PMG Lecture 2 Compressed

Assignment
Projects _ 2018/2019
Progetti
India
Charles Correa, Gandhi Smarak Sangrahalaya, Ahmedabad, 1958-63
Charles Correa, National Craft Museum, Delhi, 1975
Charles Correa, British Council, Delhi, 1987-92
Charles Correa, Belapur housing, 1960
Raj Rewal, Asiad Game Village, New Delhi, 1980-82
Raj Rewal, Parliament Public Library, New Delhi, 2003
Raj Rewal, Central institute of Education Technology, New Delhi, 1988
Raj Rewal, Sheikh Sarai Housing, New Delhi, 1972-82
BV Doshi, Sangath, Ahmedabad, 1979-81
BV Doshi, Aranya Low Cost Housing, Indore, 1983-86
BV Doshi, Husain-Doshi Gufa, 1992-95
Laurie Baker, Corpus Christi School, Kottayam, 1972
Laurie Baker, Abu Abraham’s house, Thiruvananthapuram, 1989
Laurie Baker, House for Dr A. Vaidyanathan, Kumarapuram, Trivandrum, 1972
Anagram Architects, South Asian Human Rights Documentation Centre, New

Delhi, 2005
Anagram Architects, The Digit, New Delhi, 2014
Achyute Kanvinde, National Science Centre, New Delhi, 1991
Morphogenesis, Perl Academy, Jaipur, 2008
Ranjit Sabikhi, Yamuna Apartments, New Delhi, 1981

Satish Gujral, Belgian Embassy, Delhi, 1980
Rajeev Kathpalia, Arjun Machan - A weekend retreat, Ahmedabad, 2004
Sanjay Mohe, Karunashraya terminal care centre, Bangalore, 1999
Studio Architects Mumbai, Tara House, Kashid, 2005
Gerard da Cunha, Nrityagram, Bangalore, 1990
Vinod Gupta, AIIS, Gurgaon, 1998
Yatin Pandya, Manav Sadhna, Ahmedabad, 2005-2006
CP Kukreja, Jawaharlal Nehru University, New Delhi , 1969
Anupama Kundoo, Wall house, Auroville, 2000
Revathi and Vasant Kamath, Kamath House, Arangpur, 1996
Spacematters, TERI university, New Delhi, 2008
Ashok B Lall, The Institute of Rural Research And Development, Gurgaon,

2012
Ashok B Lall, Development Alternatives World Headquarters, New Delhi,

1985-1989
Ashish Ganju, Residence for Dr. Kubba at Paschim Vihar, New Delhi, 1981-84
Kamath Design Studio, Nalin Tomar House, New Delhi, 1990
Bangladesh
Anna Heringer, Eike Roswag, Handmade School, Rudrapur, 2005-2006
Cina
Amateur Architecture Studio - Wang Shu, Ningbo History Museum, Ningbo,

China, 2003-2008
Amateur Architecture Studio - Wang Shu, Renovation of Wencun Village, Fu
Yang, China, 2012
Amateur Architecture Studio - Wang Shu, Fuyang Cultural Complex, Nanjing

China, 2010
Amateur Architecture Studio - Wang Shu, Ningbo Contemporary Art

Museum Ningbo, China, 2001-2005
Amateur Architecture Studio - Wang Shu, New Academy of Art, Hangzhou,

2009
Scenic Architecture (Zhu Xiaofeng), Victory street resident committee,

Zhujiajiaozhen, Qingpu, Shanghai, China, 2011
Scenic Architecture (Zhu Xiaofeng), Community pavilion, Shangai, 2010
Scenic Architecture (Zhu Xiaofeng), The Green Pine Garden, Qingpu,

Shanghai, 2010
Scenic Architecture (Zhu Xiaofeng), Huaxin Business Centre, Guilin, 2013
ZAO Standard Architecture (Zhang Ke architect), Micro-Yuan, Cha’er Hutong

8, Beijing - China, 2013
ZAO Standard Architecture (Zhang Ke Architect), Tibet Namchabawa Visitor

Centre, Pai Town, Tibet - China, 2008
Studio Zhu-Pei, Jingdezhen Imperial Kiln Museum, Jingdezhen, Jiangxi,

China, 2016-2017
Studio Zhu-Pei, Yang Liping Performing Arts Center, Dali, Yunnan, China,
2016-2017
TM Studio (Tang Ming), Zhou Chunya Art Academy, Shanghai, 2010
Atelier Deshaus, Plot 6 & Tea House in Jiangsu Software Park, Nanjin, 2006-
2008
FCJZ Atelier (Feichang Jianzhu) - Yung Ho Chang, The Bay Residential

Complex, Shangai, 2011
AZL Atelier Zhanglei, Brick House, Nanjin, 2009
AZL Atelier Zhanglei, Three Courtyard Community Centre, Yangzhou, 2009
*AZL Atelier Zhanglei, Librarie Avant Garde Ruralation library, Tonglu, 2015
Fake Design, Courtyard 105 and 104, Bejing, 2004
Jiakun Architects (Liu Jiakun), Clock Museum of the Cultural Revolution,

Sichuan, 2007
Jiakun Architects (Liu Jiakun), Luyeyuan Stone Sculpture Art Museum,

Sichuan, 2002
Jiakun Architects (Liu Jiakun), Shuijingfang Museum, Chengdu, 2013
Jiakun Architects (Liu Jiakun), Moca Museum, Chengdu, 2007-2010
Jiakun Architects (Liu Jiakun), Xilai Old Town, Chengdu, 2011
*Li Xiaodong Atelier, The Screen, Ningbo, China, 2013
Li Xiaodong Atelier, The Water House, Lijiang, 2010
Urbanus Architecture and Design (Wang Hui), The Tourism Cultural Relics
Bureau of Ruicheng City, Ruicheng City, 2016
AZL - Zhang Lei, Community Centre, Yangzhou, 2009
AZL - Zhang Lei, Garden Chapel, Nianjin, 2014
Hua Li - Trace Architecture Office (TAO Office), Bamboo Factory, Fujian,

2015
Archi Union Architects (Philip F. Yuan), Jade Museum, Shangai, 2016
Archi Union Architects (Philip F. Yuan), Fab Union Space, Shangai, 2015
Archi Union Architects (Philip F. Yuan), Lanxi Curtilage, Chengdu, 2011
Archi Union Architects (Philip F. Yuan), Songjiang Art Campus, Shanghai,

2009-15
Arch studio (Han Wenjiang), Tea House, Bejing, 2014
Arch studio (Han Wenjiang), Twisting Couryard, Beijing, 2017
Vector Architects, Renovation of Captain House, Fuzhou, 2017
Vector Architects, Seashore library, Qinhuangdao, 2015
Africa
Francis Keré, Primary School in Gando Extension, Burkina Faso, 2001-2008
Francis Keré, Gando Teacher’s Housing, Burkina Faso, 2004
Francis Keré, Dano Secondary School, Burkina Faso, 2007
Francis Keré, Centre de l’Architecture de Terre, Mali, 2010
Francis Keré, Licée Schorge Secondary School, Burkina Faso, 2016
Kunlé Adeyemi, Makoko Floating School, Lagos, Nigeria, 2012
Kunlé Adeyemi, Black Rhino Academy, Karatu, Tanzania, 2014
Kunlé Adeyemi, Chicoco Radio, Port Hartcourt, Nigeria, 2014
MASS group, The Umubano Primary School, Kabeza, Kigali, Rwanda, 2011
MASS group, Maternity Waiting Village, Kasungu, Malawi, 2015
MASS group, Ilima Primary School, Ilima, Democratic Republic of the Congo,
2015
MASS group, Mubuga Primary School, Musanze, Rwanda, 2015
Mphethi Morojele - MMA architects, 10x10 Low Cost Housing Project, Cape
Town, 2008
Urko Sanchez, SOS Children’s village, Djibouti, 2014
Urko Sanchez, Red Pepper House, Lamu, Kenya, 2009

Jo Noero Architects, Pelip Housing, Port Elisabeth, South Africa, 1999
A4AC Architects, Malawi School, The Legson Kayira Community Centre and
Primary School, Malawi, 2014
Mick Pearce, Eastgate Development, Harare, Zimbabwe, 1996
UNESCO/BREDA, Agriculture Training Centre, Dakar, Senegal, 1977
Ali Amahan, Ait Iktel, Abadou, Marocco, 1995
Patrick Dujarrac, Alliance Franco-Sénégalaise, Dakar, Senegal, 1994
Sonetta, Bibliotheca Alexandrina, Alexandria, Egypt, 2001
Laurent Séchaund, Central Market, Koudougou, Burkina Faso, 2007
Jean Francoise Zevaco, Courtyard Houses, Agadir, Marocco, 1964
Abderrahim Charai and Bbdelaziz Lazrak, Dar Lamane Housing, Casablanca,

Marocco, 1983
Lassina Minta, Great Mosque, Niono, Mali, 1973
Abdelwahed El-Wakil, Halawa House, Agamy, Egypt, 1975
ADAUA, Kaedi Regional Hospital, Kaedi, Mauritania, 1989
Heikkenen- Komonen Architects, Kahere Eila Poultry Farming School,

Koliagbe, Guinea, 2000
Mahmoud El-Hakim, Nubian Museum, Aswan, Egypt, 1997
ADAUA, Panafrican Institute for Development, Ouagadougou, Burkina Faso,

