The Complexity of Context JAVIER MOZAS

StoryteLlers are In the 1 970s ALdo Rossi believed in an Para A[do Rossi, en los años setenta,
those buiLdings which approach to architecture with a historic existIa una manera de hacer arquitectura,
speak from the eye sensibility, with a view towards tradition, con sensibi[idad histórica, con una
and the mind of the towards the setting. He was involved mirada hacia Ia tradición, hacia el [ugar,
architect. The richer, with a group of friends, including Giorgio en La que estaba invo[ucrado un grupo
the more settled Grassi and Carlo Aymonino, which de amigos, como Giorgio Grassi y Carlo
their references, the advocated reinstating the simple forms Aymonino, que propugnaban recuperar
more playful and of architecture as the rational and [as formas simp[es de [a arquitectura
imaginative their archetypaL forms, albeit in combination como formas raciona[es y arquetIpicas,
connections with with each other in a subjective and aunque combinadas de manera subjetiva
reaLity, culture or complex manner. This approach enabled y comp[eja. AsI se podrIan construir
history, and the more the construction of analogous cities with, ciudades aná[ogas con elementos y
unexpected facets be they real or imaginary, recognizable arquitecturas reconocib[es, rea[es o
to be discovered by elements and architectures which would imaginadas que transmitirIan mejor [Os
spectators as they more effectively transmit the desires and deseos y [a memoria de una co[ectividad.
try to decipher the memory of a collective. ,Cómo se puede mantener una
buildings’ codes. How is it possible to retain an atmósfera, La atmósfera de St. Pauli, uno
atmosphere, in this case that of St. de los barrios indomables de Europa?
Los Contadores PauLi, one of the most indomitable areas Teniendo en cuenta que Ia intervención
de Historias son on Europe? If we bear in mind that at urbana en un emp[azamiento como
aque[[os edificios the turn of the last century any urban éste de Hamburgo, a fina[es del sig[o
que hablan a partir intervention on a site such as east pasado, hubiera sido [a demoLición
del ojo y del cerebro Hamburg would have involved relentless sin contemp[aciones, el momento que
del arquitecto. demolition works, at the present moment estamos viviendo exige soluciones más
Cuanto más ricas in time more imaginative more complex imaginativas y comp[ejas, que den [a
y asentadas estén solutions are required as an alternative vue[ta a esos métodos anteriores dirigidos
sos referencias, to the former market-driven methods. principaLmente por e[ mercado.
cuanto más jugosas The NL and BeL plan for Spielbudenplatz El p[an de NL y BeL para Spie[budenplatz
e imaginativas sean first collects and distils these concerns, recoge y destila estas inquietudes y,
sus conexiones con then factors in the essential architectural después de pasar por e[ tamiz especia[
[a realidad, Ia cultura elements before finally transforming de [as esencias arquitectónicas, hace que
o Ia historia, más them into spaces and forms built se transformen en espacios y formas
facetas inesperadas with inherent identity and meaning, construidas con identidad y significado.
descubrirá el incorporating memory and context as La memoria y el contexto se han
espectador que project materials. For this to succeed convertido en materiaLes del proyecto.
intente descifrar sus it is necessary to create a harmonious Para eso, se tiene que producir una
códigos. concordance between all the actors concordancia armónica entre todos los
involved and here this has been the case. agentes involucrados. Y asI ha sido.

100 GENERATORS, LINKERS, MIXERS & STORYTELLERS, COMPLEX BUILDINGS SERIES

a÷t
 ////// /‘/
// // // 7/ /
//////

/ /7

/
L
/
7c/4
---

J11LI
////

/// ////
/ 7 ‘ 7 7/
./ //
THE ETERNAL CITY

Rossi and his followers (Grassi, -H--

1 ‘••-••

Scolari) for whom drawings ., .H

V. ‘V
are already architecture; the —

diagram loses its descrptive

value, as theproofofafact, /,/

as the transmitter ofa specific ,

construction technique, to become
a ‘deployment ofthe elements
ofarchitecture’ in thefield ofa
hypothetical eternal city: how else
could we interpret the drawing
by Cantajbra, or so many others
ofthe broad ‘tendeza’ in the XV
Triennale’
I //4//
I
/7/47,7
i
/

Rossiy sus seguidores (Grassi,

Scolari) para quienes los dibujos
son ya arquitectura; el dibujo
pierde su valor como descripción,
como comprobación de un
hecho, como transmisor de una
determinada técnica constructiva,
para convertirse en ‘despliegue de
los elementos de arquitectura ‘en el
campo de una, htpotética eterna
ciudad: no de otro modo puede
entenderse el dibujo de Cantafora,
o tantos otros de Ia amplia
‘tendeza’ en Ia XV Triennale’
RAFAEL MONEO
“Gregotti&Rossi’ in Arquitecturas bis
n’4, 1974. p.3

PLOT 1 SPIELBUDENPLATZ.
N LIBeL.
St Pau[i, Hamburg, 2016.
(Project on pages 114-117)

GENERATORS, LNKERS, MXERS & STORYTELLERS. COMPLEX RLIILOINGS SERIES 101

a÷t
 STORYTELLERS: THE COMPLEXITY OF CONTEXT
NLIOeL
Two views of Spietbudenptatz.
Development of the Urban plan, 2016
COMPLEXITY OF THE CITY
“Complexity is naturally
substantive ofthe city. This, its
first distinctive characteristic
ofundefinable magnitude, is
immediately evidentfrom its
heterogeneous, multiple and
contradictory togetherness:
heterogeneous its representation,
form and scale dimensions;
multiple its contours, orientations,
centres, symmetries and vanishing
points; contradictory and
conflictual its orderingprinciples.”
“La complejidad es naturalmente
co-substantiva a Ia ciudad. Esta,
su primera caracterIstica distintiva
de magnitud indefinible, se
evidencia inmediatamente
a partir de su heterogenea.
máltipley contradictoria union:
heterogenea es su representacion
sus dimensiones, forma y
escala; máltzples sus contornos,
orientaciones, centros, simetrIas
ypuntos defliga; contradictorios
y conflictivos sus principios
ordenadores.”
FARIO REINHART
Captions for the Analogous city. Published
ri The Analogous City. The Map by Dorm
Rodighiero. May2015.
102
ANACHRONISMS
NL and BeL have used both their
own architecturaL references and
interpretation of reality in the act of
creating the form in order to produce the
analogous city.
The images of the Grand Hotel de (a
Plage, of the Chelsea Hotel, of the Joseph
Curran annex, or of the Haus Vaterland,
and also the renowned representations
of a rainy Paris street scene, or of people
basking in the sun facing an Arizona
landscape are eLements which are
as architectural as the prefabricated
acoustic panels of the café-museum
facade. As in the case of the City of
the Captive Globe, it is theoretical
interpretations of the world which
construct reality and which hold our
desires and aspirations captive.
In the work by NL and BeL for
SpieLbudenpLatz, there is a surprising
mix within one single montage, 1 990s
youths with satin bomber jackets walking
towards the alley between the hotel and
the youth hostel and an upper-class late
1 9th Century Parisian couple hoLding an
umbrella. This couple, in the foreground,
and on the right-hand side of the image,
seem more suitably attired to attend
a show at the Opera Gamier than to
wander around the rainy streets of Paris.
It is uncommon to encounter this type
of silhouette inserts among rendered
architectural images. Transposing these
people to the St. Pauli area of Hamburg
evokes countless opportunities for those
encounters that enhance urban living. The
Elbphilharmonie building is located less
than 2 kilometres from Spielbudenplatz
and the construction of this new music
palace is having its inevitable effects on
the St. PauLi area. The entirely intentional,
anachronism merely reflects the broad
scope of the debate within contemporary
architecture. Volumes, forms, types,
processes which required interpreting
and composing within a historical
SENERAOTS _I’KETS,
ANACRONISMOS
NL y BeL han uti[izado sus propias
referencias arquitectónicas y su
interpretación de La reaLidad en e[ acto
de creación de La forma para producir su
ciudad anáLoga.
Las imágenes deL Grand Hotel de [a Plage.
del CheLsea HoteL, deL anexo al edit icio
Joseph Curran, o de [a Haus Vaterland, y
también Las representaciones conocidas de
una cal[e de Paris en tiempo de [[uvia, o de
gente tomando e[ so[ trente a un paisaje de
Arizona son e[ementos tan arquitectónicos
como [os paneles acüsticos prefabricados
de [a fachada de[ café-museo. Como en La
Ciudad del Globo Cautivo, en este caso, son
Las interpretaciones teóricas de[ mundo
[as que construyen [a realidad y [as que
mantienen presos nuestros anhe[os y
aspiraciones.
En e[ trabajo de NL y Bel para infini
SpieLbudenp[atz, sorprende [a mezcla, en un
mismo montaje, de unos jóvenes de Los años
noventa con cazadoras satinadas caminando
hacia eL ca[[ejón entre e[ hote[ y e[ aLbergue
juvenil y de una pareja de parisinos de
finales del sig[o XIX, de c[ase a[ta y con
paraguas. Esta pareja, en primer p[ano, a
La derecha de La imagen, está vestida, más
para asistir a una representación en La
Opera Gamier, que para deambu[ar por [as
ca[les Lluviosas de Paris. No es habituaL que
se produzcan este tipo de inserciones de
siluetas en Las imágenes de arquitectura. La
trasposición de estos personajes al barrio
de St. Pauli en Hamburgo evoca La inmensa
posibi[idad de encuentros que potencia [a
vida urbana. E[ edificio de La ELbphi[harmonie
se encuentra a poco más de 2 ki[ómetros de
Spielbudenp[atz y [a construcción de este
nuevo pa[acio de La müsica está afectando
ineludibLemente al barrio de St. Pauli. EL
anacronismo, a todas [uces intencionado, m
no ref[eja más que [a amplitud de[ campo
en e[ que se debate La arquitectura actuaL.
VoLümenes, formas, tipos y procesos se
deben interpretar y componer a La [uz deL
entendimiento de La historia, eL encaje en
V XET & CCM_EX BL:LDINGS SE?!&S
a.tÉ

Rue de Paris, Temps de P[uie
When Caillebotte painted this
urban scene he was closer to
Realism than Impressionism.
This way, the flat colours of
the building facades become
precursors to Edward
Hoppers characteristic
way of interpreting the city
thirty years later. The urban
perspectives and the originality
of the viewpoints in his pictures
represent architectural visions
of the uniformization of Paris
in the second half of the 19th
Century. The Haussmann
blocks recreate a monotonous
atmosphere which is lived
intensely by citizens. The paved
streets with their separate
circulation areas are thus
converted into urban living
rooms made safe for walking
and leisure activities.
Cuando Caillebot:e pntb esta
escena urbana estaba más
prOximo al Realismo que al
Impresionismo. Los colores
planes de las fachadas de
los edificios preceden a esa
manera de interpretar Ia ciudad
que caracterizaria a Edward
Hopper treinta ahos más tarde
Las zerspectivas urbanas y Ia
oigiralidao de los puntos de
vista be sus cuadros representan
JAVIER MOZAS
REFERENCES
visiories arquteciOr,icas de Ia
uniformizaciOn de Paris en Ia
segunda mitad del siglo XIX. Las
manzanas haussmannianas
recrean una atmósfera
monótona, pero intensamente
vivida par los ciudadanos. Las
calles, pavimentadas y con
separacibn de circuLaciones,
se convierten asi en salones
urbaros seguros pars el paseo
y el ocio.

