Koolhaas (OMA) writes, “Eventually, the Gulf wil reirwent the public and the private: the potential of infrastructure to promote the whole rather than favor fragmentation; the use and abuse of landscane—golf or the environ ‘ment; the coexistence of many cultures ina new authenticity rather than a Western Modernist default experiences instead of Experience— city oF resort?™ DESIGNER BED AND BREAKFAST Jus as cultural institutions have provided a good deal of the work for inventive architects over past years, the Hotel business, inoreas- ingly interested in design, perhaps inspired by the spate of Schrager-Starck projects inthe 1990s, has also employed numerous well-known architects in the hope of drawing ina chic, moneyed clientele. This phenomenon has spread beyond world cites such as NewYork and Bertin ‘and now concerns less wal-known destinations like Zuoz inthe Engadine region of Switzerland. Though it isa beautiful medieval town, Zuoz |s afew kelometers from St. Moritz and its glamorous resort lf. The Hotel Castel is stuated Just above the old town at an altitude of 1900 meters. The Swiss at collector and artist Rued! Becher bought the original bulding, bul asa fashionable *Kurhotel” in 191213 by Nico- laus Hartmann, in the mid-1990s. The architect Gabriele Hachler and the noted Swiss artist Pipilot Pst designed thelr first project inthe hota, the Red Bar, inaugurated in 1998. Beginning in 2000, the Amsterdam architects UNStuclo came on board and designed a new tuld- ing with 14 luxury apartments (2002-04, page 502), Within the old bullding, they added a colorful namam in the east wing basement, and redesigned about half ofthe hatl’s 60 rooms in a style typcal of thelr work, The local architect Hans-Jrg Ruch redid the other rooms, wile ‘the Japanese artist Tadashi Kawamata added a wooden terrace and walkway leading to a sauna on the grounds of the hotel. Completed recenty by the construction ofa cylindrical kyspace by artist James Turell, the Castel isn a sense typical of many “designer hotels" acrass the world, but, inthis instance, the high quality of the diferent architectural and artistic interventions is particularly notable ‘Two mountain passes and about 300 kilometers avy, though sil in Switzerland, the Hate dela Poste Slere (2008-07, 12) by the young architects Saviaz Meyer Fabrizzi does not have the kind of world-class at seen in the Castel, but t shows just how far the idea ofthe designer, or in this case architect, hotel has come, Working wth a rectilinear mid-18th-century bulcin, the architects dared to make the exterior bright orange and to pant the name ofthe hotel in large letters on its side fagade, Situated in font of @ small park that runs behind ‘the neighboring city hall toward the railway station, the Hotel de la Poste now has a sinuous glass anng room to the rea. The areitecis also redesigned the hotel rooms, using a itferent type of wood for each ofthe 15 sultes and naming the rooms after the wood used, Photos of the trees concerned figure onthe ceiling of each room, giving a "green tinge to this otherwise tractional old structure Legareta + Legorreta, architects based in Mexico City, competed the renovation of a former water batting factory in Puebla, Mexico ‘creating La Putiicadora Boutique Hotel in 2007 (page 308). Like thelr less famous coleagues in Siete, the Mexicans renovated the existing12 sua, Hote cast, 2002, ‘Swizerlnd, 2007-04 ‘9th-cantury stucture while retaining many of its more colorful or picturesque features. The local stone walls of the original single-story sirycture were kept, while the architects added three tors with masonry walls, @ bar-lounge on the roof, and a 30-meter-iong swimming oo! wth glass walls. The architects reused the wooden beams ofthe original water plant, employed specially made ceramic tes that recall local cladding materials, and local onyx. Though Ricardo Legorreta is known for using saturated color schemes that bring to mind those of Luis Barragén, inthe case ofthis hotel it isthe palette of matarials, bath new and old, that i allowed to fil the space without many strong colors aside from the bright purple seen in the furniture DOING IT RIGHT ‘Much contemporary architecture of quality i created with a compromise atits heart, since money, sometimes a great deal fi, is nec: essary fo make an outstanding or innovative building. The architecture that mast people lve with is quite ordinary, or in any case fundamen ‘ally repetitive and boxlke. The poor, or those dispossessed ty natural disasters or wars, obviously do not benefit much from the brillant designs of today’s top architects. Naturally there are excoptions to this rule, and architects who have made a point of creating affordable or easily bult lodgings thet serve those wo are most in need. The Japanese architect Shigeru Ban is ane of these. Though he, too, has hs share of wealthy clents, Ban has created temporary housing in India, Turkey, and Rwanda (for UNHCR). His most recent inttive of tis nature, the Post-Tsunami Rehabilitation Houses (Krinda, Hambantota, Sri Lanka, 2005-07, page 98), almed ta create a total of §0 houses ‘or victims of the December 26, 2004, tsunami. At an approximate cost of $13,000 per housa, these 71-square-meter residences are made of local rubber tre wood and compressed earth blocks, Comfortable and carefully stuciod to met the requirements of focal cultura, the Kirin da houses may be an exception that praves the rule that famous architects do not work forthe poor, but the case is surely notable enough to figure in this volume. ‘Shigeru Ban is also participating in the Make It Right inttive in New Orleans (Lousiana, 2007-, page 530) In this instance the actor Brad Pit and the architects Graft are leading an effort to rebuild affordable