1984
Ramses Wissa Wassef, Ramses Wissa Wassef Arts Centre, Giza, Egypt, 1974
Serge Santelli, Résidence Andalous, Sousse, Tunisia, 1980
Jafar Tukan & Partners, SOS Children’s village, Aqaba, Jordan, 1991
Falké Barmou, Yaama Mosque, Yaama Nigeria,1982
Pancho Guedes, Panetteria Saipal, Maputo, Mozambico, 1954
Hassan Fathy, New Gourna, Egitto, 1945-1948
Hassan Fathy, villaggio di Baris, Kharga, Egitto, 1967
Sud e centro America
Clorindo Testa, Banco de Londres y America del Sur, Buenos Aires,

Argentina, 1959-66
Clorindo Testa, Biblioteca Nazionale, Buenos Aires, Argentina, 1962-92
Claudio Caveri, Iglesia de Nuestra Señora de Fátima, Martinez, Argentina,

1956-57
Claudio Caveri, Seminario El Jacarandá, Reconquista, Argentina, 1965
Rafael Iglesia, Altamira Building, Rosario, Argentina, 1998-2001
Ricardo Porro, Scuola nazionale delle arti plastiche, L’Avana, Cuba, 1961-65
Ricardo Porro, Scuola nazionale di danza moderna, L’Avana, Cuba, 1961-65
Ricardo Porro, Vittorio Garatti, Scuola nazionale di musica, L’Avana, Cuba,

1961-65
Ricardo Porro, Scuola nazionale del balletto, L’Avana, Cuba, 1961-65
Ricardo Porro, Scuola nazionale di arti drammatiche, L’Avana, Cuba, 1961-65
Juan O’Gorman, Gustavo Saavedra, Juan Martinez Velasco, Biblioteca

centrale, Università Nazionale Autonoma de Mexico, Mexico City, Messico,
1950
Enrique del Moral, Mercato de la Merced, Mexico City, Messico, 1957
Luis Barragán, Las Arboledas, Atizapan de Zaragoza, Messico, 1957-61

Luis Barragán, Casa Estudio Luis Barragán, Tacubaya, Messico, 1947
Luis Barragán, Torres de Ciudad Satélite, con Mathias Goeritz, Messico,

1957
Luis Barragán, Capilla de las Capuchinas, Tlalpan, Messico, 1955
Luis Barragán, Casa Egerstrom, "Los Clubes", Las Arboledas, Atizapán de

Zaragoza, Messico, 1964-1968
Augusto H. Alvarez, Casa Arturo Quintana, Jardines del Pedregal, Mexico

City, Messico, 1965
Mario Pani, Enrique del Moral, Università Nazionale Autonoma de Mexico,

Mexico City, Messico, 1947-54
Felix Candela, Jorge Gonzalez Reyna, Padiglione dei raggi cosmici,

Università Nazionale Autonoma de Mexico, Mexico City, Messico, 1951
Ricardo Legorreta, Hotel Camino Real, Col. Anzures, Città del Messico,
Messico, 1965
Ricardo Legorreta, Fabbrica IBM, Guadalajara, Messico, 1975
Gabriel Orozco, Tatiana Bilbao, Orozco's House-Observatory, Oaxaca,

Mexico, 2008
Ricardo Legorreta, Metropolitan Cathedral of the Immaculate Conception,

Managua, Nicaragua, 1994
Eladio Dieste, Chiesa de Cristo Obrero, Atlantida, Uruguay, 1958-60
Eladio Dieste, Iglesia San Pedro, Durazno, Uruguay, 1967
Carlos Raul Villanueva, Ciudad Universitaria, Caracas, Venezuela, 1952-56
João Batista Vilanova Artigas, FAU, São Paulo, Brasile, 1961-69
Oscar Niemeyer, Casa das Canoas, Rio de Janeiro, Brasile, 1951
Oscar Niemeyer, Chiesa di San Francesco, Belo Horizonte, Brasile, 1943

Oscar Niemeyer, Edificio Copan, São Paulo, Brasile, 1952-66
Paulo Mendes da Rocha, Ginásio do Clube Atlético Paulistano, São Paulo

Brasile, 1957-1961
Paulo Mendes da Rocha, Capela de Nossa Sehora da Conceicaon, Recife,

Brasile, 2004-2006
Paulo Mendes da Rocha, Museu Brasileiro de Escultura, São Paulo Brasile,

1995
Affonso Eduardo Reidy, Museu de Arte Moderna, Rio de Janeiro Brasile,

1952-1967
Lina Bo Bardi, Museu de Arte de São Paulo, Brasile,1947
Lina Bo Bardi, SESC Pompéia, São Paulo, Brasile, 1977-1986
Alejandro Aravena, Elemental, Quinta Monroy, Iquique, Cile 2000-2008
Australia
Glenn Murcutt, Ball-Eastaway House, Glenorie, North Sydney, 1982-83
Glenn Murcutt, Arthur and Yvonne Boyd Education Centre, Riversdale, 1998
Donovan Hill + Peddle Thorp Architects, State Library of Queensland,

Brisbane, 2006
Donovan Hill, D House, New Farm, 2000
Sean Godsell, Kew House, Kew, Victoria, 1996-97
Sean Godsell, St Andrews Beach House, St Andrews Beach, 2006
Sean Godsell, RMIT Design Hub, Melbourne, 2012
Giappone
Kenzo Tange, Prefettura di Kagawa, 1958
Kenzo Tange, Centro radiotelevisivo Yamanashi, Kofu, 1967

Tadao Ando, Church of the Light, 1989
Tadao Ando, Water Temple (Shingonshu Honpukuji), 1991
Shigeru Ban, Paper House, Yamanashi, Giappone, 1995
Kazuyo Sejima, M House, Tokyo, 1996-97
SANAA (Kazuyo Sejima, Ryue Nishizawa) , Museo del XXI secolo, Kanazawa,
1999-2004
Kazuyo Sejima, Police box outside Chofu Station, Tokyo, 1993–94
Toyo Ito, Mediateca di Sendai, Sendai, 1998-2000
Sou Fujimoto, House N, Oita, 2008
Junya Ishigami, KAIT Kobo, Kanagawa Institute of Technology, Kanagawa

2008
Atelier Bow-Wow, Nora House, Sendai, 2006

Project Sheet
!
Progetto: Jeffrey Elementary School
Architetto: Frank Gehry
Data di inizio e fine progetto: 1990-2123
Luogo: via Quadronno, 7, Milano
Nazione: Italia
Descrizione di progetto (min. 2000-max 3000 battute)
Descrizione oggettiva: dati di progetto: tipologia di edificio, mq totali, area

etc.; informazioni di contesto (topografia, clima, background storico);
storia/background/evoluzione del design di progetto; elementi chiave:
distribuzione dei locali in pianta e caratteri funzionali, struttura (fondazioni,
muri, tetto, dettagli), tecnologia, tempi di costruzione e
costi, materiali, descrizione dei prospetti e delle sezioni, elementi e scelte di
carattere estetico etc.
Several years of local studies, and materials in archives in India and the UK,
have made it possible for Dr Guerrieri to construct a satisfying and original
picture of the process which (from post- colonization, to Partition and the
building of the new India) has brought to life one of the major metropolises of
the new millennium. The history of India in those years of profound
transformation is important for the world as a whole; and Delhi provides an
example of particular relevance.!
However, it is not only in this perspective that the study is interesting.
Negotiating Cultures contributes to a very significant degree to the debate
around the relationships between cultures and the consequent processes of
transformation of cities. It is currently evident that the cross-fertilization no
longer operates solely in one direction, from north to south but also from south
to north and from south to south. New research is imperative to capture this
perspective.
The book has been written at a particularly complex, and contradictory time in
the contemporary world. It appears that Western countries are uncertain and
no longer have faith in their future. They are beset with nationalist revivals,
regrets regarding the power they have lost, isolationism, new pressures to
exclude ‘others’. India increasingly faces great difficulties in performing its role
as a key player in the world scenario. It aspires to be a catalyst in
experimentation and a reference point for the technological innovations and
changes it is bringing about, but at the same time it is deeply rooted to its
cultural traditions. Élites in the country are extremely dynamic and capable but
! 2
also carry the burden of a deeply unequal society, marked by excessive

privilege. It has large cities in a state of continuing development, while at the
same time small centres are in the process being increasingly ignored. It
experiences new forms of economic and social development, which are
however still characterized by economic and political systems that have their
origins in other societies and cultures.
Descrizione critica di progetto (min. 4000-max 5000 battute)
Descrizione che introduce delle valutazioni più soggettive: come il progetto si

relaziona rispetto al contesto specifico e ai caratteri dell’architettura locale,
quali elementi l’architetto ha utilizzato per ricollegarsi o meno all’ambiente,
come l’architetto interpreta il luogo e i suoi caratteri, come il progetto si pone
rispetto alla popolazione locale e ai suoi bisogni, quali sono i caratteri
innovativi e più interessanti etc.
Several years of local studies, and materials in archives in India and the UK,
have made it possible for Dr Guerrieri to construct a satisfying and original
picture of the process which (from post- colonization, to Partition and the
building of the new India) has brought to life one of the major metropolises of
the new millennium. ‘The history of India in those years of profound
example of particular relevance’1.
perspective.
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
1!Abercrombie, Patrick, The Greater London Plan (HMSO, London, 1945), pp. 45-46.
! 3

origins in other societies and cultures. Let me begin by saying, without
anticipating for readers what Dr Pilar Guerrieri’s Negotiating Cultures: Delhi
Architecture and Planning from 1912 - 1962 has to say, there is no doubt that
this is an important book. It, with its innovative approaches and comprehensive
referencing, analyses events in Delhi at a particularly relevant juncture in recent
Indian history. Several years of local studies, and materials in archives in India
and the UK, have made it possible for Dr Guerrieri to construct a satisfying and
original picture of the process which (from post- colonization, to Partition and
the building of the new India) has brought to life one of the major metropolises
of the new millennium. The history of India in those years of profound
example of particular relevance.
perspective.
origins in other societies and cultures.
! 4
Elenco delle immagini (piante, prospetti, sezioni, fotografie)
Fig. 1 Silk and maritime routes connecting Europe and India,

(http://www.chinatourguide.com/silk_road/silk_road_maps.html).
Fig. 2 Colonial routes (Fernand Braudel, Civiltà Materiale, Economia e

Capitalismo, secoli 15 -18, vols. I, II, III (Giulio Einaudi Editore, Torino, 1977) ..
…
Bibliografia (Chicago Style)
Abercrombie, Patrick, The Greater London Plan (HMSO, London, 1945).