S urn rnertirne 1943. Edward Hopper

Edward Hopper visited Paris unsatisfied. He painted Edward Hopper estuvo tres Summertime en plena Segunda

I
three times and of the 40
canvases he painted during
these visits, most were
dedicated to the Louvre. He
had first-hand knowledge
of the Impressionists but
resisted any influence from
their technique. His absent
characters gazing out towards
infinity seem existentially
Summertime at the height of
the Second World War at a time
when the Great Depression
had officially ended. The
simple bare steps, upon which
Hopper’s wife, Josephine
Nivison is standing, bear the
weight of modern desperation
and as such are devoid of any
friendly gecture.
vezes en Pais y de i05 40
lienzos que pin:d e.’i esas
visitas, Ia mayoria, estuvieron
dedicados al Louvre. Conocid
on primera mane a los
Iropreslonistas, pero no se
dejb Ilevar per su técnica.
Sus personajes ausentes y
mirando al infinito, respiran una
insatisfaccidn existencial. Pintd
Guera Mu9dial, cc’andc se die
per terminaoa oicialrnente Ia
Gran Depresión. Los escalones
simples y descarnados, do9de
se ercue9:ra Josephine Nivisor,
Ia muier be Hopper, soportan
Ia desesperanza moderna sin
ningOn gesto amigable.

PeopLe in the Sun 1963. Edward Hopper

These five hotel guests,
or tourists, with no
communication between
each other, merely reiterate
the modern nostalgia for the
lost paradise they are trying
to encounter beyond the
horizon. Five people in street
clothes, as if they were in
Washington Square Park, New
York, sunbathing in formation,
contemplating the distant
Arizona mountains. Nothing
could reflect more succinctly
the codes and situations
imposed on contemporary
society by mass tourism.
Estos cinco néspedes cc hotel,
o turistas, incomunicados entre
si, no hacen más que reiterar
Ia nostalgia moderna per el
paraiso perdido que pretenden
descubrir detrás del horizonte.
Cinco personaies vestidos be
calle. come si estuvieran en
Wasrii9gton Square Park de
Ncnva York, :omando el sd en,
formacidn y contemplando las
montañas lejanas de Arizona.
Nada puede reflejar mejor
los codigos que impone y las
situaciones a las que obliga el ka
turismo de masas a Ia sociedad
contempordnea.

understanding, are adapted to the context, el contexto, [a diversidad de usuarios, La

the diversity of users, the introduction
of new ways of Living, the freedom of
choice, the coexistence of opposites, the
financial balance, the impLementation of
new technology... AlL these nuances add
complexity to the architecturaL decision-
making process and Leave the path
wide open to future modifications and
adjustments. Young aLternative music
fans and opera lovers coincide in space
and time and architecture bears witness
to this encounter.
introducción de nuevas formas de vida,
[a libertad de eLecciOn, La coexistencia
de opuestos, el equilibrio económico, [a
implantación de nuevas tecnoLogIas...
Todos estos matices añaden complejidad
a La toma de decisiones arquitectónicas y
dejan e[ camino enormemente abierto a
modificaciones y ajustes futuros. Jóvenes
consumidores de müsica alternativa y
amantes de [a opera coinciden en el espacio
,
y e[ tiempo y [a arquitectura es testigo de ese
encuentro.

GENERATORS. [ERERS, M XERS & S—Ony”CLERS CCV.EX BJLCNGS SERIES 103

a÷t
STORYTELLERS: THE COMPLEXITY OF CONTEXT

Red Light Quartier by Day A

PAMPHLET AESTHETIC The tourists in Aperol deck
“We chose not to use the usual chairs in the red NL and BeL
montages are a replica of the
glossy render techniques... but
people basking in the sun in
to try something new: a kind Edward Hopper’s People in
ofrough pamphlet aesthetic. the sun. The intensive use
(Although new.., perhaps old of free space in the city as
school [would be a] better word)... space for relaxation hints at
the opportunity of filtering
We thought it was very refreshing
the suggestions made for this
to see something beyond hyper St. Pauli block out into the
reality. It still leaves spacefor whole neighbourhood. Red,
the imagination (something the the colour of the red-light
jury mentioned specifically as a district, the colour of the
adverts for the Man Wah, the
pro, so [the graphics] served their
Chinese restaurant on the
purpose).” corner, which stand out as
decorative elements on grey
“Escogimos no utilizar las técnicas architecture. Real photos of
habituales de visualizaciones the local buildings and a lone
migrant, also grey, palm tree
glamurosas... sino que intentamos
which appears as an oopart
algo nuevo: una especie de (out of place artefact( as
estética defolleto basto. (Aunque anachronistic as Caillebotte’s
nueva... tal vez como de vieja figures.
escuela (podrIa ser) una mejor
deflnicion)... Pensamos que era
mucho ma’s inspirador ver ma’s
Red Light Quartier by Night
alla’ de Ia hzj,er-realidad, algo
Red explosion of nightlife.
que todavIa dejara espacio para
Night as day; the red-light
Ia imaginacion (estofue valorado
district never sleeps. The
especialmentepor eljurado como old-timers have gone to bed.
una ventaja, por eso (Ia grafica) The hotel and the youth hostel
encajó con su propósito).” with their neon red lights
eclipse the architecture of
KAMIEL KLAASSE
the Tanzende Tiirme (Dancing
Principal at NL architects quoted in: Why
Towers( by Hadi Teherani.
NL Architects * BeL’s winning proposal
for Hamburg’s St. Pauti won’t win you over Music, dance and performance
with glossy renders? by VLadimir Gintoff, take place in the street, in the
Archdaity. 08.11.2015. famous Reeperbahn pleasure
mile.
Los turistas en las hamacas de
Aperol de anode los montajes
rojos de NLy Eel son La replica
de los personajes sentados al sot
en People in the sun de Edward
Hopper. La utilizacidn intensive
del espacio libre de Ia ciudad
coma espacia de relaciin sugiere
La oportunidad de infiltración
de las sugerencias planteadas
para esta manzana de St. Pauli
a todo el barrio. Rojo, por barrio
rojo, por revolución roja, por
anuncios ruins del restaurante
chino Man Wah de Ia esqaina,
que destacan todos como
elementos decorativos sobre una
arquitectura gris. Fotografias
reaLes de Los edificios del
entorno y una solitaria palmera
emigrada, también gris, que
aparece como an oopart (out
of place artifact). igual de
anacrOnica que los figurantes de
Caillebotte.
Explosion en rojo de Ia vida
nocturne. La noche coma si
fuera do dia, porque en el barrio
rojo no se descansa. Ya se han
acostado los viejos. El hotel y el
albergue para jOvenes con sue
luminosos de neOn rojo eclipsan
Ia arquitectura de La Tanzende
Türme (Torres danzantes) de
Hadi Teherani. La misica, el baile
y el eupectáculo están en Ia calle,
en Ia famosa milla del placer de
Reeperbahn.

FOUR REPRESENTATIONS FOR ONE
SINGLE SPACE
The representation of the NL and BeL
plan for Spielbudenplatz explores paths
far removed from the photographic
realism prevalent in many architectural
competitions. The graphical expression
communicates a meaning which
is multicultural, alternative, anti
gentrification, underground culture-
friendly, diverse, nocturnal.., very different
to the case of HafenCity, Hamburg.
I
CUATRO REPRESENTACIONES PARA UN
j E
MISMO ESPACIO
La representación del plan de NL y Bel
para Spie[budenp[atz explora caminos
que se apartan claramente del realismo
fotográfico imperante en muchos concursos
de arquitectura. La expresión gráfica
comunica un significado: multiculturaL,
alternativo, opuesto a La gentrificación,
abierto a La cultura underground, incLusivo,
nocturno... como oposición a lo que se está
desarrollando en La HafenCity de Hamburgo.

104 GENERATORS, LINKERS, MIXERS & STORYTELLERS. COMPLEX BUILDINGS SERIES

a÷t
 JAVIER MOZAS

American ReaLism
Characters created by Edward
Hopper, interrogating each
other as to the meaning of life.
Quasi-deserted public space.
Surrounding buitdings merety
hinted at by their volume. Blue
skies with intense grey stains.
Architectures proposed with
flat colours in tine with Edward
Hoppers American Reatism.

Porsonajos do Edward Hoppnr,

qun sn interrogan per ni onntido
dn In eoistnocia. Espacio
pOblico casi dnsertico. Edificios

I
dnl notorno solo sugoridos no
volsmno. Cinlos dn coLor azul
coo maochas grisno isteosas.
Arquitnctsras propunstas coo
era coloros places no Ia lions dol
roaLismo amnricaoo dn Hoppnr.