architect-designed houses in the Lower Ninth Ward of the cly, devastated by Hurricane Katrina, With such participants as Klean Timberiake, Morphoss, David Adjaye, and NVRDV, Make It Right surely has 8 higher profile than Ban's Kinda project, and may well have a politcal message. In “the richest country in the world,” it can certainly be considered shocking that some of America’s poorest people should remain homeless through long periods marked essentially by bureaucratic, ineptitude, evidenced upto the highest levels of the government. Strictly observed from the perspective of contemporary architecture, it is Interesting ofcourse to see what “star” architects can do with the $150 000 oudget alloted per residence. Ban's Kirinda houses make no Dratanse to employ the sophisticated vocabulary for which the architect became known—rather, they ae a strict, coherent effort to bring rae to those in need, using ecologically responsible methods and materials. The conditions for participants to be selected for Make it Right, demonstrate that the organizers had taken into account a series of factors that may rarely come together inthe high-ying world of cutting edge architecture: = Prior interest or involvement in New Orleans, preferably post-Katrina and/or experience with disaster relijous Architect, Mate Fi fas, 2007~ “ ~ Familiarity and interest in sustainably; ~ Experience wit residential and multifamily housing ~ Proven to be skilled innovators of low-udget projects: ~ Bxperlence dealing with structures that have ta successfully address water-based or low-\ing environments) ‘And, ofcourse, deep respect for design qual. The actor Brad Pitt and his partner Angelina Jolie have shown their commitment to Worthy causes through the Jolie-Pitt Foundation, which has recently donated substantial funds to help Sudanese refugees affect by the Darfur criss, and given to such charities as Global ‘ation for Children or Médecins sans Frontiéves. The fact thal their help is so desperately needed in the midst ofthe United States, and that 80 many important architcts have agreed to donate thelr serviogs tothe Make It Right itiatve, says a great deal about the state of Amer: a, and perhaps also something rather more postive about contemporary architecture MEDIEVAL TOWERS AND TEA IN THE TREES The ttle Architecture Now surely implies an interest in recent developments, and indeed many ofthe projects featured inthis book are aesthetically or technically at the cutting edge of today's art of bulding. it should be noted in passing that a good number ofthe projects published here have to do with creating a rapport between existing structures and new additions or uses. The Qur Lady of the Conception Chapel by Paulo Mendes da Racha in Brazil andthe Ullens Center by Jean-Michel Wilmotte in Baling are examples ofthis type of symbio: sis, or confrontation if one prefers, between the past and the present, Renovation of existing structures wil continue to be a significant element inthe evolution of contemporary architecture, if ony for basic, economic reasons. It often costs less to renovate a structure than to buld anew. The expanding notion of which bulldings should or should not be considered historically intresting or significant as play @ role in the rise of renovation as a large part of contemporary ari ctory renovated by Wilmott in Being nor the old water botting plant tured into a chic hatl in Puebla by Legoreta might have qualified 20 years ago as belng worth redoing, yet ther space and materials give a richnoss tothe completed projects that could nat have been produced with purely contemporary elements, The presence ofthe past sutfuses even the most contemporary architecture, That past may be historical and linked toa specific st, 2s the case inthe Bergen-Belsen Documentation and information Genter by KSP Engel und Zimmermann (Celle, Germany, 2005-07, page 4156) or LIN’ renovation of part af the Saint-Nazaire Submarine Base France, 2005-07, page 320), ort might be an evocation of even mare stant memories, as sean in Holzer Kabler’s Arche Nebra building (Nangen, Germany, 2005-07, page 250), inspired by a Bronze Age disk found nearty. tis clear that in some countries the exploration ofthe mare dlstant past and its cultural and architectural implications can come to the fore in unexpected ways. Switzerland, a small country with a very long history, has recently produced such architects as Peter Zumthor, who is clearly inspired by the Alps, their culture, and even thelr stone, Less well-knavm than Zumthor, but equally steeped in his country’s history, Hans-J8eg Ruch, who works essentially in the Engadine Valley near St. Moritz, was educated party in the United States. His restoration of the 4th-century Chesa Madalena in Zuoz (Switzertand, 2001-02, page 498) that permitted the discovery of a medieval tower ectute, Neither the neo-Bauhaus fao Ogata Bara ‘Senarons, Swizeand, 2000-07 valle up in the od farm building is remarkable in its combination af respect forthe past and openness tothe present. The Chesa Madale- na is now a contemporary art gallery showing works by Richard Long or Balthasar Burkard without any contradiction Especaly in “old” cul- tures like those af Europe or parts of Asia, the awareness ofthe past and a respect fo its lessons have surely risen greatly in recent years. Architects ke Ruch are both the confirmation of this trend and instigators in ther ow right ofa new sensbity that can aocommodate the ast and present simuitaneously. Anather Swiss architect, Valerio Ogiat, has taken @ somewhat more radical approach to the construction of an artists atelier, inthe heart ofthe old ilage of Scharans (Ateller Bardi, 2006-7, page 382). In the place ofan old wooden barn, he has erected a red poured- in-place