Abrahamson, Mark, Global Cities (Oxford University Press, New York-Oxford,
2004).
Abu-Lughod, Janet L., Before European Hegemony (Oxford University Press,
Oxford, 1989).
Adam, Robert, The Globalization of Modern Architecture: The Impact of
Politics, Economics and Social Change on Architecture and Urban Design since
1990 (Cambridge Scholars Publishing, Cambridge 2013).
Addis, A.W.C., Practical Hints to Young Engineers Employed on Indian
Railways (E. and F.N. Spon, London, 1910), p. 26.
Aggrawal, J.C., Development of Education System in India (Shipra Publications,
Delhi, 2008).
Albee, Edward, The American Dream (Samuel French, London, 1962).
Ali, Sabir, Environment and Resettlement Colonies of Delhi (Har-Anand
Publications, New Delhi, 1995).
Ameen, Farooq (ed.), Contemporary Architecture and City Form: The South
Asian Paradigm (Marg Publications, Mumbai, 1997).
Anand, Mulk Raj, ‘Delhi–Agra–Sikri’, Marg, vol. xx, n. 4, Sept. 1967.
https://library.osu.edu/documents/research-services/OSUL_CMS2012.pdf
Critical Drawing
Sample
Progetto: D House
Architetto: Donovan Hill
Data di inizio e fine progetto: 1998 - 2000
Luogo: 215A Harcourt Street, New Farm, Brisbane
Nazione: Queensland, Australia
Descrizione di progetto
La villa unifamiliare presa in esame presenta un solo piano fuori terra ed è situata presso New Farm: un quartiere
di Brisbane, in Australia.
L’edificio insiste su un piccolo lotto rettangolare di 25 per 15 metri che occupa interamente ed è contraddistinto
da una forma rettangolare scatolare caratterizzata da linee pulite e rette.
Si presenta come un volume unico, che non appare essere direttamente relazionato con il contesto in cui è
inserito; infatti non si individuano particolari allineamenti con i fabbricati presenti e, al contempo, non è
possibile sottolineare, una somiglianza formale con gli edifici che lo circondano: né per quanto riguarda la sua
posizione nel lotto, né per le dimensioni e le proporzioni dei suoi elementi costitutivi, né tantomeno è possibile
individuare delle somiglianze relativamente alle scelte estetiche operate dai progettisti.
E’ necessario però puntualizzare il fatto che l’edificio in esame si presenta come una rielaborazione
contemporanea dei caratteri propri delle abitazioni che popolano il suo contesto; pertanto i riferimenti allo
stesso, devono essere ricercati non sul piano formale, ma piuttosto sul piano concettuale, pertanto saranno
trattati in seguito.
Per quanto riguarda la tecnica costruttiva, i progettisti Donovan e Timothy Hill, si rifanno ai metodi di edificazione
moderni, impiegando blocchi di cemento legati da malta e intonacati all'esterno con un conglomerato
cementizio grigio a grana consistente, e all'interno con un intonaco bianco liscio. Il tetto piano è costituito da
una struttura lignea.
In merito all'articolazione interna dello spazio, è possibile asserire che essa si presenta come organica e
controllata attraverso un’accurata progettazione della proporzione degli spazi e un minuzioso disegno della loro
successione e compenetrazione.
All’interno si individuano due aree principali: una privata e l'altra pubblica; La prima è composta da 2 camere
da letto speculari e della stessa dimensione tra le quali si inseriscono alcuni locali deputati a servizio: un bagno,
una lavanderia e un locale armadio.
L’area pubblica dell'edificio presenta invece un'articolazione più complessa dello spazio, che ad una prima vista
in pianta può apparire come unitario ma che, a seguito di un’ osservazione più attenta, dimostra una
conformazione composita e allo stesso tempo flessibile: una grande veranda costituita da una molteplicità di
aree, dotate di funzioni differenti, che all’occorrenza possono trasformarsi in veri e propri spazi tramite l’utilizzo
di diaframmi vetrati, ottenendo in questo modo uno spazio living ai lati del quale si innestano due patii: il primo
accoglie il visitatore dall'esterno, il secondo funge da contraltare e da piccolo giardino privato dell’abitazione.
All'interno del Living è presente una zona cucina che rappresenta un’ appendice di questo spazio centrale della
casa. Essa si presenta composta di una serie di murature di altezza 2 metri, che si configurano come una barriera
2
alla vista. Queste murature, tagliate selettivamente solo in alcuni punti, rendono possibile l’accesso alla porzione
più privata e riservata dell'edificio.
Per quanto riguarda i prospetti essi non presentano particolari accorgimenti estetici. Come evidenziato in
precedenza sono rivestiti da un conglomerato cementizio a granula consistente, che rende l'esterno ruvido
conferendogli una connotazione solida e resistente.
Tutte le grandi aperture finestrate sono provviste di un diaframma composto da lamelle di legno che inibisce la
vista dall'esterno verso l'interno ma che consentono la ventilazione naturale dell'edificio e la protezione
dall’irraggiamento solare.
Un ultimo elemento rilevante è l'attenzione al dettaglio nei confronti dell'arredamento dello spazio interno. Esso
è Infatti progettato ad hoc per l’edificio dagli stessi architetti assieme al committente per enfatizzare la qualità di
ciascuno degli ambienti interni ed esterni.
Descrizione critica di progetto
L'elemento più interessante da sottolineare a fondamento di questa descrizione critica che ci si appresta di
seguito a delineare, è l’immagine di continua Transizione di cui il progetto diviene manifesto.
Si intende per Transizione il continuo e inarrestabile passaggio da una situazione ad una nuova e diversa dalla
precedente.
È proprio su questa definizione che i progettisti e il committente si interrogano e pongono la loro attenzione.
L'idea è che attraverso lo studio della proporzione, attraverso linee pulite, attraverso chiarezza formale, l’utilizzo
di materiali ben precisi per delineare la dimensione di ciascun ambiente, continui e ben studiati riferimenti
concettuali al contesto che ospita l'edificio, sia possibile rendere concreta e visibile la continua ed inarrestabile
situazione di transizione che caratterizza la vita dell’uomo e di ciò che lo circonda anche e soprattutto per quanto
riguarda la propria casa.
Con questo non si intende affermare che l’edificio si configura come un elemento dinamico capace cioè di
mutare istantaneamente la sua forma in base alle esigenze dei suoi abitanti; piuttosto, si desidera in questo
caso, puntare l’attenzione sul fatto che l’edificio per sua natura formale, rende possibile a chi ne sta usufruendo,
una differente percezione del processo di Transizione nello spazio e nel tempo, non più come un processo
incontrollabile, ma come la naturale progressione della vita umana, fornendo all’abitante o al visitatore, una
serie di strumenti per poterlo controllare.
Il tema della transizione rintracciabile nel progetto può essere esaminato in primo luogo rispetto alle diverse
percezioni che di esso si ha dall’esterno. Inizialmente esso appare come distaccato dal suo contesto, racchiuso
all’interno del suo diaframma opaco. Tuttavia la presenza delle grandi aperture finestrate, che all’occorrenza
possono essere completamente aperte, quasi a creare un link diretto tra ambiente esterno ed interno, permette
una rottura radicale di questa apparente assenza di relazione.
La natura stessa dell'edificio modifica dunque il rapporto che esso intesse con il suo contesto: ciò che accade
all'interno è visibile all’esterno e viceversa, ciò che si manifesta all’esterno, influenza la vita all’interno
3
dell’abitazione. In questo modo si genera una relazione biunivoca tra le parti. Interno ed esterno, pubblico e
privato si fondono e si compenetrano definendosi e modellandosi l'un l'altro contemporaneamente.
Differente è invece il processo di Transizione che investe l'ospite o l'abitante che si accinge a relazionarsi con
l’interno dell'edificio.
Come precedentemente descritto, esso è composto da una successione armonica e ben proporzionata di spazi
caratterizzati da dimensioni, articolazioni e funzioni differenti. Man mano che prosegue il suo percorso
all'interno dell'edificio il visitatore perde il contatto con l'esterno attraversando spazi che -seppur aperti perché
definibili come patii- non gli consentono la vista dell’esterno, e anzi generano all'interno dell'edificio un clima
accogliente, distaccato e indipendente dal contesto esterno. Ciò apparentemente contrasta con l’affermazione
precedente. Il continuo scambio tra interno ed esterno, sembra non manifestarsi. Ma ad una più attenta analisi,
si comprende che questa non è altro che un’ulteriore sfaccettatura del processo di Transizione di cui l’edificio è
immagine. Infatti essa, essendo biunivoca, ammette anche il distacco dall’esterno e dalla sua influenza, al fine
di consentire l’entrata in un ambiente protetto e sicuro, in modo da poter poi nuovamente rivolgersi verso
l’esterno, riavviando il contatto biunivoco da una posizione nuova e differente.
Spingendosi ancora verso l’interno dell’edificio, è possibile comprendere come il grande ambiente coperto che
accoglie chi sta entrando, possa essere facilmente tripartito in un living centrale e in due patii che lo cingono e
ne delimitano l’estensione. Il processo di Transizione dunque, assume anche un ruolo pratico. Permette
all’edificio di adattare i propri spazi relativamente alle necessità dei suoi abitanti, rendendosi permeabile o
impermeabile al passaggio.
Ed è proprio all’interno del living che si concretizza in modo inequivocabile il processo di Transizione. E’ infatti
da questo ambiente che trae origine il processo di comunicazione biunivoca interno esterno, che si manifesta
attraverso la grande apertura finestrata verso la strada. E’ dunque da qui che il visitatore o l’abitante può entrare
a far parte di quel processo di continua trasformazione di cui la propria abitazione è motore. Ma non solo. E’
infatti solo attraverso questo ambiente, che è possibile accedere all’ala più riservata e introversa dell’edificio: la
zona notte. Per farlo, è necessario superare un filtro, non solo visivo, ma piuttosto fisico: ovvero la zona cucina.
Essa si configura esattamente come una barriera che permette fisicamente di dividere le due componenti
principali dell’edificio, e di rendere manifesto, concreto e visibile il processo di Transizione (E’ necessario passare
attraverso questo filtro), precedentemente solo accennato e suggerito in modo formale e nel metodo dispositivo
degli elementi nello spazio tridimensionale.
A conclusione di questa breve descrizione critica che vuole porre l’attenzione solo su alcuni elementi di un
quadro molto più complesso e sfaccettato, si comprende come questo edificio si presenti come uno straordinario
esempio di architettura che non solo risponde ai bisogni di sicurezza di chi la sta identificando come casa, ma
piuttosto, è in grado di mettere in discussione e rielaborare l’idea stessa di abitazione, identificandola non più
come un elemento isolato e distaccato dal contesto, ma piuttosto come un elemento singolo e ben caratterizzato,
che basa però la sua stessa esistenza sulla stretta e biunivoca relazione con il proprio contesto fisico, storico e
percettivo.
Elenco delle immagini (piante, prospetti, sezioni, fotografie)
4
Fig. 1 01_Vista dall’interno,