European PoLitical Correctness

Cyctists not having to compete
with cars. A father looking
after his two chitdren. An otd
man Leisurely analysing the
observer. Conventional youths
in casual dress and tourists
curiously observing the

I
architecture.

Cicliotas sio compotnocia coo

ni automdEil. Padro al cargo
dn dos oinos. Aociaoo ocioso
A
noaLizaodo aL obonrEador.
Jdvnoos coovnociooatno no
C
iT AE
atunodos ioformalns y turistas
corioonnodo In urquitocturo.

GENERATORS, LINKERS, MIXERS E STORIFELEERS. COMPLEX BEXLO[NOS SERES ins

a+t
STORYTELLERS: THE COMPLEXITY OF CONTEXT
REFERENCES
Capriccio PatLadiano
La Città Ana toga 1973.
Significant buildings and ensembles Which
can be identified in this vision of La cilia
analnga.
01 Pyramid uf Caius Ceslias, Rume, 12 SC.
02 The Pantheun, Rums, it 8-1 25 AD.
03 Rsyai ViSa, Gisseppe Piermarisi.
Muezu, t 777-1 780.
04 CueicalTuwvr, Etienee-Luuis anuses,
t7al-t793.
05 Muie Antuvelliasa, Alessandru Antunelli,
Turin, 1863-tSSS.
06 AEG Factury, Peter Behrens.
Rerun, 1 one-t 9t a.
07 Huuse us Michaelerpiatz, Aduif Luus,
vienna, t 909-1 911.
08 Orusnstadl Architektar, Ludwin
Hiiberneimer, t 927.
09 Cana del Funds. Giasuppe Turragni.
Cumu, 1932-i 936.
te Munument tu the Partisuus, Aids Russi,
Segrute, 1965.
11 Gailaratese Huasing Riuck, Aids Russi,
Miian, 1972.
1. it cue be cuefuued, Is haue the same
name, with the csiiuae: Lu cittd usutupu:
tuvuiu, de Aide Russi, Fubin Reinhurt,
Brunu Reichtin y Eruidu Cunsutuuciu
puru iu Riennale di Veneziu, t976.
Cu psede cunfundir, pur tuner ei mismu
sumbre. cun el cuuape: La cittd asaisga:
tavsia, du Aids RussL Fublu Puishurt.
Rrsnu Reichtis y Eruldu Cussuiusc,u
puru iu Biunnuie di Venuzia, t 976.
This caprice is an ideal image
of Venice painted by Canaletto
in the mid-i 8th Century
representing two baitdings
constructed by Palladiano: the
Chiericati Palace and the Vicenza
Basitica standing either side of
an unbuitt project for the Rialto
Bridge in Venice, also by Andrea
Palladino.
Atdo Rossi wrote that ‘the
capacity of the imagination is
born from the concrete”1. With
this proposal he comments
Arduino Cantàfora worked in
Rossi’s studio between 1973
and 1978. In his first year
he created La città analogs,
a picture-manifesto hung at
the centre of the international
architecture section at the XV
Triennale which was held in
the Palazzo dell’Arte, Milan in
1973. The exhibition, based
mostly on the ideas of Aldo
Rossi, proposed that the
relationship between Time and
Architecture be re-established
and that History be reinstated
in the city-building process.
This painting brings together
historical architectures and
is the referential image for
a new ideological proposal.
The canvas, in three parts,
concedes an important
role to collective housing
in dense high-rise blocks,
where residential use is the
main configurator of the city.
Urban identity is substantially
entrusted to public architecture
that, in this Canaletto painting,
an imaginary ideal Venice is
depicted, superimposed over
the real Venice. Rossi also states
that this painting-collage gives
shape to a city built on projects
and things which are both
real and invented, which invite
comparison and propose an
alternative to the esisting form,
1. Aids Russi, The asatsasus
city: panel.” Lutes iuteruutiuuai.
Editsriuie Lutas, Miiás. Diciembre
1976,n. 13, pp. 5-5.
which structures and defines
the visuals. The axis of the
front perspective goes from
one monument to another,
from Rossi to Boullde, from
Neo-classical to Neo-rational,
ignoring other contemporary,
mainly British and American,
less historical and more
technological, movements.
However, hard-line central
European architectures, far
removed from the ornamental,
do figure here such as Behrens,
Loos and Hilberseimer in
that their content fails to
compromise regarding
figurative elements. The
analogous city is a subjective
collage made up of real or
virtual elementary forms which
aim to become the continuer of
tradition. This is the imagined
city forming the basis for a
new urban project, a city built
with references extracted
from ideologically controlled
sources.
Esto capricho es usa imagon
ideal ds Venecia pintsda por
Canalotto a modiados del
siglo XVIII, que reprosonta
doe odificios palladissos
construidos: el paiscic
Chiericaii y Ia Basilica de
Vicenza, colocados a ambos
lados de us proyocto no
constraido para el puente de
Riallo on Venecia, tambiés do
Andrea Palladis.
AIde Roasi ha oucrito quo “[a
capacidad do Is imaginacidn
Arduino Csstdfora ostuvo
trabajaudo on ol oatudio
do Aldo Roasi doado 1 973
a 1978. Dursoto ol primer
uno roalizd Lu citià unuloga.
cuadro-masifiosto colocado
on ol costro do Ia soccidn
istornacional do srquitocturs
do Is XVTriossalo, quo so
oupuao on ol Palazzo doII’Arto
do Milan 05 1973. La oupoaición,
suatootada principalmonto
on las ideas do AIde Rossi,
so propuso roatablocer Is
rolacidn ontro Tiompo y
Arquitoctura y recuporar Is
Historis pars ol process do
coostrucción do Is ciudud. Eats
cuadrc combins srquitoctursa
biatóricss y compoos Is images
do referenda do usa nuova
propuoata ideoldgica, quo
sasgurs Is coslinuidad del
racionaliamo so arquitoctura.
La tols, on troa purtoa, concodo
usa importancia deaf scads a Is
vivisods coloctiva on bloquoa
donsos y do gran aliuru,
dondo el uao roaidoocisL os ol
principal configurador do Is
ciudad. La idonfidad urbana so
naco do Is coscroto”. Con sue
propdaito comonta quo, on oats
cuadro do Canalotto, so dibuja
usa Venocia imaqisada, idoal,
suporpuosta a a Vonocia real.
Rossi sohala tamdién, quo oats
pisturs-collago da forms a
usa ciudad conatruids a baso
do proyoctos y cosas, quo son
tanto roalea como invostadsu,
quo as trass a colacidn y quo
proponos usa sitorsativa a lo
oulatento.
Ti
oncomionda auafsncislmenfo The
a Is arquifociura pObhcs, isa
quo oaf ructurs y define the
Isa viausloa. El ojo do Is asa
porapoctiva frontal vs do us II
monumoofo a ofro, do Roasi crel
a Boullés, del Nooclaaiciamo iste
al Nooracionshamo y repi
salts por oncima do ofroa abs
movimionfca confomporánooa p
jignorandoloaj, principalmonfo p
briiánicoa y smoricasos, IC
monos hiatoriciafaa y máa
iocnoldqicoa. Las quo ci tionon !5
cabida son Isa arquifocfuraa lull
confro-ouroposs do lines dura, dift’
alojadas del ornamoofo, como layc
ass Isa do Bobrona, Loss o and
Hilborsoimor per as confonids istl
sin concosisnos a olomontos The
figurafivos. La ciudad analogs os at a
us collage audjofivo do formas are
olomonialos, realos 5 viriuslos, itut
cuys amdicidn os convert irso on witI
ol confinuador do Is fradicids. wet
So frafu do Is ciudad imsginada Lal
come bass do us suovo
proyocfo urbane, ass ciudud
conatruida con roforoncias
out rsidsa do unsa procodonciss
idosldgicamonis cost roladsa.

