Mark Magazine#70

Another Architecture N°70 October — November 2017
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Mark 70 October — November 2017 005
Plan
022
010 Notice Board
020 Cross Section
022 MVRDV Poznań

024 Sanjay Puri Ranchi
026 Game Design
028 Next / Rudy Uytenhaak Utrecht
030 Eric Owen Moss Culver Ci
032 Andreas Gruber Barbiano
034 Pentaplan Graz
036 Infographic
038 Case Design Lavale
040 Optimist Design Los Angeles
042 Socie of Architecture Seoul
044 CCPM Buenos Aires
046 AL_A London
048 Aki Hamada Ayase
050 Freaks Fermanville
052 Atelier Stěpán Sazovice MVRDV
Mixed-use building in Poznań
Photo Ossip van Duivenbode
054 Pers ective

Affordable Housing in Los Angeles
056 Michael Webb discusses LA’s

housing crisis. 058
058 Brooks + Scarpa provides shelter and
securi to formerly homeless people.
066 Lorcan O’Herlihy adds a bit of
public space to a disparate ci.
074 Michael Maltzan houses the
homeless.
Brooks + Scarpa
Housing in Los Angeles
Photo Brooks + Scarpa
006 Mark 70 October — November 2017
082 Lon Section
084 SelgasCano’s auditorium in 098

Plasencia took 12 years to
complete, but today it sits at the
edge of the ci, with no apparent
plans to assimilate.
098 Antonin Ziegler’s projects blend
in with their surroundings, while
also showing how they change
over time.
112 MVRDV makes Seoul a greener
place.
122 Blade Runner 2049 manipulates
architecture to magical effect.
130 Productora unearths new ways of
living with history.
144 Labics builds public space on the
eternal ci’s edge.
154 Ramos Castellano designed
a hotel for hikers on the Cape
Verdean island of São Vicente.
166 Carlos Teixeira talks about
Antonin Ziegler
the books and magazines that Photo Alice Boursini
influenced him and explains why

reading Baudrillard is dangerous.
170 Tools
122
176 Exit
Blade Runner 2049

Image Warner Bros.
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008 Mark 70 October — November 2017
Mark is published Cover Photography

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ARCHITECTURE FROM ITS
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010
Mark 70
Notice
Board
Notice Board 011
‘Danes
delivered the
S dne O era
House
and Sydney Fish Market General Manager
Bryan Skepper about 3XN’s design for the
market’s new accommodation, page 013
we have reat
ex ectations
that the will
deliver a ain’
012 Mark 70 Notice Board
Rendering by A2 Studio
3
013
1 Wonderwoods
Utrecht – Netherlands
MVSA Architects and Stefano
Boeri Architei
– Two towers (70 and 90 m
high, totalling 65,000 m2)
with residential, office, leisure
and retail space
Expected completion 2022
mvsa-architects.com
stefanoboeriarchitei.net
4
2 Vendepunktet
Copenhagen – Denmark
WE architecture + Erik Juul
– Transformation of Jagtvej
69 into temporary housing for 5
homeless people
Expected completion
undisclosed
we-a.dk
3 New Cyprus Museum

Nicosia – Cyprus
Architects for Urbani
– 16,000-m2 museum
Competition entry
architectsforurbani.com
4 Link
Riga – Latvia
NRJA
– Multipurpose residential
building
Competition entry
nrja.lv
5 Fish Market
Sydney – NSW – Australia
3XN
– Fish market in Blackwale
Bay on Bridge Road in Glebe
Ground breaking late 2018
3xn.dk
1 Jonas
Amsterdam IJburg – Netherlands
Orange Architects
– 29,000-m2 apartment building
with communal facilities 1
including offices, restaurants,

a cinema, a lounge and a rooop
terrace
Expected completion undisclosed
orangearchitects.nl
2 Ilot Queyries
Bordeaux – France
MVRDV
– 23,000 m2 of housing (308
apartments), a rooop restaurant,
a collective garden and a parking
garage with 282 spaces
mvrdv.com
3 La Forêt Urbaine
Paris – France
Ma eo Cainer Architects
– Renovation and transformation
of a 1,433-m2 penthouse
Expected completion July 2018
maeocainer.com
3
015
4 4 Op Dreef
Utrecht Overvecht – Netherlands
Team V Architecture
– Student housing complex
with 629 units and a range of
collective and public facilities
Ground breaking late 2018
teamv.nl
5 FF Zeus Campus
Mare Island – CA – USA
MAD
– High-tech industrial park
with 20,903 m2 of office space
for electric car manufacturer
Faraday Future, including a user
experience centre rising into a
sculptural, reflective tower
Expected completion undisclosed
i-mad.com
Rendering by Zwartlicht
5
Ross Pavilion
wHY
Edinburgh
US-based design practice wHY
has won the international design
competition for the new Ross
Pavilion in the West Princes Street
Gardens, Edinburgh. Organized by
Malcolm Reading Consultants, the
first stage of the competition saw
submissions from 125 teams from
22 different countries.
At the competition’s second
stage, seven shortlisted teams
produced concept designs for
a new landmark pavilion, a
visitor centre with café, and
improvements to the surrounding
gardens. e new pavilion will
provide a platform for arts
and cultural programming.
wHY’s winning team included
Edinburgh-based design studio
GRAS, Groves-Raines Architects,
Arup, Studio Yann Kersalé,
O Street, Stuco, Creative Concern,
Noel Kingsbury, Atelier Ten and
Lawrence Barth. Construction
is expected to begin in 2018.
Page Park Architects
BIG
017
William Mahews Associates and Sou Fujimoto
David Adjaye
Reiulf Ramstad Arkitekter and Forbes Massie Studio
Flanagan Lawrence
Rendering by WAX Architectural Visualisations