(http://www.hoggandlamb.com/#/d-house/)
Fig. 2 02_Veranda d’ingresso,

Fig. 3 03_Ingresso dall’esterno,

Fig. 4 04_Veranda d’ingresso,

Fig. 5 05_Living,
Fig. 6 06_Living,
Fig. 7 07_Wall,
Fig. 8 08_Punto d’osservazione,

Fig. 9 09_Vista dall’interno,

Fig. 10 10_Vista dall’esterno,

Fig. 11 1_Specchio d’acqua,

(http://ideasgn.com/architecture/d-house-donovan-hill-architects/)
Fig. 12 12_Diaframma in azione sulla finestra,

Fig. 13 13_Verdanda d’ingresso,

Fig. 14 14_Diaframma non in uso,

Fig. 15 15_Finestra,
Fig. 16 16_Taglio nel diaframma,

Fig. 17 17_Taglio nel diaframma,

5
Fig. 18 18_Living,
Fig. 19 19_Living,
(https://arcs210509.wordpress.com/houses/d-house/)
Fig. 20 20_Pianta dell’edificio,

Fig. 21 21_Dettaglio,
Fig. 22 22_Diaframma in azione dall’esterno,

Fig. 23 23_Diaframma non in azione dall’esterno,

Fig. 24 24_Diaframma in azione dall’interno,

Fig. 25 25_Dettaglio del pavimento,

Fig. 26 26_Vista Interna,

6
Bibliografia (Chicago Style)
Andresen, Brit. and P. O’Gorman “Timber Tectonic.” UME 22: 28—39 (Brisbane2011).
Beck, Haig (ed). “Donovan Hill – D House.” UME 15 (2002): 10-19.
Jackson, Davina. “Next Wave: New Australian Architecture.” New York: Princeton
Architectural Press, 2007.
Sitografia
https://arcs210509.wordpress.com/houses/d-house/
https://architectureau.com/articles/donovan-hills-materials-and-finishes/
https://aneclecticeccentric.wordpress.com/2013/05/22/brisbane-home-of-geraldine-
cleary-d-house/
https://en.wikipedia.org/wiki/Donovan_Hill#D_House
http://ideasgn.com/architecture/d-house-donovan-hill-architects/
http://www.hoggandlamb.com/#/d-house/
https://kinfolk.com/kinfolk-home-geraldine-cleary/
Autore: Alessandro Rognoni

Scala 1:100 Donovan Hill, d house, New Farm, Queensland, Australia 2000
The Walls - The Gates
I setti di muratura di colore bianco che celano la zona cucina, assumono un valore
fondamentale all’interno dell’organizzazione spaziale dell’edificio.
Essi si configurano infatti come un diaframma, una barriera selettivamente
permeabile alla vista, chedivide però fisicamente la zona pubblica dalla zona privata
dell’edificio.
E’ interesante osservare che solo attraverso i gates che vengono ad aprirsi presso le
ripiegature di questi setti sia possibile raggiungere i servizi e la zona notte.
Essi celano la zona cucina, che si qualifica contemporaneamente come pilastro

fondamentale dell’edificio attorno a cui la vita interna ruota, e come elemento di
passaggio, quasi a volerne sottolineare nuovamente l’importanza.
Fig. 1 01_Vista dall’interno
Fig. 2 02_Veranda d’ingresso
Fig. 4 04_Veranda d’ingresso Fig. 3 03_Ingresso dall’esterno

Fig. 5 05_Living
Fig. 6 06_Living
Fig. 8 08_Punto d’osservazione Fig. 7 07_Wall

Fig. 10 10_Vista dall’esterno
Fig. 11 11_Specchio d’acqua Fig. 15 15_Finestra

Fig. 13 13_Verdanda d’ingresso
Fig. 14 14_Diaframma non in uso
Fig. 19 19_Living Fig. 16 16_Taglio nel diaframma

Fig. 26 26_Vista Interna
Fig. 20 20_Pianta dell’edificio
Fig. 25 25_Dettaglio del pavimento Fig. 21 21_Dettaglio

Fig. 22 22_Diaframma in azione dall’esterno
Fig. 24 24_Diaframma in azione dall’interno Fig. 23 23_Diaframma non in azione dall’esterno

Thoughts _ 2019/2020
Architects
China
Wang Shu
Yung Ho Chang
Liu Jiakun
Vietnam
Vo Trong Nghia Architects
Africa
Francis Kéré
Pancho Guedes
Kundle Adeyemi
Mphethi Morojele
Mass Design Group
Australia
Glenn Murcutt
Sean Godsell
India
Charles Correa
Raj Rewal
Balkrishna V Doshi
Studio Mumbai
Ashish Ganju
Middle East
Moshe Safdie
Japan
Kenzo Tange
Shigheru Ban
Kazuyo Sejima
Tadao Ando
Jun’ya Ishigami
South America
Oscar Niemeyer
Mendes da Rocha
Alejandro Aravena
Smiljian Radic
Central America
Louis Barragàn
Freddy Mamani
Italy
Vittorio Gregotti
Renzo Piano
Spain and Portugal
Calatrava
Rafal Moneo
Alvaro Siza
Central Europe
Jean Nouvelle
Rem Khoolas
Herzog De Meuron
Peter Zumptor
Foster
Zaha Hadid
David Chipperfiled
Bernard Tschumi
North Europe
Sverre Fehn
Snohetta
Cobe Architects
Grafton Architects
USA
Frank Ghery
Peter Eisenman
Steven Holl
Assignment sheet
Research through documents, online pdf, books ... etc.
Put together the thoughts of the architect, and what is said about the architect by others.
By underlining and highlighting the texts that you found, analyse the relationship that the
architect has with the context, if the architect is keeping it as an additional value within
his/her designs or not.
Scan or screen save all you find and keep it in a folder.
Submit the folder and the completed assignment sheet, both in digital and printed format.
Frank Gehry
Author:
2
Critical Bibliography (Chicago Style)
Books written by the architect (chronological order)
Frank Gehry, The Greater London Plan (HMSO, London, 1945).