The City of the Captive C lobe 1972. Rem Koolhaas, Madelon Vriesendorp mith Zoo Zengholis
The City of the Captive Globe
is an attempt to validate
the architectural-artistic
avant-gardes of the 1 920s
and 1 930s as a model for the
creation of a dense culturally
intense city. This axonometric
representation, tar more
abstract than the cone-shaped
perspective of La cittd ansloga,
proposes mainly buildings-
icons standing on black granite
podia. The base mhich fills
in each square in the grid
is identical and from here
different utopias rise up. The
layout and the roads are fixed
and the only variety permitted
is the setback of the podium.
They appear to be pavilions
at a trade fair displaying their
arrogance. Each building has
its omn value; its relationship
mith the city is deemed
morthless. Unlike the case of
La Cittd analoga, manhattanism
¶ cit
and congestion do not require
intensive residential use. In
The City of the Captive Globe,
life suffers the continuity of
a restless body, relentless
activity. The city mould be
mostly dedicated to creations
of the mind which mould be
responsible for its development
and transformation. In this
case, it is the theoretical
interpretations of the world
that construct reality and which
hold the globe captive.
In 1 994 Fvfadelon Vriesendorp
created a revised version of
the City of the Captive Globe
for a show at the Centre
Pompidou in Paris. It is
different to the original ie that
Vriesendorp sneaked a version
of the skeleton of the project
presented by Rem Koolhaas
for the Grand Bibliothhque
competition into one of the
blocks.
GONCRATORS. LINKORS, MIXERS & STcIR’r’rELLnRS, COMPLOX BUEDNGS SERAS
a÷t
a-
La Cisdsd del Globe Csutive es
un intenfe de dar validee a las
vanguardias srquitoctdnico
artist icas de las ddcadas de los
años veinlu y treinta del siglo
XX, come medele para crear
ciudad densa y cultsralmonto
intensa. La ropresentacidn
en asenoméfrica, muche mds
absfrscta que Ia perspectiva
cdnica de La Ciftd analogs,
plasfea, es Is mayeria de los
cases, odificies-icdnicos sobre
podios do granito negro. La
base que rellena cada recuadro
de Ia roticula es idéntica y a
partir de ahl asciendon utopias
diversas. Trama y viarie son fuss
y Is variedad solo se permite a
partir del retranqseo del podio.
Aperenlan ser los pabellones
de sna teria de muesfrss
exhibiende su arrogancia. Cads
edificio liens valor en si mismo,
sin quo imports su relscidn con
Is ciudsd. A diferoncis do le quo
sucede con La Città analogs, el
munhuftanismo y Is congest ion
J\L\
1:U:’
::: ‘aN-
no escssitsn un uso residonciul
intensive. En Is Ciudad del
Globe Cauhve, Is vids psdoco
Is confinsidad do en cuorpo
sin descsnso, dondo exists uns
sctividsd continua. La cisdad
ostsris principsimonto dodiceds
a Is prodscciOn do Is menfo,
quo sons Is oncurgads do su
dosurrollo y trsnsformsciOn.
En osto case, las
intorprotacionos toOricas del
mende son las qse censfruyen
Is roslidsd y las qee muntionon
csutive si globe forrestro.
Medolon Vriosonderp realize
en 1994 use versidn rovissds
do La Ciudsd del Globe Cautive
pars ens exposiciOn en el
Centre Pompidos do Paris.
La diferoncis con Is original
ox quo Vriossndorp celocd en
ens msnzsns de Is trsms uns
vorsidn do Is ostructurs del
proyocto quo Rem Koolhsss
prosontd al cencsrso do Is
Grsnd Bibliothèqso.
JAVIER MOZAS
REFERENCES
I
L
\ç4:2
-
Ih
I I\\\
I
I
Significant buitdings and nnsnmbtns which
can bn identified in this sisinn nf The City
nf the Captive Gtnbe.
01 Religion in rains.
02 A subconscious portrait of eswatd
Mathias Ungers’ architecture.
03 Two towers ot Lu Corbusier’s Plan
voisin, 1922-1925. iv the grass.
04 The cabinet ot Dr. Cutigari, 1920.
05 The matdorf-Asteriu Hotel, 1931.
06 Homage to Mies van der Rohe.
07 Dali’s Architectural Angetus, 1933.
05 Ivan Leonidov’s Ministry of Heavy
Industry, 1934.
09 El Lissitsky’s Lenin’s stand. 1930.
10 Outdoor indoor.
11 Malevitch’s Ootu Architekton, 1923.
12 RCA Euilding, Rockefeller Center, 1933.
13 Homage to Superstudio.
14 Trylon and Perisphere by wallace
Harrison, 1939.
107
STORYTELLERS: THE COMPLEXITY OF CONTEXT
Spie[budenp[atz Urban P[an
N Larch itects
BeL Sozietät für Architektur
St Pauli, Hamburg (Germany), 2015
108
The urban plan is based on a strategy
of smalL parcels, KIeintei1ig in order to
guarantee diversity. Specific residential
typologies are organized in a range of
coherent independent buiLdings. Within
each buiLding the units are simpLy stacked;
the internal simpLicity wiLl keep the
apartments affordabLe. Residents with
similar lifestyles wilL share one building; the
homogeneity within each building meets the
heterogeneity of the entire compLex on the
streets.
The front door is the interface between
pubLic and private. The number of doors
determines the degree of mixture in the
public domain: more doors means greater
diversity and more potentiaL interaction in
the street. The street is the stage for public
interaction. The resuLting urban complexity
is an instrument of tolerance.
The overalL plot will be subdivided into
four properties, assorted according to
their usage. This so-called Realteilung is
depLoyed both as a sociaL and an economic
tooL. The hoteL is pLaced along the always
hectic public square caLled SpieLbudenplatz,
the subsidized housing along the more quiet
Taubenstrasse and Kastanienallee and the
rental and Co-op aLong Kastanienallee and
the Quartiersstrasse, the quintessence of
the proposaL: a new street.
GENERATORS, LNKERS, MXERS & STORYTELLERS. COMPLEX BUILDNGS SERIES
a÷t
II
1 :5C
P1
EL pLan urbano se basa en una estrategia 196
de pequeñas parceLas, Kteinteilig’, que
garantizan La diversidad. Las tipoLogIas
residenciaLes especIficas se organizan
200
en una serie de edificios independientes
y coherentes. Dentro de cada edificio Las 201
unidades están simplemente apiladas; 201
La sencilLez interna conseguirá viviendas
asequibles. Los residentes con estiLo de 201
vida simiLar compartirán un edificio; La
homogeneidad dentro de cada edificio
contrasta con La heterogeneidad del
conjunto.
La puerta de entrada es La interfaz entre
Lo p6bLico y privado. EL nümero de puertas
determina eL grado de mezcLa en eL dominio
pibLico: más puertas significa mayor
diversidad y más interacción potenciaL en 201
La calLe. La caLle es eL escenario para La
interacción pábLica. La compLejidad urbana
resultante es un instrumento de tolerancia.
La parcela general se subdividirá en cuatro
propiedades, cLasificadas segün su uso.
EL denominado Rea/teilung se usa como
una herramienta social y económica. El
hotel está situado en [a SpieLbudenpLatz, [a
vivienda subvencionada en Taubenstrasse
y Kastaniena[Lee y el aLquiLer y eL cohousing
en La KastanienaL[ee y [a Quartiersstrasse,
La quintaesencia de La propuesta: una caL[e
nueva.
 ‘it2Jr. I%%
r4.. WP%
.2p7_Q L
“,- LaC- — ta. ....ag
fl A1 —
——‘I
— _
1:50000 C 1:10000
PLan BUDE Timeline
1961 The complex known as EeeoHaiiser, designed by Herbert
Grossner and Hanns Sitch, is completed with 110
apartments in two eight-storey prefabricated blocks.
The name comes from an Esso petrot station, which had a
store, open 24 hours 365 days a year, at the corner of the
btock which was very popular with local residents.
2009 The Bavarian real estate firm Bayerische Hausbau GmbH
& Co. KG purchases the whole EssoHadser complex.
2011 The local residents and citizens affected present a report
for the complex to be preserved.
2013 The EssoHäuser complex is declared in danger of collapse
by a group of experts commissioned by Bayerische
Hausbau. The housing complex is evacuated and emptied.
2014 A very active grassroots movement emerges to fight
-t against real estate speculation and the area’s loss of
identity. The Essobduser buildings are demolished.
The owners Bayerische Hausbau reach an agreement
with the local residents and associations involved to
ensure that the new plan contains 50% social housing.
An agreement is reached to hold a bottom-up citizen
participation process handing over the initiative to
local residents and associations. This collective effort
produces a plan of action known as the Plan Bude. Based
on research carried out for the Plan Bude, it is decided
to hold a competition for architects whose Terms and
Conditions, otherwise known as the St. Pauli Code, are
drawn up independently by the community.
2015 The results of the Master Plan competition are unanimous.
The architecture studios winning the competition for the
Urban Plan:
First prize: NL Architects, Amsterdam and BeL Sozietät
für Architektur, Cologne
Second prize: coidoarchitekten, Hamburg
Third prize: feld72 architekten ZT GmbH, Vienna.
OONOPATORS. LINKORS. M1XLRS & STORYTLLLLRS, COMPLLS OUiLO1NOS SLR1LS
a÷t
F
n i..
‘t I r
I\ ) Hrri,.±z.
I3L
diseñado par
1961 So complets ol conjunto conocido coma Esso Hhusor,
Herbert Grossnsr y Hsnns Sitch, con 110
apartamentos en dos bloques prefsbricsdos do echo
plantss.
EL nombre provione do una gaselinora do Is empress
pet rolera Esso, con una tioeds abiorta vointicuatro horse
todos los dlxx delano on uns do las osquinas do Is
manzana, que era muy popular y quo strsis continusmonto
a Is gonto del barrio
2009 La empress inmobiLisria bavsrs Bayorischo Hsssbas
GmbH & Co. KG so haco con Is propiodad dot conjunlo do
las Esso Hbusor. Herbert Orossner and Hanns 5itch.
2011 Los ciudadanon del barrio y vocinos atoctados pr000nlsn Ensn HSuser in St Pauti. Hamburg, 1961. Image taken in 2013.
un informo pars quo ol complojo 005 c0000reado.
2013 Lao Esso HOaxer so doclaran, par us grupo do oxporlos,
a Lnslanciss do Bsyorischo Hausbss, on poligro do
dorrumbamionto. El complojo do viviondso Os ovscusdo y
vscisdo.
2014 Surge un movimionto ciudadsoo muy combstivo fronto a
Is ospoculacidn inmobilisris y a Is perdida do idontidad del
barrio. So dorriban los odificioe quo constiluyon las Esso
Hdusor.
con
La propiodad, Bayorischo Haesbsu, Lloga a en acuordo
los vocinos y asociacionos implicadas pars roepotar
en 50% do vivionda social on oL nuovo plan. So accords
citizens drem en pentcards their vision nt the eeighbearhood by
ostablocor us proceso do psrticipaciOn ciudsdans do 2020. The Night Sards reveal the desire ef differentiated busses
abajo hacia arriba quo otorguo Is iniciativa s vocinos versus cempten ef dwellings and especially ssahle ruufs.
y asociacionos. Esto osfuorzo selective produce come Lee ciududunsu dibuiursn en pnsiulvs us visidn dvi barrio yara
2020. Las Pnstales Nnctsrsas revelan vi dvsvn dv cases diferen
rosultado un plan do actuación, conocido como ol Plan
ciadus frenfe a cnmylniss de siviendus y snbre teds lu utilizucidn
Budo. A partir do Is invostigscidn reslizsda por ol Plan dv las cubiertus,
Budo, so decide convocar un concurso ontro arquitoctoo,
cuyo Pliogo do Condicionos, oI Cddigo St. Pauli, os docidido
do msnors indopondionto per Is comunidad.
2015 So decide por snanimidad ol rosuLtado del concurso dol
Master Plan.
Estudios do srquiloctura promisdos on ol concurso pars ol
Plan Urbane:
Primor promio: NL Archilocts, Amstordam and BoL
SoziotOt für Architoktur, Cologne
Segundo promio: coido srchitokton, Hamburg
Torcor promio: foLd72 architokton ZT GmbH, Vienna.
rfl1-
The preliminary process ievotved ever 2000 centributiens by St.
Puuti residents and ethers involved.
01 yroceso yrviim:rur incisyd mds dv 2000 cnnir:bscivnvs dv ins
rvsidenivs dv Si. PseL ydv ntrus sfvctudns.
109
STORYTELLERS: THE COMPLEXITY OF CONTEXT