concrete structure that assumes the profile ofthe farm structure, wile opening its heart to the sky wit an oval courtyard, Though ‘the use of almost blank concrete wails might be considered shocking in this content it is a fact thatthe new structure has captured the aus tery ofthe originel architecture ofthis Swiss mountain vilage Cllatt made his concrete red because the vilage demanded thatthe new sttucture have the same color asthe ol one, Thus, inthe process of respecting request formulated for historic preservation reasons, he has made a thoroughly modern building, with an intemal courtyard worthy of James Turel's Skyspaces. Terunobu Fujimor is Professor atthe University of Tokyo specialized inthe history of Western-style buildings erected in Japan from the Mei period (1868-1912) onwards. He is particularly knowledgeable about the emergence of modem architecture through the work of such figures as Le Corbusier, Mies van der Rohe, and Gropius, an yet when he himself began to build, he created very unexpected buildings that seem deeply rooted in the past. Fujimori writes, ‘From my frst project, | have tried to adopt the folowing two rues as @ design policy 4) The building should not resemble anyone else's buliding, pastor present, or any style that Nas developed since the Bronze Age: 2) Natural matetls should be used on parts ofthe uiding that are visible, and at times plants shouldbe incorporated in the build- ing, 80 a8 to harmonize the building with nature. ® ‘Though the very deste to design structures that resemble no other might be seen as pretentious, Fujin! remains as modest as his 6.07-squere-meter Teahouse Tetsu bult In the grounds of @ museum in Japan (Koharu Shirakaba Museum, Nakamaru, Hokuto City, ‘Yamanashi, 2005, page 174), He compares ito a “house for a midget rom afar,” but also makes reference to some ofthe most impor- ‘ent cultural symbols of Jepan, ike Sen no Fikyu (1522-91, the historical figure wh had the most profound influence onthe Japanese tea ceremony, in describing the project. Made for observing cherry blossom inthe area, Teahouse Tetsu also finds its purpose inthe most deepiy felt Japanese customs and traditions, from the tea ceremony to the annual sakura (chery blossom) frenzy that grips the county. Like the “alytale midget” evoked by the architect, this try project isan object of humor, but It is also the product of ancient traditions. tis “als- paced” in an intellectual sense, somewhat lke Clgiat's Atelier in Scharans, Nothing is as it seems here, and that is @ fact that makes Fujimor’s surprising work fundamentally contemporary. It is about the condition of architecture as much as i is rooted inthe more or less clstant past Inthe case of another of his projects, the Too-High Teahouse Wiyagawa Takabe, Chino City, Nagano, 2003}, Fujmari writes, “in the distance isthe house wiere Toyo Ito grew up. ven though th two af us grew up inthe same area and during the same period, what wo create is completely opposite, The relationship between human beings anther environments isnot simple and straightforward”?SUNFLOWERS AND STARS Its not an accident that this brief tour around the premises of Architecture Now! 6 ends wit Krinda, Make It Right, ad the smallest bullaing in the book, the Teahouse Tetsu. The attention ofthe press is often focused on the most expensive and visible works of contempo- rary architecture, such as 2008's star attractions in Beling. Those buildings, the Main Olympic Stadium and the nearby Watercube, are featured here, as isthe spectacular BMW Welt by Coop Himmetb(jau, but it seems clear that a consciousness f oer reasons for architec ture to exist has emerged and been expressed with humor by unexpected figures such as Terunobu Fujimori, Fujimort is intrested in whet be cals an “architecture of humanity" nat related so much to Japanese tradition as to the eat itself. It might seem logical that stars of con- temporary architecture should align themselves with the fmament of Hollywood, as appears to have happened with Make ft Right In New Orleans, but designing homes for people who have none is a far ferent exercise from creating playgrounds for milionaires, Contemporary architecture, despite its rather durable nature (at least as compared to the latest issue of Vanity Fain, often ignores the fundamentals of ‘existence, searching fora glamorous effect, an eye-catching surprise. The fact that an artist ofthe significance of Anselm Kiefer foes that his ideas can best be expressed through the forms of architecture isan interesting comment an the state of things—nis sion is one of ruins, of post-Apocalratic sunflowers, growing out of shattered concrete and fallen stars. Contemporary art has long seemed to be searching for Itself, reaching out for a soul lot in the transition from the figure to splash of pain, or more recently the video installation, Might tbe that ‘contemporary architecture in its ful variety comes closest to expressing hope, fears, excesses, and triumphs, of crystallizing the moment? The “liquid modernity" nalts splendid commercial superficially evoked by Zygmunt Bauman is surely present in tis book, but so too is the eighty concrete af Bergen-Belsen or the ethereal monument to March 11 in font of Atocha Station. And If shipping containers gathered together fora two-day music festival in Ro, or 150 kilometers of wooden planks buring in the Nevada desert, are part f the equation, then Jetthem bum. And what ofan architec who exists only in “Second Life," designing virtual buldings for areal university? At the other extreme, restoring a 14th-century bullding In Zuoz, Switzerland, must also be seen as an integral pat of the process and evolution of contemporary architecture. If there is an affirmation here, i's that