…
Books on the architect (chronological order)
Articles by the architect (chronological order)
Articles on the architect (chronological order)
Online articles by the architect (chronological order)
Online Articles on the architect (chronological order)
Movies on the architect
…
Other
3
Documents
- Books by the architect

- Books on the architect
- …
*in the following pages the scanned and highlighted documents must be attached in
order.
Big Messy Courtyard: Micro Yuan’er back to news
01 June 2018
Submission Sample
Junya Ishigami ( Ishigami Jun’ya)
Autors: Ehsan Sovizi, Arash Shojaei, Hadi zabihi

2
Table Context
Introduction…………………………………………………………………………..….3
Critical Bibliography…………………………………………………………………….5
Books written by the architect………………………………………………………...5
Books on the architect………………………………………………………………...5
Articles by the architect…………………………………………………………………6
Online Articles on the architect…………………………………………………………6
Videos on the architect…………………………………………………………….........6
Documents………………………………………………………………………………8
-Jessica Mairs, Junya Ishigami to design Serpentine Pavilion 2019 (domus, 2019)...9
-Junya Ishigami, Junya Ishigami Freeing Architecture (fondationcartier, 2018) ….12
-N. Navone (a cura di), BSI Swiss Architectural Award 2016, (Mendrisio Academy
Press, Milano 2016)……………………………………………………………………15
- Terunobu Fujimori, A Japanese Constellation: Toyo Ito, Kazuyo Sejima, SANAA,
Ryue Nishizawa, Sou Fujimoto, Akihisa Hirata, Junya Ishigami, (MoMA, New York,
2016)...............................................................................................................................48
Videos.............................................................................................................................63
3
Introduction
Junya Ishigami ( Ishigami Jun’ya) is a Japanese architect born in Kanagawa

prefecture in 1974. He is one of the innovative voices in contemporary design. Formerly
of the architecture firm SANAA, Ishigami established his own practice in 2004.
He acquired his master’s degree in architecture and planning at Tokyo National
University of Fine Arts and Music in 2000. Ishigami worked with Kazuyo Sejima from
2000 to 2004 at SANAA, before establishing his own firm in 2004:
junya.ishigami+associates.
Junya has no intent on following conventional form and function, instead, he rather we
all see the city with a new type of filter or imagination, a broader range of influences
The architect's role is to create a new system
Architecture had traditionally abided by a formal code of creativity, based on the

conservative demands of its clients. Junya Ishigami wants to do with away with all that,
he represents a new breed of architect disinterested in how big and how high a building
is but more the abstract influence it takes from nature.
He uses the soil of the very building site as a mold for a concrete structure (House and
Restaurant, Yamaguchi, Japan); he transplants an entire forest destined to be felled in
order to compose a dreamlike landscape dotted with trees and ponds (Art Biofarm,
Tochigi, Japan); and he designs the extension of a museum from underneath, by unveiling
and enlarging its foundations (Moscow Polytechnic Museum, Russia). Junya Ishigami is
the author of a work imbued with poetry and simplicity, behind which lie real technical
challenges, put at the service of an exploration of human’s place within the architectural
construct. The density with which the plants are set is carefully calibrated so that the
space created by the architecture and the notion of “ambiguity” plays a central part in
Ishigami’s work
He’s approach known for an explorative and conceptual approach to architecture,

Japanese architect Junya Ishigami presents his global projects and ideas as unimaginable
possibilities in a somewhat predictable industry and introduces a new sense of invisible
realisations.
He prefer soft objects to hard, curved lines to straight, ambiguity to clarity, spatial
diversity to functionalism, and naturalness to artificiality. He says my client wanted
something like a wine cellar and I thought about how to make something truly archaic
He says I wish to think about architecture freely and to expand my perspective on

architecture as flexibly, broadly, and subtly as possible, beyond the stereotypes of what
architecture is considered to be. And He says I wish to explore this possibility. The scales
of space engendered by the natural environment. The liberating feeling of a landscape
extending seemingly forever, the vastness of the sky, the lightness of the sky, the lightness
of a cloud, the fineness of rain drops.
He says also we must always rethink the meaning of architecture for our current time and
its purpose. The architecture we have is mainly based on history and past knowledge,
even if we are currently using the latest technologies. History is very important. However,
we must always rethink the meaning of architecture for our current time and its purpose.
And says that the architectural solutions have to follow global scale, and a mirror close
to nature. For his architecture, the biggest inspiration comes from the location of the
project and the environment of the site.
5
Critical Bibliography
Books written by the architect
- Junya Ishigami, Junya Ishigami (Verlag der Buchhandlung Walther Konig, Berlin
,2019) 978-396098096-4
- Junya Ishigami, FreeingArchitecture (Fondation Cartier pour l'art contemporain,

Paris, 2018) 978-286925138-0
- Junya Ishigami, How small? How vast? How architecture grows (Gardners Books,
Eastbourne, 2014) 978-377573794-4
- Junya Ishigami, Another Nature (Studio Report, Harvard, 2014) 978-193451044-5
- Junya Ishigami, Junya Ishigami - Another Scale Of Architecture (Seigensha,

Kyoto, 2009) 978-486152284-0.
Books on the architect
- Amira Gad, Natalia Grabowska, Junya Ishigami. Serpentine Pavilion 2019: Ausst.
Kat. Serpentine 2019 Pavilion (Verlag Der Buchhandlung, Berlin, 2019) 978-
396098637-9
- Olivier Meystre, Pictures of the Floating Microcosm: New Representations of

Japanese Architecture (Park Books, Zürich, 2017) 978-303860054-1
- Terunobu Fujimori, A Japanese Constellation: Toyo Ito, Kazuyo Sejima, SANAA,

Ryue Nishizawa, Sou Fujimoto, Akihisa Hirata, Junya Ishigami, (MoMA, New York,
2016) 978-163345009-7
- Christian Kerez 2010-2015 Junya Ishigami 2005-2015 (El Croquis, Spain, 2015),182
978-848838687-8
8
Documents
12
- Junya Ishigami, Junya Ishigami Freeing Architecture (fondationcartier, 2018)