The St. Pauli Code

1. Diversity instead of uniformity 1. Diversidad en lugar de uniformidad
2. SmaLt-scaledness 2. Pequena escala
3. AffordabLe instead of expensive 3. Asequibte en lugar de caro
4. Originality and tolerance 4. Originalidad y tolerancia
5. Appropriation and vitaLity 5. ApropiaciOn y vitalidad
6. Experimentation and subculture 6. Experimentaclón y subCultura
7. Public space without conSumerism 7. Espacio pübliCo sin consumismo

* t . I

•
‘

BLOCK NEW NEIGHBOURHOOD MAX SURFACE = MAX MANY FRONT DOORS = BAYONET = SOUND STREET = SQUARE
STREET INTERFACE URBANITY PROTECTION

HOMOGENOUS BLOCK SMALL-SCALED BLOCKS HEIGHT DIFFERENTIATION DISTANCE LAW= DYNAMIC INTERACTIVE POSITIONING NEGOTIATION = VARIANTS
OUTLINE

I a
ROOFS: PUBLIC. COLLECTIVE. GREEN ROOFS FIREWALLS INTERFACE: DOORS AND SORTING PER BUILDING COMPLEX = EXPENSIVE
PRIVATE INTELLIGENT’ SURFACES BLOCK * INTERACTION IN THE REPETITION = AFFORDABLE
STREET

PLOT AND BUILDING PLOT AND 4 BUILDINGS LAYOUT ACCORDING TO

PROGRAMME
[III
SUBDIVISION OF BUILDINGS DISTRIBUTION OF SPACES
rn
FIRE WA LLS

110 GENERATORS, LNKERS, MIXERS & STORYTELLERS COMPLEX BUILDINGS SERES

a÷t
 SPIELBUDENPLATZ URBAN PLAN. NL/BeL. St Pau[i, Hamburg, 2015

FIREWALL
The Realteitung, the subdivision in
properties, results in u number of
firewalls. These blind walls are often
perceived as negative. But nut in
St. Pauti: here they are deployed as
dynamic urban actors. They function
as communications surface (for ads
or art), as flipped floor (access and
sports) or habitat (for plants and ani
mals). They offer creative appropriation
through painting, graffiti, stickers.., or
inhabitation: green watt, bird or bat
nests, bee-hives.

MUROS MEDIANEROS
El Rvaltvilung, [a subdivision en
propiedades, da luger a sea serie dv
warns medianeros, que sen a menuds
percrbidos cams riegativas. Pero no
en St. Pauli; Aqui Se despliegan coma
adores urbanos dindmicnn. Funcinnan
coma superficies de cnmanicacidn
Ipara anancios earle), coma an forjada
girado (acceso y deportes) a hObitat
(para plantas y animalesi. Ofrvcen Ia
aprapiacidn creative a fravds de Ia
pintura. graffiti, pegatinan a ncapación:
...

pared nerde, nidos dv pdjaros a

murcidlagas, calmenas.

__I /

I
Subdivision of the 4 main plots into ten
buildings. Subsequently, the two buildings
in the northeast corner were unified in a
fifth plot.
Subdivisidn dv las cuatra parceLas
principales en 10 edificios. Posferiormente.
los dos edificios dv Ia esqaina noreste se
anificarian en usa quinta parceLa.

GENERATORS, LINKERS, MIXERS & STORYTELLERS COMPLEX BUILDINGS SERIES 111

a÷t
STORYTELLERS: THE COMPLEXITY OF CONTEXT

Spietbudenp[atz
DeveLopment of the Urban ptan, 201 6
PLot 1: NL Architects and BeL Sozietät für Architektur (p. 114-117)
PLot 2: feLd72 architekten (p. 118-121)
PLot 3: Buitding 3.1.Turm: Lacaton & VassaL
BuiLding 3.2. Eckhaus: NL Architects, and BeL Sozietät für Architektur
BuiLding 3.3. Zickzack: ifau + Jesko Fezer
Plot 4: itau + Jesko Fezer
Plot 5: feld72 architekten (p. 122-125)

ELevation to Spietbudenptatz 1:1000

H1

C Oevetopment ot the Urhan plan. 2016. Site pLan 1:5000

112 GENERATORS, LJNRERS, MXERS & STORYTELLERS. COMPLEX RUILOINGS SERIES

a+t
 SPIELBUDENPLATZ URBAN PLAN DEVELOPMENT. St Pauli, Hamburg. 2016

HISTORY AS A CORRIDOR

“History presents itselfas a curious instrument

whose knowledge seems indispensable yet once
acquired is not directly usable; a sort ofcorridor
through which one must pass to arrive but which
teaches us nothing about the art ofwalking.”

“La historia sepresenta como on curioso

instrumento cuyo conocimiento parece
indispensable, pero una vez adquirido, no es
directamente utilizable; una especie de corredor a
necesario pasarpara Ilegar, pero
través del cual es
que no nos enseña nada sobre el arte de andar.”
VITTORIO GREGOTTI
El territorio de Ia arquitectura. Gustave Gib. 1972. p. 1 54.

1’

mliii
‘a’” ii
ia
/

A .

‘liii
p
-i
11111 II.’’

I.

NL/BeL. Spielbudenplatz. Development of the Urban plan. Plot 1.2016

GENERATORS, LINKERS, MIXERS & STORYTELLERS COMPLEX BUILDINGS SERIES 113

a÷t
STORYTELLERS: THE COMPLEXITY OF CONTEXT

Ph

hf
and.

seseralU
like
Br

‘V
Gra;
Knocke
HGJ
nm popular’
late I

Culun.I

adtsg

Jr.[i iuilluiifl—Tt1U—Ji 5-’,

4JVnrlEU
—H
L
cirihi
stayed ii
tee C
Stevatiun to Spielbudenplutz 1:500

I
Spielbudenptatz Plot 1

NLarchitects The density in the street is
increased.
BeL Sozietät für ArChitektur The street is a social mix of
St Pauli, Hamburg (Germany), 2016
different fields of action. The
St. Pauli area is made up of
Programme the different actors present
Hotel in the ntreet. The hotel is a
hybrid also oriented towards
Offices
the street. This has two noble
storeys, one at street level and
the other at urban balcony’
level with a large number of
doors. These two storeys are
devoted to human activity where
people can socialize and enjoy
themselves.
Along the tines of the Valerland
House in 1920s Berlin, Plot 01
is designed to be an implosion
of urban life foreseeing the
engagement of all actors, both
Hamburg citizens and tourists.
The ‘urban balcony’ is a moving
0 space.
The ‘urban balcony’ is both an
elevated street and an elevated
square with access from both
sides. On the east side, the
powerful 30 building with its
spiral staircase lowers over.
On the west side, there is only
a single staircase on top of the
underground car park. From the
top of the stairs there are views
over the city.
The Grand HOtel, the artists’
hotel, the tower hotel and
the loft are the references
used. The hotel’s ground floor
foyer becomes a passageway
between the Spielbudenplatz
and the interior alley where
small shops selling food and
craft work breathe life into this
semi-public space.
The 3D building isa rectangular
version of the Leaning Tower
of Pisa, a lone building,
surrounded by columns, which
opens up to the cityscape.
The lower extends public
space vertically. An exterior
staircase, open to the public,
independently connects certain
areas to programmable uses.
These areas are accessible
from all levels.
Park Fiction 2.0 is a space which
is open to all the citizens of
Hamburg. Beginning in Tauben
Street with a semi-concealed
slaircase, Park Fiction 2.0 goes
from the ground floor to the
outdoor space. It constitutes an
optional habitat for plants and
animals and is a fascinating
climb for visitors.
La deneidad xx acumuta en Ia calix.
La calle xx una mezcla xocial
dx diterentex campox de accidn.
El barrio dx St. Pauli extd
tormado por dintintox actoren
que as encuentran en Ia calle.
El hotel xx un hibrido que extd
erientado tambidn hacia Ia
catle. Tienx dos pantax nobles,
una al nivel dx Ia cxlix y Ia otra
al nivel dxl ‘balcdn urbano’, con
nnurnerablxx puxrtax. Eaten
dos plantax extán dedcadax
a actividadex dx Ia gente,
donde pueden xncnnlrarxe y
divertiree.
Siguiendo xl ejemplo dx Ia
Vaterland Heuxx en xl Berlin dx
lox anna veintx, Ia conxtruccidn
en Ia Parcels 01 xx una
imploxidn dx vida urbana, que
invelucra a todox lox actorxn,
habitantex dx Hamburge y
turixtax.
El ‘bxlcdn urbane’ xx un enpacio
en movmiento.
El ‘balcdn urbane’ xxx Ia vez
ens calls y una plaza elevadan,
que tienen entradan oor ambox
ladox. En xl lado eate, xl potente
editicio en 30 conduce hacia
arriba con una excalera en
expiral. En xl lado oexle, nob
hay una excalera xolitaria
encima dxl extacionamienfo
xubterrdneo. Dende arriba
dx lax excalerax xx puede Ch
contemplar Ia ciudad.
El Grand HOtel, xl hotel de
This
artixtax, xl hotel en terre y
in lb
xl left non lax referencian
lame
utilizadax. El accexo en planta
of artist
baja del hotel crea un paxaje
dende Sp:eloudenplatz haxta xl
callejdn interior. NIl ne pueden
stare
encor:rar pequxhan liendax, dx
artexania y alimentacidn, que
van a dar vida a enle expacio
a
The telL
the h ale
xem i-pd blico.
Chtme
El editiclo 3D en una verxidn
Burrsef
rectangular dx Ia Terre
DylanJ
inclinada dx Pina, an editiclo
Kahta
xolitario, rodeado dx noportex,
Kubrij
que xx abre al paxaje. La terre
expande xl enpacio pdblico
hacia Ia vertical. Una encalera
exterior, dx acceno libre,
va conectando unan zonan
con unon programablex dx
manera libre. Extan dreax xon
acceniblex en loden lox nivelex.
Park Fiction 2.0 xx un enpacio Th’a
accenible paa :odox lox the
ciudadanon dx Hamburgo.
Empieza en Ia calle Tauben con for tie
una excalera poco evidecte, as an c
Park Fiction 2.0 va dexde Ia
planta bala haxta xl enpacio
exterior. Cnnntituye un habitat
opcional pare planlax y
animalen y para lea vinitantex
una taxcinante axcenxidn.