understanding architecture means not excluding the past or even the most ephemeral ‘expressions ofthe present, The contemporary architecture seen inthis book spans across history and hopes, from places of religion to places Of sport and commorce, from the largest building in te world to one of the smallest, Architecture is alive Philp Jolie, iment, 2008a7 arnt, The Waterube, ‘atonal Swnning Corer, Being, a, 2009-08 2ygmunt aura, "Valve Dlommas asa Calenge he Practice and Concepts of Suersion and Coaching,” ANSE-coeenc, May 7, 2006 ote, The Nea lands. Bom in 1825, Or Zygmunt Bauman, Enerus Professor of Socilogy atte Unversity of Leeds, sone of the best-known soci and philosophers in he ors trough publican such as Lgué Moder (2000). He was avared the Eurepesn Anat Pie for Seclogy and Sail Sciencas in 1989 and 1980, and ‘he Theodor W Ado Awad bythe Gy of Fant in 1958. Edin Hest, ‘Noderism Minus Lop,” Me Financia Tes, Deoenber 29, 2007 ‘Alan ing, An tt Ses Up Houses) the Grand Palais” The Mw York Tes, May 31, 2007. Mark Wine, In Deconsouetiis Arhtactre, Te Museum of Modern A, New Yor, 1888, Nal Ours, "Noto MoMA Reaching forthe Stars" The NewYork Tes, November 15, 2007. Tere Fujin, lima euncb Artic, Tote Shure, Tek, 2007 i,EINLEITUNG DIE ARCHITEKTUR LEBT Die Architektur der Gegenwart zichnet sich vor allem durch thre Viefalt und Original aus, Zwar tft man kaum noch auf jene ,Blab- ‘Architektur’, dio mit der ersten Generation von computergestouortem Entworfenentstanden is, dor allumfassonde Einsatz von Computer ist Indes gana selbsterstandich geworden. Selbst Gebude, die sich augenschelnlich an Klaren geometrischen oder kiasisch-modernen For- rman orlentieren, stecken heute voll von Details und Elementen die es vor der Verbreitung von 3-D-Madeling und CNC-Frasen nicht nate ‘geben knnen, In cleser Ausgabe von Architecture Now! werden Gebdude verschiedenster Dimensionen vorgestel, von Terunobu Fujimori 6,07 m? grodem Teehaus Tetsu in Japan bis hin 2u Norman Fosters gigantschem Moskauor Proekt Crystal Island mit einer Gesaminutefidche ‘von 1,1 Milionen m2 nd des ist kein Zual: Die folgenden Seiten sollen einen Uperblick Uber den aktuellon Stand des Architekturgesche- hens geven ~ ganz unvoreingenommen und unabhangig davon, ob es sich im Einzelnen mehr in eine bewussttraditionele Rchtung bewegt oder allereueste Entwicklungen abbildet, Welcher Geist herrscht gegenwatig, wie und inwielern spiegelt Architektur de Kretiitat der ver- hingenden ersten Dekade des 21. Jahrhunderts? Der bedeutende Soziologe Zygmunt Bauman fasst den Zustand der modernen Gesellschaft mit dam Stichwart der ,flchtigen Moderne” in eine Begrflicklt, die sic auch traffend aut de zeligendsslsche Architektur anwenden sst .Das Leben in einer ,lhtigen’ moderen Welt ist von dre Faktoren gekennzeichnet: Zum Estn ist unser Handeln zwangslauti von Uns- cherheit bestimmt, zum Zweiten von einem bestandigen Rsiko, das wir zu berechnen suchen, das aber im Prinzp nicht 2u berechnen ist, da lmmer wieder Uberraschungen auftauchen, und zum Drtten davon, dass sich unser Vertauen auf bestimmt Dinge zwangsléuig wandet Ein allgemeinor Trend, dor heute noch vertrauonswirdig erscheint, kann morgen schon in Vertu geraten und far ungiltigerkrt worden. Das git cht nur in Bezug au dle Arbeit, sondern iberal, Was Arete heute 2ur gesunden Ernahnung empfehlen, kann margen schon als krebserregend elt. Wirt man einen Blick i lustrirte oder in die bunten Bellagen von Tageszeitungen, tf man praktsch jede Woche aut Kolumnen, die einen Uber oie neuesten Trends auf dem Laufenden haiten, nicht nur zu modischer Kieidung, sondem auch dazu, wie man sich allgemein zu bbenefimen hat, wie man seine vier Wande einvichton sol, Uber welche Prominenton man Bescheld wissen muss und so weiter ~ Kolumen alsa, de einen dariver informieren, was gerade In‘ Ist. Direkt daneben findet sich allerdings eine Kalumne, die einem ert, was ut’ Ist und welcher Trend einem peintich sein sole, fas man thm immer noch anhngt. DIE JUNGS IN PEKING Die zeltgendssische Architektur sit den Zustand flihtiger Modernitat héutig als erstrebenswert an. Das Nationale Schwimmzentrum {tr die Olympischen Splele 2008 in Peking, der monumentale Watercube des ArcitekturbOres PTW (S. 404), stein Gebaude in Form eines rmassiven Quaders, der in ein Auer lchtig wirkendes Gawand geht ist in eine Haut aus ETFE-Kissen (Ethylen-Tetrafluaethylen, deren ‘Anordnung nach dem natirichen Vorbild von Soifenblasen ,zulig und organisch anmutet. Es dirt nicht viele Bidor goben, de Kurlabig ‘eit tretfender beschwéren als Selfenblasen, obwoh! die Fldchtigklt von Architektur natirlich Ihre Grenzen hat. Um Architektur zu sohaffen, brauctit es Zelt und minunter sehr vel Gel, und auerdem soll sie zumelst einem spezielen Zweck dlenen ~ Voraussetzungen, die der von sielen Arcitekten mit groBem Eifer angestreblen ,Unbestinmthet” entgegenstehen. Das Bestreben, auf der Halve der Zeit zu sen, ist beiHinmlbau, BAW Wet eran, 2004-07, mea, Aran art im sir, Ohio USA, 2005-07 Monumentalbauworken wie dem Watercube, dem benachbarten Hauptstadion flr die Olympischen Spiele 2008 von Herzog & de Meuron S. 222) ader dem Doppelturm far dle chinesische Fernsehgesellschaft CCTV von Rem Koolhaas und seinem Otic for Metropoltan Archi- ure (OMA) wohl nicht 2u verkennen, Diese Bauwerke, die mit ihrer zeichentaften Architektur dem neuen Peking jene Ausstrahlung ver chaffansollen, die der Stadt bslang offenkundig fehlte, werfen jedoch die Frage auf, welche Richtung die Architektur einschlt, dein Chi 2; Indien und am Persischen Gol n so halsbrecherischem Tempo entsteht. Die Financial Times ging im Dezember 2007 mit der Architektur Clympischen Spiele hart ins Gericht: In Peking haben sich die bedeutendsten Archtekten der Welt on der Idee der Stadt weitesigehend