13
Mimesis_ 2020/2021
Neo Greek
Bibliothèque Sainte-Geneviève (1843–1850), Paris, Henri
Labrouste, architect
Northern Savings Fund Society (1871–72), Philadelphia,
Pennsylvania, Frank Furness, architect
Kensington National Bank (1877), Philadelphia,
Pennsylvania, Frank Furness, architect
Brandenburg Gate in Berlin, Germany.
Thomas Hamilton's design for the Royal High School,
Edinburgh, completed 1829.
Klenze's Propyläen (Gateway) in Munich, 1854–1862.
The Yorkshire Museum designed by architect William
Wilkins and officially opened in February 1830
Façade of the British Museum
Leo von Klenze's Walhalla, Regensburg, Bavaria, 1842
Saint Petersburg Bourse
The main building of the Academy of Athens, one
of Theophil Hansen's "Trilogy" in central Athens.
Austrian Parliament Building
Second Bank of the United States, Philadelphia, 1824.
Philadelphia Museum of Art, 1928
United States Supreme Court Building, Washington, D.C.,
1935
Temple Row at Sailors' Snug Harbor in New York City, 1833
Gothic Revival Architecture
Sint-Petrus-en-Pauluskerk in Ostend (Belgium), built between 1899 and 1908
The Cathedral of St. John the Baptist, Savannah (Georgia, United States)
Tom Tower, Oxford, by Sir Christopher Wren 1681–82, to match the Tudor
surroundings
Strawberry Hill House, Twickenham, London; a highly influential milestone in Gothic
Revival, 1749 by Horace Walpole (1717–1797). It set the "Strawberry Hill Gothic"
style.
Basilica of Saint Clotilde Sanctuary, Paris, France
Gothic façade of the Parlement de Rouen in France, built between 1499 and 1508,
which later inspired neo-Gothic revival in the 19th century
Saint Clotilde Basilica completed 1857, Paris
Cologne Cathedral, finally completed in 1880 although construction began in 1248
The Palace of Westminster, designed by Charles Barry & Augustus Pugin
Venetian Gothic in Baku, Azerbaijan.
Exeter College, Oxford Chapel
Carcassonne – Viollet-le-Duc restored the citadel from 1853.
Trinity College, Hartford: Burges's revised, three-quadrangle, masterplan
Church of St Avila, Bodega, California
Benjamin Mountfort, in Christchurch
Frederick Thatcher Old St. Paul's, Wellington
Chhatrapati Shivaji Terminus (formerly Victoria Terminus), Mumbai, India
Loppem Castle, Loppem, Belgium
Hungarian Parliament Building, Budapest, Hungary
Neoclassical
Chiesa della Maddalena, British Museum,
Basilica di San Pietro, Basilica di Superga,
Jakob Ignaz Hittorff, chiesa di San Vincenzo de' Paoli, Parigi,
H. Elmes e C.R. Cockerell, Saint George's Hall, Liverpool
Carl Gotthard Langhans, Porta di Brandeburgo, Berlino,
Karl Friedrich Schinkel, Berliner Schauspielhaus,
Leo von Klenze, Gliptoteca di Monaco,
cappella nel bosco di Erik Gunnar Asplund,
Leverenz Cappella nel bosco,
biblioteca civica di stoccolma Asplund
The new cathedral of Arequipa (mid-1800s), by Lucas Poblete
In Lima the Juan Ruiz Dávila Hospital (1848),
in Bolivia were José Núñez del Prado’s Municipal Theatre (1834–45) and his
Government Palace (1845–52)
In Chile the Santiago School of Architecture was founded in 1849 by the
Frenchman François Brunet de Baines
Buenos Aires cathedral (1822) in a Neoclassical variation
In Brazil the work of the French architect A.-H.-V. Grand Jean de Montigny
Rio de Janeiro he designed the new Academy of Fine Arts (1826) as well as the
Municipal Market (mid-1800s) and the Plaza of Commerce (1820)
Palace of Government (c. 1900) in Salvador (Bahia)
The new Congress in Caracas (1873), by Luciano Urdaneta
Gustave Eiffel, Church of San Marcos (1875) in Africa
Baroque Revival
Akasaka Palace (1899–1909), Tokyo, Japan
Alferaki Palace (1848), Taganrog, Russia
Ashton Memorial (1907–1909), Lancaster, England
Belfast City Hall (1898–1906), Belfast, Northern Ireland
Beloselsky-Belozersky Palace (1747), Saint Petersburg, Russia
Bode Museum (1904), Berlin, Germany
British Columbia Parliament Buildings (1893–1897), Victoria, British Columbia
Durban City Hall, South Africa
Old Parliament Building (1930), Colombo, Sri Lanka
Gran Teatro de La Habana (1908–1915), Havana, Cuba
Mateus Palace, Vila Real, Portugal and Queluz Palace, Sintra, Portugal
Our Lady of Glory of Outeiro in Rio de Janeiro, Brazil (1714-1739)
The Church of Our Virgin of the Conception in Salvador (1736-1765)
Iglesia de San Francisco, Bagota, Columbia
Church of St. Francis of Assisi in Ouro Prêto
Casa de Moneda (Royal Mint; c. 1780–99) in Santiago, Chile, by Joaquín Toesca y Ricci
Church of Santo Domingo, San Cristobal de las casas (Mexico) 1545
Cusco Catedral (peru) 1582-1654
Church of La Compagnia, Quito (Ecuador) 1605-1765
Church of Asillo (Peru), 1678-96
Comayagua Cathedral, Honduras, 1703-1724
Havena Cathedral, Havana, 1748-1777
Zacatecas Cathedral, Zacatecas (Mexico), 1752
La merced cloister, Mercedarian monastery, Mexico City 1594-1703
Palladianism
Quarenghi regarded the Smolny Institute for Noble Maidens
Accademia Russa delle Scienze prospiciente il fiume Neva, a San
Pietroburgo
Collegio degli Affari Esteri (1782-1783)
la Banca di Stato (1783-1800)
il teatro dell'Ermitage (1782-1785)
l'Accademia delle Scienze (1783-1789)
Palazzo Inglese di Peterhoff (1781-1791), andato distrutto,
il Palazzo di Alessandro a Carskoe Selo (1791-1796); a Mosca
Jefferson's home Monticello in Virginia
The Rotunda, Virginia
Virginia State Capitol
The Virginia State Capitol in 1865
Queen's House, Greenwich
Stourhead House, progettata da Colen Campbell
Robert Adam, Kedlestone Hall, 1759
Colen Campbell, villa Mareworth, Kent 1723-25
Lord Burlington, Casa Chiswick, 1726
Charles Wyatt, Government house Calcutta 1803
Chiesa di Sant’andrea, Calcutta, India
John Garstin, Municipio Calcutta, India 1813
James Skinner, St. James Church, Delhi 1936
George Wittet, Ballard Estate, Mumbai, 1914-1918
Skyscraper Model
Wainwright building, St Louis 1891
American Surety Building, New York 1895
Chrysler Building, New York, 1930
Empire State Building, New York 1931
Rockfeller Centre, New York 1940
Seagram Building, New York 1958
Willis Tower (Sears Tower) Chicago, 1974
Lipdtick building, New York 1986
Twin Towers
World Trade centre, New York
Willis Tower, Chicago
Singer Building, New York
Sears Tower, Chicago
Abu Dhabi Investment Authority Tower, Abu Dhabi, 2006
Burj Qatar, Doha, Qatar 2012
Emirates Towers, 2000
Burj Khalifa. Dubai
Petronas Tower, Kuala Lumpur
Taipei 101, Taipei
Shanghai Tower, Shanghai
Shanghai World Financial Center, Shanghai
Jin Mao Tower, Shanghai
Shimao International Plaza, Shanghai
Modernism
Lúcio Costa and his team of young architects—Oscar Niemeyer, Affonso Reidy, Carlos Leão,
Ernani Vasconcelos, and Jorge Moreira
Gregori Warchavchik. His house on Rua Santa Cruz (1927–28)
The Seaplane Station (1938), by Attilio Corrêa Lima,
the Brazilian Press Association Building (1938), by Marcelo and Milton Roberto
he Pedregulho Housing Complex (1947–52) in Rio, by Reidy
The Santos Dumont Airport (1939–44) in Rio, by Marcelo and Milton Roberto
Henrique Mindlin’s house for George Hime (1949 or 1950) in Nogueira, Rio de Janeiro
João Batista Vilanova Artigas’s house (1949) in Campo Belo, São Paulo state
Sérgio Bernardes’s house for Guilherme Brandi (1952) in Petrópolis
Reidy’s house for Carmen Portinho (1952) in Jacarepaguá
The Institute of Hygiene (1925) in Popotla, Mexico, by José Villagrán García
The studio designed by Juan O’Gorman in San Angel, Mexico City, for Diego
Rivera and Frida Kahlo (1931–32)
Centro Urbano Alemán (1947–49), Mexico City, by Mario Pani
Olympic Stadium (1952), by Augusto Pérez Palacios, Jorge Bravo, and Raúl Salinas
Central University of Venezuela (c. 1944–60), designed by Villanueva
Le Corbusier, villa Shodhan, Ahmedabad, India, 1951-56
Le Corbusier, Mill Owners AssociaEon Building, Ahmedabad, India, 1954
Durga Bajpai & Piloo Mody, Oberoi Hotel, Delhi,1951-1958
Shiv Nath Prasad, Akbar Hotel, Delhi, 1965-69
B.V. Doshi, Institute of Indology, Ahmedabad 1957-62
J.K. Chowdhury, Indian Institute of Technology, Delhi, 1961-1984
Identical Copies
the district of Tianducheng, Shanghai, is a copy of a Parisian Haussmann
neighborhood
Eiffel Tower (Tianducheng luxury real estate development, Hangzhou; Blackpool
Tower, in northern England. Built in 1894; in Texas and in Tennessee, also have their
replicas of the Iron Lady; Tokyo, was built in 1958)
Arc De Triomphe – Huaxi
Tiananmen Square - Huaxi
Kremlin - Beijing
Capitol Building - Shanghai
Christ Church - Thames Town – Shanghai
Wangjing Soho - Chongqing
Ronchamp Chapel, Zhengzhou
Tower Bridge, Suzhou
London's Tower Bridge now stands in Suzhou, China
Hallstatt in Guangdong
Holland Village in Pudong
Sweden Town in Luodian
Thames Town near central Shanghai
Anting German Town
Breeza Citta di Pujiang
Florence in Tianjin
Château de Maisons-Laffitte in Beijing
Pont Alexandre III in Tianjin
Biomimetic - Biomimicry Phenomena
Johnson Wax Racine Wisconsin (Wright, 1936)
Gardens by the Bay, Singapore
Esplanade Theatre
Eastgate Center in Zimbabwe
The Gherkin
The Eden Project, nestled in a clay pit near the hamlet of Bodelva in Cornwall, UK,
houses an extraordinary collection of plant species from tropical rainforest
algae house” or BIQ building in Hamburg actually incorporates living matter
‘microalgae’ into its design
The Chicago Spire
The green tapestry in Changi Airport’s Terminal 3
Stuttgart prototypes Iba Timber Prototype House
Metabolist Movement
Toyo Ito, Mediatheque, Sendai (1995-2000)
Arata Isozaki, Custers in the Air (1962)
Arata Isozaki, City in the air (1960-63)
Kisho Kurokawa, Helix City (1961)
Kiyonori Kikutake, Marine City (1960-63)
Kisho Kurokawa, Nakagin Capsule Tower, Tokyo (1970-72)
Kenzo Tange, Shizuoka Press and Broadcasting Center, Tokyo (1966-67)
Project:
Author:
2
Brief Description of the Project (2000 words)
*The description must highlight connections with other styles of

architecture.
3
Books written on the project (chronological order)
Chapters of book on the project (chronological order)
Articles on the project (chronological order)
Online articles on the project (chronological order)
Images on the project
Movies on project
Other
3
Selected Documents (Index of the scanned documents attached)
- Articles on the project

- …
*in the following pages the scanned and highlighted documents must be attached in
order.
5
Drawings (yours)
*in the following pages your re-drawings must be attached

Sustainability_2021/22
Seeking Sustainability
Analysing projects to identify principles

Extended City. Living while Sea Levels Rise - Closed-loop urban living may be one step closer with the advent of
modular #ocean #cities. #Blue #technology company #Oceanix has designed a prototype for a modular ocean city called OCEANIX CITY.
Hexagonal floating #modules would be the building blocks. They could be mass-produced on shore and towed into place on the water.
When connected, they could provide solar power, communal farming and a limitless mix of space for private and public use.
Would you live in it?
Parisian Urban Lungs - @kkaa_official Kuma's
wanted the #design of the #Eco-Luxury Hotel to
bring an abundance of #greenery to the
development in the #Paris Rive
Gauche #neighbourhood. The #garden will be
placed between the U-shaped 1Hotel designed by
Kuma and the separate youth hostel called Slo
Living designed by Parisian studio Marchi
Architects.
"In the dense urban context of the Avenue

de #France, we felt the need to create a green lung
for the city," explained the studio.
"#Nature finds place at the core of the scheme,

translated in the intimate public garden where all
senses are awoken."
Wooden fins with a triangular profile will be

arranged vertically across the exterior of the
building, leaving gaps for planting to grow in
between.
The overlapping blocks will extend over the top

and edges of the building to soften its outline. This
effect will be enhanced by the inclusion of metal
panels to reflect sunlight.
"As particles, dispersed facade panels together