114 GENERATORS, LINKeRS, MISERS & STORYTELLERS LOMPLEX eulEolNoS SERIES

a+f

Pleasu re Pa lace of Haus Vaterland Postdamer Platz, Berlin, 1928-1943
This multipurpose building was
a pteasure and fun palace in
Potsdamer Ptatz, Bertin. It was
futty functional for fifteen years
and was later demotished
in the mid-i 970s. Housing
the largest café in the world
at that time, a cinema and
several themed restaurants,
tike Lena Park in Coney Island,
Brooklyn, the Haus Vatertand
Grand Hotel de La Plage
Knocke-sur-Mer was a town
poputar with artists from the
tate 19th Century onwards. The
Realist painter Alfred Vsrwse
moved there in 1880 and
created the Knocke Painters
Colony. During the tourist
season a targe number of
artiste gathered around this
circle. In 1895, Edvard Munch
stayed in this spa town for a
few days snd it is fairty likely
CheLsea Hotel NewYork, 1884
This hotel in Manhattan, built
in the late 1 9th Century, is
famous for the large number
nO
of artists and show business
people who stayed there for
hataeL
differsnt periods of time. Elevsn
storeys high, it was the highest
building in New York until 1 902.
The following people stayed at
the hotel: Simone de Beauvoir,
Charles Bukowski, William S.
Burroughs, Leonard Cohen, Bob
Dylan, Allen Ginsberg, Frida
Kahlo, Jack Kerouac, Stanley
Ksbrick. Arthur Miller, Edith
4
Joseph Curran annex
This building, now renamed
the Dream Downtown Hotel,
Manhattan, was built in 1 966
for the National Maritime Union
as an offics annes. Located less
then a kilometre away from the
Chelsea Hotel, it re-opened in
2011 following major renova-
lion work. Originally designed
by a student of Frank Lloyd
was the perfect place to
transform the provinciatism
of an earty 20th century city
into the cosmopolitanism of
a contemporary city. Inside
the building there was a
continuous stream of urban
life, with some 8,000 peopte
being served with an assembty
line-tike precision.
Knocke-sur-Msr,Bstgium
that he visited the Grand Hotel.
Joseph Conrad finished the
novel Lord Jim in one of the
hotel rooms in summsr 1900.
The Grand Hotel had 170 rooms,
a gymnasium, ends restaurant
in a seven-storey building by
the North sea. It was one of the
few hotels with a long tradition
of combining leisure and art in
northern Europe.
Piaf, Keith Richards, Diego
Rivera, Jean-Paul Sartre, Dylan
Thomas, Mark Twain, and
Tennessee Williams, among
many others. The hotel still
retains its mythical aura despite
the fact that since 2011 no
new rsservations have been
accepted. The new owners aim
to renew business activity in the
future once solutions have been
found for the long term guests
and a mixed residential system
including several apartments
has been introduced.
Wright’s, Albert C. Ledner, with
its maritime inspiration and its
porthole windows, it is eleven
storeys tall and is slightly
inclined towards the interior of
the block. A ship anchored in the
Chelssa area, it has become a
modern icon, a constant source
of comments and references
from passers-by.
GENERATORS, LINKERS. MIXERS & STORYTELLeRS. COMPLEX SUILDINGS SERIOS
a+t
Fete sdificio multusos L5
Un pelecio pare el placer y
Ia diversion sitsado en Ia
PostOeme Plate Os Berlin.
Tuvc ens vida Otit Os quircs
shoe y fus comolstamsnts
Osmolidc a mediados Os los
eOns sstente del siglo pasado.
Incluis el mayor café del
mundo en su Opoca, ens sale
Os cins y varies rssteurantss
Ismáticos. Siguisndn si njnmplo
del Lena Park Os Consy IslenO,
Knocke-sur-Mer fun usa
bedded mey visitece por
ertistes Oesde hn&es del sigbo
XIX. El pintor realists Alirec
Verwee se trasleOO alli en 1880
y crsO Is Colonia Os pintores
Os Knocks. En torno a este
circsbo so congregaban en
temporsda turistics numorosos
artistas. En 1895, EdverO Munch
estsvo residiendo unos Oles
en esta ciudad babneerio y
probeblemente visitO el Grand
Este hotel On Manhattan,
constrsido a finales del siglo
XIX, 55 femosc por Ia gren
centidad Os ertistes y gsnle deL
espectOculo que hen residido
en 01 Ourente perLodos mOno
menos cones. Con sue once
plentes, fee si edificio mOs alto
Os Nesve York haste el ann
1902. Per sen hebitecicnss
paseron: Simone On Beeevoir,
Charles Bckownki, WJliam S
Burroughs, Lnonerd Cohen,
Bob Dylan. Alter Ginsberg,
PriOs Keblo, Jack Kernuec,
Stanley Kebrick, Arthur Miller,
Fete sdificic, conocido como
el Dream Downtown Hotel
Os Manhattan, tue conetmeido
en 1966 pars el nindiceto Os
National Maritime come en
aneso a see oficinee. Situaco
a wenos On en kibOmetmo del
Chelsea Hotel, ebniO see puerlse
cowo hotel en 2011, tree ens
pmoturda memodwaciOn Disehado
omiginelnente per el eetjdissts
SPIELBUDENPLATZ URBAN PLAN DEVELOPMENT. St Pau[i, Hamburg, 2016
REFERENCES
en Brooklyn, Haus VeterlerO
era el sitio perfeclo pars
transformer el p”ovinciansmo
Os una ciOaO Os principios del
siglo XX en el cosmopolitienc
Os una urbe contemporOnea.
Denim Os. edificio se Oe:ectebe
una espiosidn continue Os vida
urbane nervids con Is precisiOn
Os ens cadena Os montejo, que
etendie a las OemenOes Os
enas 8.000 persones.
HOtel. Joseph Conrad tominO
ss novels LnrO Jim en sna Os
las ‘nabiteciones Os este Octel
en el verano Os 1900. El GrenO
HOtel tenia 170 habiteciones,
gimnasio y restaurants en
en edificio On siefe plentas al
borOn del mar del Norts. Era
uno Os los pocos hole[ns con
large trediciOn, que cnmbinebe
el 0cm con starts en el norts
Os Europe
Edith Pief, Keith Richards,
Diego Rivera, Jean-Paul
Sertre, Dylan Thomas, Mark
Twain, c Tnnnssee Williams,
entrs otros muchos. El sure
Os hotel mitico continOs,
eunqes a pertir Os 2011, está
cerredo a nueves reserves.
See nuevos propieterios
prntenden reeneder Is
ectiviOsO en el Intern, Iran
resolver Ion prob:enen con Ion
heOnnsdsn Os large deraclOn y
Is introdccciOn On en sintems
renidencial mixtn qee incleys
veros apartamertos.
Os Frank Lloyd Wright, Albert A
L, C. Lednor, con Lnspimsciones
meninemse, per nun ojos Os t4
4,
busy como ventanae, liens once
piece y ens peqeeOs inclisaciOn •• ••.4•
• ••. •j
heeLs Oentmo Os Ia msr.zsns. Fe •
• •
en banco encledo en el barrio •
• • • •
Os Chelsea. convsmlido en en
•
• • • •
•
: :• ••.
icono On Is modemnidsd, qse
eeec’ts comemtanioe y provocs
retemsnciae a qee In nsecsbre.
110
STORYTELLERS: THE COMPLEXITY OF CONTEXT

ouuu 7
Iyrfl5 flJfl5 ]EfffI IT
1
LI5 Li
flu
y D E[.
£ rnflO
1- -t
1 nrnrnrn
i IvDI
1nnn1 I
LongitudinaL section A

-L
1.IJ
1

LI
w
U ii

— ;II
ILl

Section B Section C

I
AE

Ground floor pLan 1:500 0

116 GENERATORS. LINKERS, MIXERS & STORYTELLERS. COMPLEX BUILDINGS SERIES

a÷t
 SPIELBUDENPLATZ URBAN PLAN DEVELOPMENT. St Pauti, Hamburg, 2016

C”4; ;-,ç5;,

— _ii =
i.