verabschiedet, Man tit auf eine Modeme ohne Uople und ohne jeden Kontext ~in irr physischen Beschaffennet wie in topogratischer, tischer, theoretischer oder stadtebaulicher Hinsicht. Das einfach, elnzeine Bld ist alles. Jedes deser Gebaude hatte auch irgendwo anders gebaut sein kéanen. Peking wird zu inom Ort, an dam sich dle oberichlichston Aspokto einer zeltgendssischen Designkuitur real sleren, dl alein von auerlichem Auscruck und Symbolwirkung sowie der affiniatnet und Komplexittinrer eigenen Strukturen besessen it elne eine Schauarchitektu fr dle Oympischen Spiele ~ und far ein Regime, das seine Moderitt und seine wact'sende dkonom! sche und kulturelle Macht demonstriren wil, Radikale Architektur hat sich fOr Spektakel und Propaganda benutzen lassen. Stadte besteien «us Bauwerken, aber grartige Bauwerke alein machen noch keine Stadt aus."2 UUnabhangig davon, ob man der Kritk«olases Arties zustimmt oder nicht, gitt er zumindestainen Hinweis aut die Bandbrelte der Emotionen und Meinungen, die die besonders spektakularen Erscheinungsfoimen dor zeltgendssischen Architektur hervrrufen Sie sehen vielleicht ansprechend aus, wie aber stet es mit den unvermeidichen Kompromissen, die stets mit solchen GroBprojekteneinhergehen? ‘Norman Foster soll einmal versucht haben, seinen chinesischen Auttraggeber zu erklren, dass die groBe Bedeutung von Fahrrédern fir thr Land ein dkologisches Plus darstella, das es zu bewahrenlohne, Man entgegnete im unmissverstindich, dass China es nicht auf Fahrédor abgesehen habe, sondern auf Autos und Flugzeuge. Es gibt einen méchtigen Trend hin 2u einer 2eichennaften Architektur, angetrieben von riesigen Geldmengen, de sich in neuer Art und Weise von Mumba dber Dubai bis nach Shanghai ber den ganzen Globus vertelen. Man kann solche Entwicklungen krtseren, aber zeitgendssische Architekten sind weniger Vertreter eines poltschen Protests als vielmehr Schipfer nbtzicher ObjeKte. So wie jeder andere versuchon sia nr Auskomimen 2u finden und ein Zein zu hintorlasson, [Das voriegende Buch stelt cre zeichenhaft, fur die Olympischen Spiele 2008 in Peking entworfene Bauwerke vor, aber auch das Ullens Center for Contemporary Art (UGCA, 2006-07, S. 546), ein von dem Franzosen Jean-Michel Vtlmotte entworener und von MADA pam. ausgefthrter Umbau einer Fabrik aus den 1950er-Jahren. Das UCCA zeigt, dass die von den lokalen Behrden bevorzugte kompro- mmislose Abrissstrategie nicht der einzige Weg ist, um Peking zu jenem kosmopoitschen Zentrum zu machen, von dem viele téumen, Zudem bidet das UCCA einen Kontrapunkt zu den von der Financia Times missblligten ,oberléchlicen Auscrucksformen*. Selbt in einer boomen- den Hauptstadt wie Peking lassen sich aum allgemeine Aussagen darbertretfen, in welche Richtungen die zeltgendssische Architektur sich beweat In den bisherigen Ausgaben von Architecture Now! fanden immer auch solche Arbeiten Erwatnung, die im Grenzbereich zwischen Kunst und Architektur oder zwischen Architektur und Design anzusiedeln sind. So auch im vorlggencen Band, angefangen mit dem betant2 Hl The Nelson Akins Muse tm af at, Bech Bung, Rereae (hy sour, USA, 2000-07 -unmonumentalen* Serpentine Galery Pavilion in London (2007, 8. 138), dessen Entwurf von dem Kinser Olafur Eliasson und Kjell Thorsen, einem der Grinder des Archtekturbros Snahetta, stammt. Ein zwelter Eintrag wiomet sich Ellassons Installation .New York City Waterfall" (2008, $. 134, die de besondere Verbundenhelt der Stadt mit inven Flssen thematisier, Als welterer KOnster bespilte Anselm Kiefer mit seiner Installation ,Sternenfall (2/8) von Ende Mal bis Anfang Jul 2007 den Grand Palais in Paris und nimmt damit in de Architektur ~ oder leicht besser in ihren Ruinen ~ eine herausragende Role ein. ,Was man her sich, ist erzweifung’, so Kiefer, ,ch bin absolut verzwelet, ‘wali nicht erkven kann, warum ich exister. Es ist mehr als Trauer, es ist Verawetfung, Um aber 2u Ubetleben,erichtet man Bauwerke, man erschatf llusionen."® Nach den Grinden fir unsere Existenz2u fragen, mag als das Gegentel der von Bauman apostropierten,ficht- ‘gen Moderne" erschenen, doch genau das ist der Punk: Architektur, die Kunst der gebauten Umwelt kann in ihren unendlich vielen Erschei- rungsformen die meisten Theorien zur Moderne ebenso gu besttigen wie wideriegen. Enerseits so solide, dass sie LingsteZeitrdume der- avert, st se andererselts bestdndiges Objekt von Versuchen, ihre Substanz geradez in Luft aufzulésen, Etwa das von dem Architekturtudo, FAM entworfene Denkmal fir dle Opfer des Teroranschiags vom 11. Marz 2004 in Madrid (2005-07, S. 164), en glaserner, rund Karper Uber einem blau getaltenen unteriaischen Raum. An de Tragie erinnert es mithile einer beschiftten Membran, cle ~ Interessanterweise \wiederum aus ETFE, einer Art transparentem Teflon, hergestellt~ so durchsichtig ist, dass man sie kaum wahmnimmt. Fast unsichtoar und doch immer geganwrtig, so wie die Wunden und Schmerzen der direkt und indrekt Betratfenen,verkdrpart Architektur hier das Andenken an in Ereignis, das binnen weniger Augenblicke Tod und Zerstorung brachte VOM SCHOGK DES ALTEN ZUM CHARME DES METAVERSUMS Dio Arcitekiur folgt einem seamen Rhythmus, da sich recht deutch vom Rhythmus anderer ,soriologischer"Erscheinungsformen ‘von Moden unterscheidet ~vielleicht well dle Entstehung van Bauwerken sich solange hinzient (verglchen etwa mit den kurzen Produltions- zyklen von Kanstlem) tz. wel so viel Geld invalvert ist. Die jungen Wilden, die mit aufregenden neven Theotien und Formen die Bune st men, baven auch Jahre spter noch, doch wirken Ire einstigen lnnovationen dann wie Relkte aus der Vergangenheit. So zeige die 1988 von Philp Johngon kuratierte Ausstelung ,Deconstructvist Architecture" am New Yorker Museum of Mader At vonwegend nicht realisiete ‘Abelten von Frank O. Gehry, Daniel Lbeskind, Rem Koolhaas, Peter Eisenman, Zaha Hadid, Bernard Tschumi und Coop Himmeljau, Schaut man sich heute die MUnchener BMW Welt (2001-07, S. 124) von Coop Himmelb()au ader ihr Akron Art Museum in Ohio (2001-07, 8. 