1
2 Renderings by Di-ora-ma
1 e Sax
Roerdam – Netherlands
MVRDV
– 82,200-m2 tower with 450
apartments, a hotel with 150
rooms, a parking garage and
commercial units
mvrdv.com
2 Kazakhstan Memorial
Astana – Kazakhstan
KAMJZ / Maciej Jakub Zawadzki
– Memorial complex in Astana
Limited invited competition
kamjz.com
Dornbracht
Culturing Life
Touchfree
Availa
for alble
serie l
s
dornbracht.com/touchfree
020
Mark 70
Cross
Section
Cross Section 021
‘In this
bustlin
Metabolist
metro olis one
needs
to beware
of
violent
nudists’
Oliver Zeller on the design of
video game Too 42, page 026
022 Mark 70 Cross Section
Geometry Lesson
MVRDV creates a new landmark for Poznań.
Text Michał Haduch and Bartosz Haduch

Photos Ossip van Duivenbode
Poznań, Poland’s fih largest ci , the lap of renowned Roerdam- adheres to specific nctional by the nearby Haven Square,
has long been known as a thriving based practice MVRDV. requirements. e complex features an outdoor leisure area, and the
centre of business. One of the e Dutch architects generously glazed windows with historical Concordia Design
ci ’s most success l players is came up with an intriguing protruding concrete frames that building.
Piotr Voelkel, a rniture coon, 67-m-high structure that changes reference the original façade of Foreign architects haven’t
universi founder and real estate its appearance as the observer Poznań’s Okrąglak, a modernist had much luck in Poznań. Daring
developer. Hoping to create a moves to different vantage points. rotunda designed by Marek schemes by Daniel Libeskind,
potential icon for his hometown, Seen from the south, the tower Leykam in 1948. Claudio Silvestrin and Tadao Ando
he bought a large open plot in resembles a stepped pyramid, but Recently inaugurated, the all failed to materialize. MVRDV’s
the heart of Poznań, a site once viewed from the north, it reveals 16-storey, 25,000-m2 development ambitious Bał k project not
occupied by the Bał k cinema, a strikingly recessed base. Rather accommodates offices, retail only escaped their fate but has
which gave its name to the new than being purely decorative, outlets, a panoramic rooop every chance to become a modern
project. Voelkel organized an open though, the geometrically restaurant, a one-room hotel symbol of the ci .
architecture competition, but he sculptural form of the high-rise and three levels of underground mvrdv.nl
wasn’t satisfied with the results, was designed in compliance with parking. It boasts large cascading
and the task ultimately landed in local building regulations and terraces and is complemented
MVRDV Poznań — Poland 023
+6 +13
O=169,7/A=260
A
+3 + 10
0 2 0 9 0 00
t pe 04 y e 02
O=169,7/A=260
pe 2
O=169,7/A=260
w
pe 2
O=169,7/A=260
w
O=169,7/A=260
e tower appears to change shape,
depending on the viewing angle.
Sanjay Puri Architect Ranchi — India 025
Plan (even levels)
Plan (odd levels)
Spacious balconies, some of which are double-height,

add a sense of openness to each of the apartments.
House in the Air

Sanjay Puri’s residential tower in Ranchi finds a middle
ground between traditional houses and apartments.
Text Lauren Teague