fl,

Seventh floor plan Elevation to the new Street

IILJLJLJ1

Fifth fLoor plan Elevation to Taubenstrasse

First floor plan

SENERATORS, LINKERS, MIXERS & STORYTELLERS, COMPLEX BUILDINGS SERIES 117

a+t
STORYTELLERS: THE COMPLEXITY OF CONTEXT
PARTICIPATORY OEVELOPMENT OF OPEN 5PACC5
Spie[budenp[atz PLot 2
feLd72 architekten The design stays in line with
the former commercial block of
St Pauli, Hamburg (Germany), 2016
the Esso-houses, in particular
with relation to the adjoining
Programme Panoptikum, Hamburg’s was
Subculture museum, whose first floor
is being estended to create
barrier-tree eccess. The
diverse uses of the units on the
ground floor are clearly visible.
The Molotov Club returns to
its traditional location where
it finds itself in good company
with the Rock’n’Roll Hotel and
the Kogge Bar.This variety of
scenes stimulates street life
and Plot 2, with its prominent
positioning st the head of the
site, further emphasises the
entrance to the alley.
The individual buildings are
C rough brick constructions,
differing in materials and
colours whilst the bricks’
worn appearsnce and
heterogeneity mirror the
diverse “roughness” of its
protagonists. The windows
are modern interpretations
lie
ROCK’N’ROLL ROOFTOP
of those traditionally used for
commercial buildings of the
20th century.
To ensure the Molotov’s
commercial success in the
future and to maximise the
synergy with the Music-Cluster,
the new design concept
relocates the Music-Cluster
to Section 5: the Kogge Bar
provides a terrace area in
one corner of the square,
thus becoming a connecting
point between neighbourhood,
international visitors and the
local music scene.
This location now offers
space reminiscent of “the
Gängeviertel”, the intricate
msze of backyards and alleys
of the past, and is available for
use by a variety of groups for
their interests and scenes.
In this may the tolerated graffiti
mall of the old Esso-houses
and its protagonists return
again to the neighbourhood.
GENERATORS, LINKERS, MIXERS & STORYTELLERS. COMPLEX RULDNGS SERIES
a.t
El diseno se msntiene en lines
cnn el snligun bloque comercisl
de viviendss Esso, en psrticulsr
en relsción cnn el Psnoptikum
cnntiguo, museo de cers de
Hsmburgo, cuyn primer pisn
se está smplisndo psrs cresr
un scceso sin bsrrersn. Los
diversos usos de iso unidsdes
de Is pLants bs)s son clsrsmente
visibles.
El Club Molotov vuelve 550
lugsr Iradicionsl, en dnnde se
encnentrs en bunns compafis
con el Pock’n’Rnll Hotel y
el bar Kogge. Ests varindad
de escensn estimuls Is vids
cslle)era y Is Parcela 2, cnn on
posicinnsmiento destacsdo en
Is cabecers del lugsr, y msrcs
sdemdn el scceso sI psss)e.
Los editicios individuslns son
construcciones de ladrillo bsstn,
que ditieren en Ins msteriates
y colores, sunqne el snpecto
desgantado y Is heferogeneidsd
de Ion lad rubs retle)s Is
diversa ‘rugonidad’ de nun
protsgonistss. Los huecos son
irterpretscionen modernsn de
Ins lradicJnnslmnntn utilizados
pars editicinn cnmercisles del
sigln XX.
Pars snegursr el énito cnmercisl
del Clnb Mnlofov en el futuro y
pars msnimizsr Is sinergis con
Ins grupos de musics, el nuevo
conceptn do dinebo renbics Ins
grupns de musics en Is Parcels
5: el bsr Kogge ofrece uns
zons de lerrszs en uns esquins
de Is plszs, cnnvirtiendnse
ssi en un punto de cnnexiOn
entre el barrio, Ins visitsntes
internscinnsles y Is escens
musical locsl.
Dots ubicsción ntrece shora
un espscin quo recuerds Is
“Gdngeviertel” el inlrincsdn
Inberinto de pstios y cslle)onen
del passdo y pnede ser usado
por uns vsriedsd do grupnn pars
sun intereses y prnyectos.
Do ents msners Is pared
de grstfiti snlorizsdo de Ian
anliguss csnsn Enso y sun
protsgnnintss regressn de
nnevo sI bsrrin.
 CD

GD
GD

I
GD

GD

><

GC

YC C-n
0 -v
GD m
r
C
C C
0
rn
GD
GD -U
GD r
Gil
:0 NJ
GD C
w
>

-U
r
>

C
m
m
r
0
-U
ii,

C-n
-o
DJ
C

—
a —
I
Jan,
1——— 14* 3
0
C
=4 CO

N)
C
0”
 STORYTELLERS: THE COMPLEXITY OF CONTEXT

I
I
Elevation to Spietbudenptatz

First fLoor plan

F—

v
]
ccDcD DOD + e

AE
czz’ DOD

OO

Iop

Ground floor plan 1:500 0 L

B

120 GENERATORS, LINKERS, MIXERS & STORYTELLERS. COMPLEX BUILDINGS SERIES

a÷t
 SPIELBUDENPLATZ URBAN PLAN DEVELOPMENT St Pauti, Hamburg, 2016

Section A Snction B

Upper floor plan

5-6-7 floor ptan

t. Wool elevation

GENERATORS, LINKERS, MISERS S STORYTELLERS. OOMPLEX BUILOINSS SERIES 121

a.t

a-
STORYTELLERS: THE COMPLEXITY OF CONTEXT
COHOUSING ANO CLUSTER
interessensgeme.nschaa
Spie[budenpLatz Plot 5
PLot 5 as a Location is
feld72 architekten reminiscent of the old Esso
St PauLi, Hamburg Itermany), 2016 atmosphere. Most important is
the spirit of active coesistence,
where residents and locals
Programme
know each other, and. fhrough
Cohousing
the ongoing artistic, creative
Workshops
and skilled work, form a
Leisure
community; thus enabLing the
realisation of the St. Pauti Code.
As a whole Plot 5 divides
spatiaLly and functionalLy info
three interwoven areas: the
underground music zone, the
publicly accessible spaces on
the ground and first floors and
the cohousing above. Based
on a raster principle, the
floors are fluent in their uses.
Intelligent architecture allows
for a maximum variety of spatial
configurations, ensuring the
participation of future users
in the continuous/organic
adaptations of floor space.
The connection of the two
central staircases via the
gallery allows for a generous
level of flexibility that provides
the local protagonists with
vast opportunities to partition
and independently convert
the available space. The
additional internal extensions
via the canteen, the FabLab
and the garden create further
opportunities to adjust the
space to the diverse needs and
allow for further adaptations.
A particular feature of the
design is the creative way in
which a supposedly negative
and non-negotiable planning
122
You’ll never live alone
item was dealt with: the
entrance to the underground
parking was realised with a
terrace above, thus adding
further communal value.
The non-design of ground and
first floor further allows a
sense of appropriation by the
district’s protagonists that is
characteristic of St. Pauli whilst
the corners of the alley feature
as active anchor points. The
facade is a rhythmic sequence
of entrances, shop windows and
large glass fronts, accentuated
by the prominent entrance to
the building. Depending on use,
different elements of the facade
stand out. Behind this front, one
is able to customise and adapt
the layout whilst openings in the
facade allow the onlooker to see
the diverse utilisations.
One of the core connecting
elements of the relationship
between the living quarters and
the commercial premises is
the communal garden which is
available to both, visitors and
residents. This multi-functional
open apace connects the two
staircases of the buildings via
the district’s canteen.
The spatial structure of Plot
5 offers maximum variety of
communal life.
GENERATORS S NEERS MiXERS & ¶‘OR”L_tRS. CCM2_EX RL LO NC-S SERFS
a÷t
m R m n ml
Lu Parcala 5, como luger.
ev una rvrrsrvscvncia dv Ia
avtigua atmdvfera Eava. Lo
may importantv vs el vvpiritu
dv carvivoncia activa, dandy
los rvsidvntva locales ye
conocen votro vi y, a travds
del Irubajc artistico, creativo y
vaperto, farmur una comunidad
permitiendo avi Ia rvalizacidn
del Cddigo dv St. Push.
En conjunta, Ia Parcela 5 ye
divide especial y funcionalmante
en tres zones vntrelazadav: Ia
zone dv mUvica underground.
los vvpaciav dv accvvo pdblica
en las plants baja y ormera
y las vivivndas compartidav
arriba. Basardove an principio
uv rastvrizacidn, los avas dv
las plantas son lsidos. Una
arquitvctura adaptable pvrmitv
ana variedad rnáama dv
configjracionvv vaoacialvs,
asegurando Ia participacidn
dv Ian futuras svuariaa vc
las cantinuaa adap:aca9va
organizes dv Ia aupvrficiv.
La canvxidn dv lea dos vacalvras
cvntralvv a travéa dv Ia galvria
pvrmitv an nivvl dv flvvibilidad
gvnvraaa, quv ofrvcv a ba
protaganiatas locales grandva
opartunidadva pare avgmvntar
y cambiar vi vapacia diapaniblv.
Las ampliacianva intvrnaa
adicianalva a travda dv Ia
cantina, vi Fablab y el jardin
crvan may aportunidadva pare
aluatar vi vapacio a lea divvraas
nvcvsidadva y pvrmitir nuvvaa
aluatvs.
Una caractvriatica particular
cvi disvño vs Ia farma crva:iva
vn puv un vvmvnto dv
planiticacidn, aupuvatamvntv
nvgetiva y no nvgociablv, coma
vale vntrada al aparcamivnta
sabtvrránva, sv rvaliza can ura
tvrraza aupvriar, In quv anadv
valor a Ia camanidad.
El na-diavba dv Ia planta
baja y dv Ia primera plarta
anaden, advmán, an santida
dv aprcpiacidn par parts dv
Ian prataganiataa del diatrita,
pay vs caracteriatica dv St.
Pauli, mivntraa pay esquinan
del pasajv van puntas davy dv
actividad. La tachada vs one
avcuvrcia ritmica dv vntradaa.
vscaparatva y grandva trvn:va
dv vidia, acvntuada pa a
vrtrada principal al vaiticia.
Dvpvndivnda dvi asa, ye
dvstacan difervrtva vlvmvntaa
dv a tachada. Dvtraa dv vatv
frvrtv, av pavdv adapter y
pvraanalizar vI diavna, mvntras
pay las havcaa dv Ia tachada
pvrmitvn qua vi vspvctadar ave
las diatintas utilizacianva. I
Una dv las viamantas cantrales
dv canvaidn dv Ia rvlacidn
vntrv as viviandas y las
locales camvrcialvn vs vi
jardin camunitaria, qav vs pare
usa, tanta dv viaitantva coma
dv rvaidvctvs. Estv vapacia
multifancianal abivrta canvcta
las dna vacalerea dv las edificias
a treads dv Ia cantina dvl
diatrita.
La vatructura vapacial dv a
Parcvla 5 ofrvcv Ia rndsirna
varivded dv aide en cam/n.
 — p
-
p