114) oder Libeskinds Erwriterungsbau fir das Royal Ontario Museum (2002-07, S. 314) an, dart man mit Veriaub sagen, dass die MoMA-Ausst!- lung ausgesprochen vorausanend gewesen ist und Entwicktungen aufgezelgt hat, dle erst 20 Jahre spater Gestalt annahmen, .Dekonstruktivistische Architektur’, schieh Mark Wigley, Mitkuator der Ausstllung, ,stelt Keine Avantgarde dar. Vielmehr enthalt sie das, Unbekannte, das im Tractionellenverborgen liegt. E ist das Alte, was schockler.* Ganz bestimmt aber haben Astheti« und Gestalt zllge nfssischer Architektur nicht nur mit dem Lebensalter Ihrer Schopfor zu tun, Stoven Hol beispialsweise wurde 1947 geboren, nur ein Jahr rach Daniel Lbesknd, aber der Kinstlerische Stl einer Entwarte ist ein ganz anderer. Fr seinen Erweiterungsbau des Nelson-Atkins Muse- lms of Art (loch Building, Kansas City, Missouri, 2002-07, S. 240} gewann Holl 2008 einen der Ehrenpreise des American Institute of Archi2 Tao ana, 21.21 Design Si Tonyo town, ato, Tak, Japon, 2008-67, tects. n ner Begrindung schrieb de Jury: ie Erweiterung des Nelson-Akins Museum of Art verbindet Architektur und Landschat2u einer Erlenisarchtektur, die sch den Besucher mit jeder einelnen Bewegung durch Raum und Zeterffne.” Die luchtenden Kasten, le den neuen Museumshaublden,seten sch auf ene Weise mit Oberfiche Licht und Raum auseinander, de richt des Ergebris ener .Schule* wie ‘or Dekonstruktvismus ist, dennoch wir dese Architektur heute womogich wetaus zeigendssischer als die zerspitterten Fomen, die est mals in dn spten 1980er-Jaren der Otfenichket prdsentit wurden. Tadao Ano, geboren 1941 und damit fin Je ter als Libesknd, hat einen Weg eingeschlagen,dessen Ausgangspunkt eng mit der mit Le Corbusier beginnenden Geschichte der modernen Architektur verbunden ist Aber wie bei Steven Hall ogt sich auch in Andos belt ‘ein Kinstlerischer Ansa, dor os ihm eraubt, sich imme weiter zu ontvickeln und so ungewshniche Gebaude wie das 21_21 Design Sight in oka (2004-7, 8. 76) 2u entwerfan. Das als Tel des raBangeleten Gebfudekompexes Tokyo Midtown auf dem Gelinde der ehemaligen Verteldigungsbehrde erichtete 21_21 Design Sight esizt melee der fr Ando ypischen Betonwénde, Was ander Konsruktion jedoch vor allem ins Auge fl st das goatee Metaliach, das an die Fllenmade des ebenfals an dem Projekt beteligten Designers Issey Mieke arinnen. Eine redwera, Kasisch geometische Formensprache scheint zvar besser gesignet als eine Komplexe, velschichtige, um ein Gebavde.zsitos'ersheinen zu lassen. Dem breten Pubikum mag es allen schwerer fallen, solche rscheinungsormen zat en- ‘worden, als denen, de sin tagtagioh mit zetgendssscher Architektur atassen. Vile wichige Protagonsten haben die modeme und die zetgendssische Architektur stirker durch te Zeichnungen besinflsst als durch ire reliertn Areiten. Diese Tendon lss sich zurUchverolgen bis zu Antonio Sant Ba (1888-1916) und Hugh Ferriss (1889 1962) und findt sich inde ngeten Vergangenheit bei John Helcuk (1929-2000), Petr Eisenman ode Zaha Hadid tlich seen ina Schen sowohl Had als auch Eisenman zaheiche irer Entre tatsichich um, hr Ru grindetejdoct bis wor nent alu anger Zeit weit starer au inven theoretschen Oberlegurgen und irenZeichnungen als aut auspefirtn Abelten Natirtichhaten Computerisulirun gen die Aufgaben des Architekon erelchtart, der nun de Melick at, sich neue Weltn auszudankon, one so gleich in Stahl und las Zu Dauen, Interessant ist in dlesem Zusammentang der Hineis aut Tom Wiscombe, der nach Uber zehn Jahren als Chedesigner und Projet partner fOr Coop Himmelb()2u und veratwortich fr das Akron Art Museum in Ohio oder fOr dle BAY Welt in Mnchen nun in eigenem Namen arbetet und erstauniicne Wettbewerbsbetragekrlet, de die Komplexen Frmen des ausgehenden 20. Jahrhunderts noch ein groBes Stk weterzfrenschenen. Mit seiner 1999 gegrindeten Firma EMERGENT arbeitet Wiscombe 2uletztu.a. an zwei Proekten, die im vor legenden Band vorgestalt werden, zum einen fr de Tschechishe National botnek in Pag (2008-07, S, 180), zum anderen fur das Muse um fr zetgendssische Kunst in Shenzhen (Crna, 2007, 8, 14). Das verohrerische Bikmateral zu diesen unrealisierten Projeton lsst sich auffasen als ene Verschmeizung der inden Arbeten von Coop Himmel(jau anzuteffenden dymischen Kantn und jer Computrtech noogi, dor die ,Blo-Archtektu entprang, wobel Wiscombe hichstzeligemaBe Visionen vorstelt, dle in den kommendn Jahren von ay0Bem Einfluss sein Kénnten ‘Wahrend Wiscombe prakische Exfrungen vorweisen kann, was die Realslrung computergenerietr Entwirfe angen, scheinen ander sich mit der dee 2ubegnigen, dass ein Tel der heutigen Architektur nema in der Realltexsteren wird, Welteit gode Metien-2 ‘Mare Rot, Chapt ofthe Disco ‘nesses of ful, rales, France, 2o0e-07 2 Paolo Mendes de Rocka, Ov Lady &f te Conception Chapt Rec, Perma, Bra, 2004-06, aufmerksamkeit hat die Webseite ,Second Life’ (www.secondlife.com) gefunden, die gerne als ,Metaversum* bezeichnet wird. Gemeint ist damit ein volistandig ausgebildeter dreidimensionaler virtueller Raum, in dem die Mitspleler (so genannte Avatare) sozial und Gkonomisch ineragiaren, Einen dein ser Ausgabe von Architecture Now! vrgetelten Arhiteken, Scope Cleavar, kann man nicht anders den al it ‘tuell bezeichnen, da er die Preisgabe jeglicher Informationen Uber seine Existenz in der realen Welt verweigert. Stattdessen gibt er an, dass er sit Januar 2006 Mig bel Second Lite its als hate es Inn vor desem Datum gar ict gegeben. Cleaver hat sine graBe Ara ir {ueler Bauerke in Second Life" entrtn, ce