Photos Dinesh Mehta
In 2000 Ranchi became the apartment blocks, many of of the building. Each apartment by providing each apartment
capital of the East Indian state which consequently remain occupies a ll floor. with spacious balconies, some
of Jharkhand. Since then, the unoccupied. In March this year, ‘A few years ago, land in of which reach a height of 6 m.
ci has seen a rapid increase in Mumbai-based architect Sanjay the ci became very scarce and, ese outdoor spaces are intended
urban population, leading the Puri approached the problem by therefore, expensive. People could to make residents feel more
government to relax restrictions incorporating the openness and no longer afford private houses,’ comfortable as they adjust to
that limited buildings to a flexibili of traditional houses says Sanjay Puri. ‘Recently, only their new homes. ‘ e angled
maximum height of 15 m. into a 15-storey residential high-rise buildings have been geometry allows partial cover to
However, most of the ci’s tower at the edge of a main road. constructed, but a lack of open each balcony, while exposing it to
residents are accustomed to Ishatvam 9 is composed of two balconies and terraces in these the s and creating a completely
detached houses with private layered plans – one for odd- new buildings makes people open feeling as it extends from
gardens and are unenthusiastic numbered levels and one for even reluctant to buy apartments.’ the interior.’
about moving into new – which alternate up the course Ishatvam 9 resolves this key issue sanjaypuriarchitects.com
Metabolism
Goes Pop
Sean Wright and Maciek Strychalski design an

isometric architectural rooop wonderland.
Text Oliver Zeller

Images SMAC Games / Mode 7
Too 42, a new video game by Death, however, is short-lived as an artificial nature [and] new land’ resemble exploits such as
two-man team SMAC Games everyone subsists on nano-med – is brought to an eye-catching Kurokawa’s Nakagin Capsule
(Sean Wright and Maciek pills that result in resurrection; extreme in Too 42, which is Tower and Moshe Safdie’s Habitat
Strychalski), inserts the player one of many apparent nods to replete with recessed plazas, ’67. Even what the makers call
into an isometric architectural metabolism. spiralling walkways, temples, a ‘slight touch of green in the
rooop wonderland. While Visually designed cascading waterfalls and the fluorescent light of To o’ became
it shares the perspective and by Maciek Strychalski, an Japanese rock gardens that lend the source of a building colour
visual minimalism of Monument architecture graduate from inspiration to minimalist pa erns used to capture the essence of the
Valley (Mark 51, page 28), this is a the Universi of Cape Town, decorating the artificial ground. ci amid a clash of sles.
bustling open-world metropolis Too 42 shis from neon-based ese pa erns include geometric To some extent, this
with linked hyper architecture perceptions of the ci to become shapes in which the colour from fantastical abstract depiction
situated above the clouds: a kawaii something even more hypnotic one building spills into the next, of ture To o reflects the
(Japanese for ‘cute’) pastiche of and playl. producing a visual symbiosis fascination – in Japan and
traditionalism, brutalism and A desire to avoid artificial emblematic of the connections throughout much of Asia – with
Japanese Metabolism, with a boundaries in the urban spaces between cells that influenced themed spaces, from amusement
splash of psychedelic pop art. led Strychalski to elevate the the work of founding Metabolist parks and artificial beaches to
Framed for a murder your environment. is is a common Kisho Kurokawa. copycat architecture.
character didn’t commit, your only theme among the Metabolists, e game’s abundant In Too 42, a Metabolist
recourse is to become an assassin whose fascination with artificial ground detail and bold colours playground awaits. Just beware of
in a landscape where violent ground – delineated by architect form a pleasant juxtaposition violent nudists.
nudists clash with the yakuza. Masato Otaka as ‘a means to create to its brutalist buildings, which
Up the Slope
Text Leina Godin
Photos Jeroen Musch
Next Architects continues to e path circles around a bowl-

impress with its growing portfolio shaped playground and garden
Next Architects and Rudy of architecture and infrastructure
projects. A recent example is a
that announce the school entrance,
which opens into an inner
Uytenhaak lead a bicycle bridge bicycle bridge that glides above courard. As the path passes over
a new school in the Dutch ci of the roof of the school, cyclists are
over the roof of a school. Utrecht. Developed in partnership met by the first set of asymmetric
with Rudy Uytenhaak, the bridge pylons that support the slim
connects the ci centre to the suspension bridge. ‘In one fluid
new district of Leidsche Rijn. movement, the cycle route, park
It features a bold swirling loop and school are brought together
that dips and slides through the to form a cohesive whole of
residential neighbourhood. e infrastructure, architecture and
generous slope of the access landscape,’ says Marijn Schenk of
ramp, which ascends to a height Next Architects.
of 7 m, leaves room for the school Seen from the Leidsche
buildings below. Rijn, the bridge is exceptional in its
Next Architects — Rudy Uytenhaak Utrecht — Netherlands 029
presence and height, as the pylons