‘rn

z
>
C
:0

:0

><
riD

(J
-1:,
m
I
:0
C
ID
C I,,
:0
C -o

(I,

0
I

ID
m
m
I
ID
-U
m
—I
If)
-U
Di

Di
3
U
C

F’)

h.
 STORYTELLERS: THE COMPLEXITY OF CONTEXT

‘-I
F wwL

--1J Hq
;uL -J
I’ll, INNNUIIIHIIII

/1
tiir14Tl

South elevation 1:500

Sixth floor plan

$__
iiii
0’

A-P

First floor plan

Ground floor plan 0 Second floor plan

124 GENERATORS, LINKERS, MIXERS & STORYTELLERS, COMPLEX BUILDINGS SERIES

a÷t
 -
--
,——--——— ——------—
- ---------————-

0
z
B B
z
B B

B B
U•)
0 B B -U
-o I,,
I
><

C
B B cz
U m
z -
U B B B
U I
U
U
B B NJ
cz
B B z
-o
B B
z
B B
I,,
I
F B Q

(1)

-U
a)
C

a)
3
C
C

r-3
0—
 BRUTHER FLORES & PRATS ARCHS LEONG LEONG MAI
SPORT AND CULTURAL CENTRE SALA BECKETT I KILLEFER FLAMMANG
p 18 INTERNATIONAL DRAMA PAMELA BURTON FO
Partners: Altia, Batiserf, Bureau CENTRE. ANITA MAY ROSENSTEIN
Michel Forgue, Louis Choulet p 53 CAMPUS THE LOS ANGELES
- p..
Photography: Filip Dujardin Project and construction: Flores LGBT CENTER A
& Prats Archs / Ricardo Flores p 96 Alt
DE SMET VERMEULEN and Eva Prats. Client: Los Angeles LGBT Guit
ARCHITECTEN Client: Institut de Cultura de Center and Thomas Safran & Ann
LINKER OEVER Barcelona + Fundació Sala Associates. CoIL
INTERGENERATIONAL PROJECT Beckett. Team: Christopher Leong, Mi
(IGLO) Theatre Engineer: Dominic Leong, Gabriel Burkett, M
p 90 Ing. Marc Comas. Nile Greenberg, Gen
Master plan (2006>: Technum, Acoustic adviser: Arau Acüstica. Yu-Hsiang Lin, Dale Strong, Cap
De Smet Vermeulen architecten. Structural adviser: Shanna Yates. Gen
architecten de vylder vinck Arq. Manuel Arguijo. Competition Team: Christopher C
taillieu, Tom Thys architecten Installations: AJ Ingenieria. Leong, Dominic Leong, Gabriel D’e
Commission by: Antwerpen Collaborators: Eirene Burkett, Nile Greenberg, Cun
Lerende Stad, Antwerpen Presmanes. Jorge Casajüs, Micol Yu-Hsiang Lin, Nyssa Sherazee. Con
Zorgbedrijf, THV IGLO Bergamo, Michelle Capatori, Collaborators: Killefer Mac
Architecture: De Smet Emanuele Lisci, Cecilia Obiol, Flammang Architects. Pamela
Vermeulen Architecten, Francesca Tassi-Carboni, Nicola Burton Associates.
Engineering: Tractebel Dale, Adrianna Mas, Giovanna 110
Engineering de Caneva, Michael Stroh, HOU
Photography: Filip Dujardin Maria Elorriaga, Pau Sarquella, p
Rosella Notari. Laura Bendixen, Auth
fetd72 architekten Francesca Baldessari, Marta Ann
SPIELBUDENPLATZ PLOTS 2 Smektala, loanna Torcanu, GuiL
AND 5 Carlotta Bonura. Florencia Lan
p 118 Sciutto, Georgina Surià, Elisabet Son
In collaboration with: Plansinn Fabrega, Julián Gonzalez, Tecf
and Prof. Dr. Jens S. Dangschat. Valentina Tridello, Agustina Atlo:
Alvaro Grand, Monika Palosz, Engi
Shreya Dudhat, Jordi Papaseit, Stru
Judith Casas, Tomás Kenny, Mas
Filippo Abrami, Constance Coll
Lieurade, Iben Jorgensen, Lucia Berr
Gutiérrez, Gimena Alvarez, Phd
Agustina Bersier, Mariela Allievi,
Toni Cladera, Claudia Calvet.
Photography: Adrià Goula.

JAJA ARCHITECTS
PARK AND PLAY
p 44
Client: By & Havn
Photography: Rasmus Hjortshøj
- COAST.

126 GENERATORS, LINKERS, MIXERS & STORYTELLERS. COMPLEX BUILDINGS SERIES

a÷t
MAIO
EXHIBITION DISPLAY SYSTEM
FOR SPECIES OF SPACES AT
MACBA
p.70
Authors: Maria Charneco,
Alfredo Lérida,
Guillermo Lopez,
Anna Puigjaner
Collaborators:
Miguel Bernat, architect
Macba, Arquitectura I Serveis
Generals
Cap D’arquitectura I Serveis
Generals: Isabel Bachs
Coordinadors De Projectes
Despais: Eva Font
Curator: Frederic Montornès
Constructor: Opersis
Macba
Photography: José Hevia.
110 ROOMS. COLLECTIVE
HOUSING
p 70
Authors: Maria Charneco,
Anna Puigjaner, Aifredo Lérida
Guillermo Lopez
Landscape architect: Beatriz
Bo rq u e
Technical architecst: Gaspar
Alloza, Vanesa Solano
Engineering: Font i Armengol
Structural engineering:
Masala Consultors
Collaborators (office): Miguel
Bernat, Nüria Ortigosa
Photography: José Hevia.
NLARCHITECTS I BEL
SOZIETAT FÜR ARCHITEKTUR
SPIELBUDENPLATZ URBAN
PLAN
p 108
Team BeL: Anne-Julchen
Bernhardt, Jorg Leeser, Paula
Frasch, Matthias Hoffmann,
Conrad Kersting, Christiane
Schmidt. Wolfgang Zeh
Team NL: Kamiel Klaasse,
Kirsten Huesig, Barbora
Hiavackova, Laura Riano, Laura
Nazzari, Guilia Pastore
Client: Bayerische Hausbau
GmbH & Co. KG, Bezirksamt
Hamburg Mitte
SPIELBUDENPLATZ PLOT 1
p 114
Team NL: Kamiel Klaasse,
Pieter Bannenberg, Walter van
Dijk, Kirsten Hüsig, with Giulia
Pastore, Laura Riano, Jasna
Kajevic, José Lacruz,
Lea Caubet.
Team BeL: Anne-Julchen
Bernhardt, Jdrg Leeser,
Christiane Schmidt, Alia
Mortada, Julia Kaulen, Michel
Kleinbrahm, Jonas Läufer,
Wolfgang Zeh
Collaborator: Ingenieurburo für
Tragwerkplanung
Client: Bayerische Hausbau
GmbH.
STUDIO MUOTO
URBAN CONDENSER
p 26
Consultants Y-Ingénierie,
Bollinger & Grohmann,
Alternative, Novorest
Photography: Maxime Delvaux.
GENERATORS, L[NKERX, MXERX & STORYTELLERS COMPLEX BULOINGX XERrEX
a÷t
URBAN-THINK TANK
FABRICA DE CULTURA: BAQ
p 40
A project by the Urban-Think
Tank Chair of Architecture and
Urban Design at ETH Zurich
in collaboration with SECO
(Swiss State Secretariat for
Economic Affairs), the Inter-
American Development Bank,
FINDETER (Colombian Institution
for Territorial Development),
and Universidad del Norte
Barranquilla.
Leads: AIf redo Brillembourg &
Hubert Klumpner (Urban-Think
Tank/ETH Zurich)
Project Manager:
Diego Ceresuela
Team: Lea A. Ruefenacht, Marie
Grob, Sofia Avramopoulou, Marta
Domenech, Maria Paula Celia,
Melanie Imfeld
Structural Engineer: Philippe
Block, David Lopez,
Marcel Aubert, Tomas Mendez
(Block Research Group)
Sustainability Engineer: Arno
Schlueter, Jimeno A. Fonseca,
Prageeth Jayathissa
(ETH Zurich)
Sun Studies: Gerhard Schmitt,
Estefania Tapias (ETH Zurich)
Universidad del Norte
Architecture Team: Manuel
Moreno, Fabian Amaya,
Guiselle Garcia
Structural Engineer: Andres
Guzman, Osvaldo Guzman
Mechanical Engineer:
Antonio Bula, Jose Solano
Electrical Engineer: Daniel Soto,
Rafael de Jesus Castillo
Hydraulic Engineer:
Augusto Sisa
Transport Engineer: Victor
Cantillo, Boris Goenaga
Cost Control: Luis Villadiego
Security/Communication:
Lacides Ripoll.
FABRICA DE CULTURA: GROTAO
p 42
Client: Prefeitura do Municipio de
São Paulo, Secretaria Municipal
de Habitação, Superintendéncia
de Habitacao Popular
Leads: Alfredo Brillembourg &
Hubert Klumpner
(Urban-Think Tank)
Project Manager:
Wagner W. Rebehy
Project Architects: Ciro Miguel,
Lindsey Sherman,
Michael Contento
Team: José Paulo Gouvéa, Maria
Wolf, Gustavo Lopes, Luiza
Andrade, André Pepato, André
Nessi, Felipe Barradas
Structural Engineer: Kurkdjian
e Fruchtengarten Engenheiros
Associados
Landscape: Raul Pereira
Arquitetos Associados
Dynamics/Water Engineer:
Eric Rothstein, Ian Lipsky, Alex
Renner (eDesign Dynamics)
Sustainability Engineer: Thomas
Auer, Jochen Lam, Tobias Fiedler
(Transsolar)
Acoustic Engineer: Eckard
Mommertz (Muller BBM)
—
V+, ROTOR
MAD BRUSSELS
p 62
Client: Régie Foncière de
Bruxelles
Architects: V+, Rotor
Collaborators: Greisch, Ecorce,
Daidalos Peutz, Bureau
Bouwtechniek, SGI ingénieurs
Photography: Maxime Delvaux.
127