with the volumetric decomposition come to blur
the shape of the building," said the architects.
Biennale di Architettura
Di Venezia
2021
Vertical Forest by Boeri
700 Hundred Trees 🌲
Tower _
Snaking #wooden walkway
s traverse
a #terraced #garden #plante
d with #700 #trees at the
heart of
this #tower development
in #Singapore's #Marina Ba
y
by @ingenhovenarchitects
#Architects and landscape
firm @gpblandscape Porter
+ Bowman.
The Sahara Forest Project: An arid
ecosystem conceptualized by Michael
Pawlyn in 2007. Pawlyn’s team
imagined #architecture inspired
by #natural processes, using to its
advantage the most
recent #technological #innovations to
create a more #sustainable world.
The #Sahara #Forest #Project is
an #ambitious #project, which sets out to
create new architectural spaces in harmony
with a seemingly hostile
natural #environment. Pawlyn and his team
prove that it is in fact possible to inhabit
areas as bitter as Central Africa’s great
deserts, by using nature’s own genius.
This #architectural complex is perfectly
adapted to the desert’s extreme
temperatures and may even reach full
autonomy by tapping those resources
which a marine desert environment does
have in excess: #sun, #wind and #saltwater.
These are the primary #sources to help
enhance desert #ecosystems, so that they
may be more #efficient, self-sufficient, and
produce no toxic
waste. #biomimicry #biomimetic #biomimi
cryarchitecture
Biomimicry
https://www.ted.com/talks/michael_pawlyn_u
sing_nature_s_genius_in_architecture?languag
e=en#t-2543
#Belgian #architect @vincentcallebautarchitectures has #
designed a #conceptual #transport system that would
involve #airships powered by #seaweed.
Called #Hydrogenase, the #project envisages that by 2030
there could be farms in the ocean
producing #biofuel from seaweed and acting as #hubs for
the #aircraft. Between #engineering and #biology,
Hydrogenase is one of the first projects
of #biomimicry which draws its inspiration from the
beauty and the shapes of the nature. Moreover, a farm
with seaweeds is a true miniature biochemical power
station able to absorb CO2 as main nutrient by
photosynthesis accelerated by producing hydrogen in
vitro or in bioreactors. This #natural process, nourishing
itself with our waste enables thus to #recycle under the
effect of the sun, in seaweeds or sea water baths, up to
80% of carbonic gas and NOx (nitrogen oxides also very
impacting on the greenhouse effect). The global organic
cycle enables therefore to revaluate our carboned
rejections such as for example those are coming from
filters with particles of our cars, reactors of our airplanes
or also our rockets coming from thermal power stations
with coal or gas.
The Urban Village | Some assembly required for
this #vision of #future #urban #living. Known for simple, well-
designed, flat-pack furniture, #IKEA is proposing expanding
their DIY-model to a much larger scale:
entire #city centers. #Democratic #Design Days is an annual
event where IKEA introduces its upcoming brands and
collaborations, this year featuring The #Urban #Village #Project,
a collaboration between #SPACE10 and #EFFEKT Architects.
After two years of research, #SPACE10 (IKEA’s global research
and design lab) is releasing their vision to the #public for a new
way to design, build, and #share our #homes, #neighborhoods,
and #cities.
In light of the growing housing and #environmental crises facing

the human population, the project aims to create
more #livable, #sustainable, and #affordable homes to address
the new and upcoming urban challenges we’ll have to face.
Rapid #urbanization, an aging population, #social isolation,
climate change, and a lack of affordable housing all point to a
need to rethink our approach to cities and urban life.
With an overarching goal of improving our quality of life, The

Urban Village Project includes a multi-faceted approach.
Shared #living #communities provide a variety of options for
different types of families and living situations: from a single
person, to a group of roommates, to multi-generational families,
the housing is designed to be adaptable within a modular
building system
Purifying Tower | @StudioSymbiosis has
designed #Aũra #airpurifying #towers for #Delhi, #Indi
a, to help tackle the increasingly dangerous levels
of #pollution in the #city.
Described by Studio Symbiosis as "#breathing #lungs of

the city", the Aũra towers have tapered, twisting forms
designed to draw in polluted air and expel it in
a #purified form.
The proposal responds to increasing levels

of #thick #smog in Delhi that the studio says feels like
"a gas chamber", which can be attributed to industrial
waste, diesel vehicles, crop burning and power plants.
"Residents of Delhi are breathing about 25 times more
toxic air than the permissible limit according to the
World Health Organization guidelines, as on November
2019 according to India Today," explained Studio
Symbiosis. "Everyone who can afford to is buying
home air purifiers but why is clean air becoming a
luxury and only accessible to limited people?
The Filtration Skyscraper | #Architectural #designer and visualiser #HonglinLi has proposed deploying floating high-
rise #wastetoenergy plants fuelled by #plastic waste to #clean up the oceans while generating electricity.
The sci-fi proposal, called #FiltrationSkyscraper, imagines placing unmanned towers on abandoned oil rigs in parts of the oceans
where plastic waste accumulates.
Sophisticated machinery in the conceptual towers would generate electricity and #biofuels from plastic and other pollutants
extracted from seawater. "It involves #converting an abandoned oil platform into a vertical #recycling #skyscraper ,". "It could filter
the floating garbage and clean the seawater while taking on the world's energy crisis." Honglin Li proposes placing the towers in the
so-called Great Pacific Garbage Patch, where billions of plastic particles have accumulated in a rotating current called a gyre.
The Climate Tile | #theclimatetile is a #pilot #project #designed to #catch and redirect 30% of the projected extra
rainwater coming due to #climate #change. Created by THIRD #NATURE with #IBF and #ACONordic, the project
will be inaugurated on a 50m pavement stretch at #Nørrebro in #Copenhagen. The first #sidewalk was created as
an #innovative climate project that utilizes the Climate #Tile to create a #beautiful and #adaptable #cityscape. Aimed
at densely populated #cities, the tile handles #water through a technical system that treats water as a valuable
resource.
Recycled Plastic Bottles to Design a School of Architecture | Stockholm-based #architecture practice Ulf Mejergren
Architects (@UMA) has used #thousands of #recycled #plastic #bottles to create a #façade system for an art school
in #Tulum, #Mexico.
#UMA's designs addresses an #environmental issue appearing in many parts of the #world. Addressing to Mexico's half a
million #tons of plastic #waste that ends up in the #ocean each year, the #architects evaluated these plastic wastes through
a #new façade system which can also be a visual case of this environment problem. "With this #building we want to set a
precedent on what can be done with #recycled plastic bottles, an #action that hopefully could inspire other people
and #communities," said the studio.
"A #simple and #economic wall system will make this possible; painted bottles in a color gradient pierced through bent
rebar."The bottles are painted in a gradient of blue-cyan-white colour. The #waves are also more than a great backdrop,
they are also giving shelter from rain and the sun, and at some places they can also be used for seating and tables.
Self sufficient solar prototype | The #ENDESA Pavilion is a #selfsufficient #solar #prototype which is installed at the
Marina Dock, within the framework of the International BCN Smart City Congress in #Barcelona. The Pavilion is actually
the prototype of a multi-scale #construction #system. A facade composed of #modular #components, like #solarbricks, that
respond to #photovoltaic gaining, solar protection, insulation, #ventilation and #lighting. The same parametric logic
adapts #façade #geometries to the specific #environmental requirements for each point of the #building. It is a single
component that integrates all levels of #intelligence that the building needs.
From “form follows function” (classic XX century statement) to “form follows #energy”. The façade opens #reacting to the
solar path, being #active and becoming permeable towards the south, while becoming closed and protective towards the
north. The #behaviour of this #skin makes visible the environmental and #climatic processes that surround the prototype
Carbon Neutral City | @FosterandPartner's #carbon-neutral #Masdar #City is springing to life in #AbuDhabi, and Inhabitat recently had a
chance to take a first-hand look inside this ambitious #sustainable #development! the #world’s most advanced #architectural and
cleantech #developments.
This meticulously–and expensively–designed “sustainable city” is touted as model for #green development: example of how, in an
inhospitable environment, humans can live with #minimal #impact on the earth.
This city is no stranger to criticism, ranging from charges that claims of “sustainability” are inflated at best, to accusations of elitism. But a
visit to one of the most prominent sustainable city in the desert sheds light on its complex legacy: #Environmental #innovation is indeed
happening. Whether it is replicable, analysts say, is a far more complex question.
As the result of massive energy and water consumption, #sustainability, referring to economic development with minimal degradation
of #naturalresources, has become a significant pillar of growth plans in the UAE. The country is looking to “#reduce its #carbon footprint,
meet its own domestic energy needs and expand exports,” says a UAE Embassy in Washington, D.C. webpage. The UAE Energy Strategy
2050 aims to convert 50 percent of its energy to renewable sources and reduce its carbon footprint by 70 percent by 2050.
Treescaper community OAS1S | In Raimond de Hullu’s #city of the #future, people live in #tree-scrapers made from #recycled #wood and
covered in leafy foliage for protection from the elements and #energy conservation purposes.
Each #treescraper would be constructed with prefabricated #recyclable timber, fitted with a #solar array and battery array to store surplus
electricity, and would include a grey water #recycling system and rainwater collection system in order to function completely off-the-grid.
Fitting to the "treescraper" name, the facade of each building is shrouded with shrubbery and feature green roofs.
The #green #utopia is set in a city #woodland - with no sign of cars or overhead power lines - and intended to be completely energy and water
self-sufficient.
Vertical Farm | #Mashambas skyscraper,
a #verticalfarm #tower that would be able
to feed an entire town in sub-
Saharan #Africa.
The #conceptual skyscraper could also be
disassembled, and moved to different
locations where communities need it.
#Designed by #Polish #architects Pawel
Lipiński and Mateusz Frankowski, the
tower would grow produce on the upper
floors and would come with fertilizer and
seeds. The other floors would feature
kindergarten classrooms, a doctor's office,
and even a docking port for drones that
would deliver food to hard-to-reach areas.
"The main objective of the #project is to
bring this #green revolution to
the #poorest #people," Lipiński and
Frankowski write. "Giving training,
fertilizer, and seeds to the small farmers
can give them an opportunity to produce
as much produce per acre as
huge #modern #farms."
Incredibile Architecture with Trash | The Kenya-born #architect and social entrepreneur @kimwelle collects #recycled and
discarded #materials from informal recyclers and local businesses, and uses it to #construct his #buildings, which so far include a school,
recycling depots, rainwater tanks and even solar panels. His most high-profile project so far is the Silindokuhle creche in Joe Slovo
township, north of Cape Town. With the help of the #community, Kimwelle designed and built a structure made entirely of recycled
materials – including 2,500 wine bottles. The glass bottle walls create an illuminated, rather magical atmosphere inside the building,
which was nominated at Cape Town’s Design Indaba as one of 2017’s most beautiful objects in South Africa.
Kimwelle sourced most of the bottles from restaurants in the affluent suburbs of Port Elizabeth, connecting the most privileged members
of the city with the most marginalised.
“I re-engineered materials that are already here,” he says, “adding value to the structure, fostering local skills and taking the green agenda
to the township.”
Architect’s Village #Bamboo #Skyscraper is an #architecture concept #designed by @CRGArchitects to create a high standard
of #urban and #contemporary high-rise #sustainable #design possibility in #Singapore.
Humans have been cutting #forests to eat and to build. #Building from fiber waste and grass means using less #trees and more plant and
grass fiber. Bamboo is a giant grass. Some species grow stronger and harder than oak in just 5 years. Why wouldn’t we want to build with a
strong natural fiber that takes 5 years to grow instead of 20, 40 or 80 years?
#MichaelReynolds is the #architect, founder, and creator of the #Earthship #Biotecture concept which today is an #ecoconstruction company
known worldwide. After graduating from #architecture school at the University of Cincinnati in 1969, concerned about the problem of trash and
the lack of #affordable #housing, Michael started #experimenting and #building using #discarded #materials . Over the next
decades, #designs constantly evolved incorporating thermal mass, passive #solarenergy and #naturalventilation as means
to #respect the #environment and to counteract #climate change thorough architecture.
The resulting project was the Earthship, an autonomous self-sufficient house built with natural and recycled materials with energy conservation in
mind. Designed to produce water, electricity, and food for its own use, Earthships are defined by six basic design principles, all of which take
advantage of the existing natural phenomena of the earth: building with natural and repurposed materials, using thermal and solar heating and
cooling, solar- and wind-generated electricity, water harvesting, contained sewage treatment and self-sustained food production.
Each of you will have to choose a project
It must be incredibly innovative, able to tackle contemporary issues
You must share with us and with your colleagues the project, we’ll discuss if the project
is really innovative
You must go and check contemporary journals as a starting point
You’ll have to submit a power point, and a word document, an image folder (with
Images 300 dpi), a document folder (with all the sources you have used)
Project:
Author:
2
Brief Description of the Project (2000 words)
*The description must highlight sustainability aspects of the project.