man cht besuchen kann. Seine Paineton Universi Gallery ofthe Ats (2007, S. 460 ist Bestandel eres recht unfangricen Versuchs der angesshenen Universit, sich selbst in .Second Lie hininzurjieren. Princeton best in SecondLife sien sim Land (65596 mde von der Abtelung Academie Services dos Otice of normation Technolgies der Universit vrwatat worden Cleaver at sich 2 sna fnendon Designer von Kontrutonen enc, ce auch in der elen Wet ene alle spielen kinnin, eb 2 Unterrichtverttung im Architecurstudum. Obglich Cleaver natch nicht an de normalenweise fr Archi- tekturobtenden Regeln gebunden st, ent er seine Bauwerke ohne Znilferahme von CAD-Programmen, sardem bevrzugt Elemento, ie diet in Secon Lite" vorutndn sind, Wie Cleaver eréutet, bien die Gebaute in .Seoond Life® fantastische Fomen, ce simtiche Mog: lichkeiten des vitullen Bavensausschpen glichzetig aber realstische Konstruktonskompanentan beibehalten. Wennglich der Erol Yon ,Second Lie" won auc damit u tun hat, was gerade in Mode I, snd seine 20 Millonn rensrirten Nutr el ict ak doch gin Hels aut das Potncal fr ahniche tulle Umpsbungen, oer le KintigeEnwekung der Acitekur drchaus Yon Bedeutung sein kote, DIE WEGE DES HERRN Gotteshuser spelen als Bauaufgabe fir beceutende zeltgendssische Architektur sicherich eine weniger graBe Rolle als Kuiturnst- tutionen, sind aber in der einen oder anderen Form nach wie vor Gegenstand innovaiver Gestaltung. Die Umnutzung religiser Bauten wit _uwelen das Problem der Profanierung aut, einhergehend mit einer moglichen Befangenhet, cle manche Gaste gegeniiter dem Speisen oder Feior in einem ainstigen Kitchengebaude empfindon kénnten Eine der gelungenerenIniativen cieser Art aus jingerer Zeit ist dle Buchhand- lung Selexyz Dominicanen (Maastricht, Nedertande, 2005-07, S. 352) des Architekturbiros MerkxGirod,untergebracht in einer ehemaligen DDomiikanerkcche, deren Baubeginn auf das 13. Jaithundert datiert wird. Obwohl das Gebaude seit 1794, dem Beginn der damaligen franz sischen Besetzung, nicht mehr als Kirche genutzt wurde, besitt es noch immer einen sakralen,gotischen Charakter. 2007 erhielten die Designer fir inre Umgestaltung den angesehenen niederl4naischen Lensvelt de Architect Intrieurpis. Der Begrindungstext dor Jury vercient ailet zu werden: Das Architekturblro Merkx+Girod hat in Maastricht elne zeltgeme Buchtandlung In einer frUheren Ouminikanerkirche elngerichtet und dabei ce besondere Eigenart des Ortes erhalten Die rohere Pracht der Kirche wurde wiederhergestel, da Ausstatungsge- tant de batimentstracitionnels. Bien que peu de constructions soient congues pour éteinci- nérées comme I'Uehvonied'Arme Quinze, cette fulte devant las grandes gles de la permanence architecturale qu‘implique ce travail n'est as sans répercussion immédiate sur ce que peut faire l'achitecture contemporaine, LES PIEDS DANS LE SABLE, LA TETE DANS LES ETOILES Sil est peut tre tes @ la mode daffimer que la « lobalsation» duit de beaucoup la vat de architecture cauourd ul, reste {ue ls ferences entre les wiles et encore pus ls climats imposent des anprochesvarées, méme si les méthodes et es matrix des xchiteces sont pratiquement les mémes. La culture du grtte-cel dune vile comme New York connatses limites, aussi bien en termes ‘ullisation poentle que des restrictions completes de la rglementation urbarstqua, Deux «stars de la création ont été appelses & Manhattan pour travaller sur des projets qui, & leur fagon,redeissentcetaines conventions syisiques new-yorkalses bien Insales. Renzo Piano a achevé le New York Times Bultng, és de Times Square en 2007 (page 394), tour qui manifest améliration de a qualité arcitecturale de ce quarter, Les 28 premiers étage de cet immeuble de 52 riveau et 228 métres de haut sont occupés parle journal, autour d'un jardin intrieur plants de fougéres de mousses et de bouleaux de 15 mts de haut, arbres qui sont aprés tout & origina du opie tise parle grand quoiion au sens métaphorigue, La transparencevoulue pr architect, monte la capecité de celu-c afie qualté qui ne correspond peut-dtre pas & mage attendue du co-auteur (avec Richard Roger ) Ju Centre Pompidou (1977). Comme la amineus des terain, le subtl Plano a oré@ un @ basique des tours de Manhattan est impose par la trame urbaine et le oot meuble amercain de sensblité européenne, Sion peut dre de architect génois qu'l a sans doute mis de cOte sa radicalté pau aprés I'achdvement du Canire Pompidou, Jean 2] reste toujours un élément rant au sein du petit groupe des grands praticiens intemationaux. Ses realisations ne lassent pas de sur ‘ot méme de facher La future Tour de Verre (New York, 200712, 10/11) de 76 nivezux, adjacente au Museum of Modern Ar, congue Varchitete francais pour le promoteur Hines, modifier le profl cu Midtown de Manhattan. Le New es arbites du godt dans la grande cité, a palé de ce projot on tormes extasié: «Une nouvelle tour de 75 niveaux, congue par archi Jean Nouvel pour un terainvoisin du Museum of Modern Ast dans Midtown, promet o'étre le plus enthousiasment errichissement du orama urbain de Manhattan depuis une génération, Son extéreur facet, effilé en une série de pics crstalins, suggére ambition ata ave de conquéte des alitudes célestes.» On pense & Vadmirtion de John Puskin pour rratonalté de Varchtecture gothique: «Ele i pas seulement, mais s@plalsalt infrmer tout principe servile, = I st clr que la tour de Nouvel est plus audaciouse que les récentes tensions du Museum of Modern Art de 'architecejaponals Yoshio Taniguchi, ce quia condut le New York Times dresser une comparaison ser ortque entre les deux projets. La Tour de Verte offrant également de nouveaux espaces au musée, le journal commentat: «Ces gale 3 supplémentares sont une chance pour le MoMA de repenser une grande partie de son organisation, de