3
Books written on the project (chronological order)
Chapters of book on the project (chronological order)
Articles on the project (chronological order)
Online articles on the project (chronological order)
Images of the project (list of images in chronological order)
Movies on project (chronological order)
Other
4
Selected Documents (Index of the scanned documents attached)
- …
*in the following pages the scanned and highlighted documents found in the library
or online must be attached in order.
12
- Junya Ishigami, Junya Ishigami Freeing Architecture (fondationcartier, 2018)

5
Drawings (yours)
- …
*in the following pages your re-drawings must be attached, all the drawings (plans &
elevations) must be done in scale, with the computer in simple black and white line
(line thickness: 0.5 section lines, 0.2 regular ones), to be printed in A4.
Fig. 11 11_Specchio d’acqua Fig. 15 15_Finestra

6
Notes:
- Margins: 3 cm (high, low, right); 3.5 cm (left).
- Line spacing: 1.5 for the body of the text; single for the notes and the "minor body"
to be used in long quotations (see below).
- Font: Times New Roman; 12pt for the body of the text; 10pt for the notes and the
"minor body" to be used in long quotations (see below).
- The choice of the Font must be maintained (except for special needs) throughout
the course.
- Use the justified alignment for both the body of the text and the notes.
- In bold the titles of Sections
- The following document must be given back in word format (digital)
-A folder with images (300 dpi), both your drawings and those found online, must be
submitted separately
-A folder with the document scanned (readable 300 dpi) must be submitted
separately.
https://drive.google.com/drive/folders/1SW6-
gqojF21GksxfdBZamsnNqT31cgJD?usp=sharing

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Assignment

Charles Correa, Gandhi Smarak Sangrahalaya, Ahmedabad, 1958-63

Charles Correa, National Craft Museum, Delhi, 1975

Charles Correa, British Council, Delhi, 1987-92

Charles Correa, Belapur housing, 1960

Raj Rewal, Asiad Game Village, New Delhi, 1980-82

Raj Rewal, Parliament Public Library, New Delhi, 2003

Raj Rewal, Central institute of Education Technology, New Delhi, 1988

Raj Rewal, Sheikh Sarai Housing, New Delhi, 1972-82

BV Doshi, Sangath, Ahmedabad, 1979-81

BV Doshi, Aranya Low Cost Housing, Indore, 1983-86

BV Doshi, Husain-Doshi Gufa, 1992-95

Laurie Baker, Corpus Christi School, Kottayam, 1972

Laurie Baker, Abu Abraham’s house, Thiruvananthapuram, 1989

Laurie Baker, House for Dr A. Vaidyanathan, Kumarapuram, Trivandrum, 1972

Anagram Architects, South Asian Human Rights Documentation Centre, New

Anagram Architects, The Digit, New Delhi, 2014

Achyute Kanvinde, National Science Centre, New Delhi, 1991

Morphogenesis, Perl Academy, Jaipur, 2008

Ranjit Sabikhi, Yamuna Apartments, New Delhi, 1981

Rajeev Kathpalia, Arjun Machan - A weekend retreat, Ahmedabad, 2004

Sanjay Mohe, Karunashraya terminal care centre, Bangalore, 1999

Studio Architects Mumbai, Tara House, Kashid, 2005

Gerard da Cunha, Nrityagram, Bangalore, 1990

Vinod Gupta, AIIS, Gurgaon, 1998

Yatin Pandya, Manav Sadhna, Ahmedabad, 2005-2006

CP Kukreja, Jawaharlal Nehru University, New Delhi , 1969

Anupama Kundoo, Wall house, Auroville, 2000

Revathi and Vasant Kamath, Kamath House, Arangpur, 1996

Spacematters, TERI university, New Delhi, 2008

Ashok B Lall, The Institute of Rural Research And Development, Gurgaon,

Ashok B Lall, Development Alternatives World Headquarters, New Delhi,

Kamath Design Studio, Nalin Tomar House, New Delhi, 1990

Anna Heringer, Eike Roswag, Handmade School, Rudrapur, 2005-2006

Amateur Architecture Studio - Wang Shu, Ningbo History Museum, Ningbo,

Amateur Architecture Studio - Wang Shu, Fuyang Cultural Complex, Nanjing

Amateur Architecture Studio - Wang Shu, Ningbo Contemporary Art

Amateur Architecture Studio - Wang Shu, New Academy of Art, Hangzhou,

Scenic Architecture (Zhu Xiaofeng), Victory street resident committee,

Scenic Architecture (Zhu Xiaofeng), Community pavilion, Shangai, 2010

Scenic Architecture (Zhu Xiaofeng), The Green Pine Garden, Qingpu,

Scenic Architecture (Zhu Xiaofeng), Huaxin Business Centre, Guilin, 2013

ZAO Standard Architecture (Zhang Ke architect), Micro-Yuan, Cha’er Hutong

ZAO Standard Architecture (Zhang Ke Architect), Tibet Namchabawa Visitor

Studio Zhu-Pei, Jingdezhen Imperial Kiln Museum, Jingdezhen, Jiangxi,

TM Studio (Tang Ming), Zhou Chunya Art Academy, Shanghai, 2010

FCJZ Atelier (Feichang Jianzhu) - Yung Ho Chang, The Bay Residential

AZL Atelier Zhanglei, Three Courtyard Community Centre, Yangzhou, 2009

Fake Design, Courtyard 105 and 104, Bejing, 2004

Jiakun Architects (Liu Jiakun), Clock Museum of the Cultural Revolution,

Jiakun Architects (Liu Jiakun), Luyeyuan Stone Sculpture Art Museum,

Jiakun Architects (Liu Jiakun), Shuijingfang Museum, Chengdu, 2013

Jiakun Architects (Liu Jiakun), Moca Museum, Chengdu, 2007-2010

Jiakun Architects (Liu Jiakun), Xilai Old Town, Chengdu, 2011

*Li Xiaodong Atelier, The Screen, Ningbo, China, 2013

Li Xiaodong Atelier, The Water House, Lijiang, 2010

AZL - Zhang Lei, Community Centre, Yangzhou, 2009

AZL - Zhang Lei, Garden Chapel, Nianjin, 2014

Hua Li - Trace Architecture Office (TAO Office), Bamboo Factory, Fujian,

Archi Union Architects (Philip F. Yuan), Jade Museum, Shangai, 2016

Archi Union Architects (Philip F. Yuan), Lanxi Curtilage, Chengdu, 2011

Archi Union Architects (Philip F. Yuan), Songjiang Art Campus, Shanghai,

Arch studio (Han Wenjiang), Twisting Couryard, Beijing, 2017

Vector Architects, Renovation of Captain House, Fuzhou, 2017