réardonnancer la séquence de ction permanente, par exemple, ou d'étudier comment redistribuer les galeres contemporaines dans la nouvells tour et gagner de la our las expositions sur architecture dans Vancien batiment. Mais pour se lancer dans une enteprise aussi ambitieuse, i devrait ux probldmes. En bref, Il devat fare preuve d'une intépicté ré de regarder du cOté de Fuskin qui écrivat que le grand art, qui qui est depuis longtemps (a ‘ord reconnltre que le complexe congu par Taniguchi lul@ pasé de now ‘ont na guére témoigné depuis des décennies, Le MoMA seralt bien ‘exprime en mots, couleurs ou pieres, ne so répéte pas sans cossos (Que ce soit a cause de sa réglementation de zonage ou d'un pur conservatisme, New York ne s'est pas montré fa vile la plus créative fans le domaine de architecture contemporaine. Manhattan peut tre considéré dans l'ensemble comme un quarter essentiellement moder 1, mals beaucoup de sas immeubles semiblent dater davantage des années 1930 que de notre slécl, D'autres vlles, comme Dubai dans les rats arabes uni, se doveloppent dun rythme frénétique et espérent devenir de grands centres urbans, dans le secteur des aa si, mals uss dans coll de Varchitecture, Jusqu'arécemment, on yfalsalt anpel& de grandes agences occidentales sans beaucoup dima: ination, situation qui évolve rapidement, comme le montre 'arivée de noms aussi fameux que Zaha Hadid qui y signe d'imoortants projts Sur le Gofe persique, en bordure du grand désert Arabie,'émirat dot s/adapter& une série de circonstances complexes qui en font un site és diférent de New York, par exemple. En grande parte habité par des populations expatriées, vivant sous das températures qui peuvent ever 80°, ce n'est certanement pas un endroit ou profitr du spectacle dela rue. On s' déplace en voiture et on semble étonné de voir des piétons s'exposer au solel de l'aprés-micl, qui ne solent pas des ravalleurs du Bangladesh, Les vil comme Los Angeles ont depuis longtemps développé une culture de automobile, mais & Dubai sagit autant dun probleme de cimat a e distance. Le promoteursaoucion Ado al Malla cerché & travers un concours en tos tapes, dont liste de participants comprenat des architectes comme Ryue Nishizawa et Kazuy Sema, poser la question de quel ype d'utisleur pourrait re ltr par énorme complexe qu'l projet efi & a Unite du noweau quater de Business Bay. Bapisant son projet «The Edge» (Oubal, EAU, 2008- page 416). Posiionnant Dube comme un and centre financier mondial et nan plus seulement comme un mirage gav6 cor nor, The Edge sera un quarter de 350000 met cotta 600 milons euros. comprendra des bureaux, das hotels, des appartements, des commerce, tout ce dnt un «ravaileur dela connals- ance» peut avoir besoin nou wv, manger et dormir ls quelques mois de son sour dans les Eras arabes. Ce nest certsinement pas le schéma auque pensat Piano lorsqu' a congue New York Times Bulng, pur mmeuble de bureaux. La Tour de Vr de Nouvel regraupera unhétel ot des aopartements ins que des bureaux et des galeries pou le MoMA, mals ses résidents ne seront cerainemert pas encourages 2 passer ntgralement leur ve, C'est a rs créaive agence espagnole ACR qul até sSlectionnée pour construe The Edge apres les annals ofte 2007. Cette sére de ours qui font penser & un mirage savant au-desus un podlm en «taps volant» est eshte ment intressants et assez neuve dans sa conception. Bien que le projet puisse encore Evolver avant lo début du chante, In roposton de FR restora un premier pas pour un modble de trés grand immaublespécfiquement congu pour des sites comme celui do Dub. Le cima, plus que la culture locale, semble relament ere le motaur du développement de ces complexes autarciques, mals «The Edge» sera suf saanment vaste pau tre comparé& une vie en sol, sans re cesteint par les coriraines urbains habitus, Dans unde ses cents auvrages nfulé The Gul, em Kaclhaas (OMA) écrit: «En fn de compte, le Gof riwentra la noton de pubic et de pi: le potent «une infrastructure & promouiir un tout putt cu’ favrser une fragmentation; I'vsag et Vabus du paysage (ot ou environnement) la coexistence de nombreuses cultures dans une autentcité noweleplutot qulune solution occidentale moderiste par défaut, des ex- peiences au leu de Expérence — vile ou complexe?» CHAMBRES D'HOTES DE DESIGNER [De méme que les institutions cultueles ont beaucoup fait travaller des arcitectesInventifs au cours de ces demnidres années, Itel- lese, de plus en plus inéressée par le design et peut-reInsprée par avalanche de projets Schrager/Starck des années 1990, a fait appel ‘de nombreux architeces célebres dans le but d'atrer une clientele chic ot als6e, Ce phénoméne, né dans des vies mondiales comme New York ou Berlin, concerne maintenant des destinations moins connues dont Zuoz en Suisse. Cette superbe petite cité médiévale ge trow en Engadine & quelques kllomatres du luxuoux St. Mort, LHotel Castell est situé juste au-dessus de la viele vile, & une altitude de 1900 métres, Le colectionneur d'art et arste suisse Ruecl Bachtler a acheté cet élégant hotel de cure écifé en 1912~13 par Nicolaus Hartmann, au mili des années 1980. Larchitecte Gabrielle Hachler et la célabre artiste suisse Ppllot! Rist ont congu le premier projet de transforma- tion de établissement, le «Bar Rouge, inauguré en 1998. Au début de 'an 2000, las architectes Amstellodamois UNStuco ont 6 hélés & bord et ont congu un nouveau batiment de 14 appartements de luxe (2003-04, page 502). Dans I'ancienne structure, ils ont créé un ham. ‘mam cans le sous-sol de ale orientale et rénové & peu pres la molté des 60 chambres existantes dans lar style personnel. Un architected la gion, Hans-Jrg Ruch, a rénové les autres chambres et artiste japonais Tadashi Kavamata ajouté une terrasse en bois et une passerelle