pierce the s and the cyclists begin
their climb. Arriving on the other
side, they sense the pylons opening,
aligning themselves with a row of
trees and offering a clear view of
the denser ci centre.
e Dafne Schippers Bridge
– named aer the famed Dutch
athlete and resident of Utrecht –
opened in April 2017. If estimates
are correct, the bridge will save
time for more than 7,000 cyclists
daily, during their commute across
the Amsterdam-Rhine Canal.
nextarchitects.com
uytenhaak.nl
Photo Mastum Daksystemen / Maurice Iseger
e curved bicycle ramp gives shape to the school playground.
Site
Section
Roof
Steel Wave
Eric Owen Moss’s newest addition
to the Hayden Tract sways like a
twisted stack of paper.
+2
Text Michael Webb
Photos Tom Bonner
Waffle is a three-storey tower Kahn chanced upon it and was

named for its grid of painted so impressed that he decided
steel fins and louvers that swell to turn it into Vespertine,
and sway like a twisted stack of an upscale restaurant. He
paper. Inside, the undulating steel commissioned the Moss team
columns that support the floor to landscape the space around it
slabs are clearly exposed: a raw as a sculptural concrete garden,
expression of structure that has install polished steel seating
+1
become a signature of Eric Owen in the first-floor dining room,
Moss. It’s the latest addition to black Dektron cooking stations
the Hayden Tract, a 30-hectare in the second-floor kitchen, and
expanse of warehouses in Culver informal seating on the rooftop
Ci that this maverick architect terrace. From here, there’s a
has been tweaking and enriching panoramic view over warehouse
over the past three decades. Like roofs and Moss’s additions, to
the rooop Pterodacl (Mark 57, green hills and the towers of
page 132), the design evolved over downtown Los Angeles, about
many years, and it conducts a 12 km away. What was once a
dialogue with the steel frame of an void in search of a productive use
industrial press, named the Cactus has become a total work of art,
Tower for the saguaros that rise impeccably detailed. As such, it
from suspended planters. validates Moss’s conviction that
The Waffle was conceived
as an adjunct to neighbouring
architecture can be entirely self-
sufficient, with no need for an
0
offices, to be used as a showroom artist to adorn it.
or conference centre. Chef Jordan ericowenmoss.com
Section
Eric Owen Moss Culver Ci — CA — USA 031
e steel structure is
consistent yet irregular.
Mountain Home
Andreas Gruber nestles
a concrete house
against an intimidating
rock face.
Text Monica Zerboni

Photos Gustav Willeit
Barbiano, a rural village on the has designed a potential icon the building and blend with the e thickness of the outer walls
steep slopes of the Isarco Valley of contemporary architecture: landscape. allowed the architects to integrate
in South Tyrol, is the seing minimalist, experimental, Stark white walls inside built-in rniture, such as a deep
for a new residential building environmentally friendly. Similar the building contrast with wooden window seat with a
that seems sympathetic to its to an inhabited boulder, the its dark, rough exterior. e magnificent perspective of the
surroundings, in spite of its residence is constructed from a simplici of the interior design mountains in the distance.
unusual design. ‘e peculiar rough, porous kind of concrete draws aention to breathtaking Rooms rotate around an
climate in the Alps, as well as local called Dämmbeton. Used for the views of the Dolomites, which are aerial staircase with cantilevered
energy-saving regulations, forced dwelling’s 60-cm-thick walls, framed by windows throughout treads, while another focal point
us to use building materials that the material offers high thermal the house. In addition to an open- of the house is a timber-lined
wouldn’t produce waste,’ explains efficiency and is lly recyclable. plan kitchen and living room, room that Gruber describes as a
young architect Andreas Gruber. e architect hopes the porous the house has three bedrooms, modern version of the traditional
A native of the region and walls will provide a foothold for a bathroom, a television room Tyrolean Stube.
a convinced ecologist, Gruber greenery to eventually grow over and a multinctional space. architektgruber.com
Andreas Gruber Barbiano — Italy 033
Andreas Gruber included his interpretation of the Tyrolean Stube.
-1
e bathroom window offers an unexpected view of the steep rock
-2 face outside, which threatens to touch the glazed surface.
Cross Section
e inner courard is a communal

space that is accessible to everyone
who lives in the Eenberg building.
Playing on Two Sides

Pentaplan provides Graz with an apartment
block that features a secret elevated garden.
Text Lauren Teague

Photos Paul O
e peaks and troughs of the that would be different to

Eenberg building in Graz ‘conventional housing’ in the
might share a familiar silhouee area. Cavities in the sloping Seen from the street, the building
with the Austrian Alps, but aluminium roof form generous has a dominant urban character.
the architect’s primary concern terraces for some 40 per cent of

was how to deal with a varied the apartments, which overlook
ciscape. ‘e surroundings a communal courard on the
are very mixed,’ says architect first floor that forms the roof
Oliver Wildpaner of local studio of the ground-floor car park.
Pentaplan. ‘ere is architecture Bronze-painted railings lining
of the Wilhelminian sle [late the terraces contrast with the
19th-century], tall structures from plastered façade. e apartments
the 1970s, allotment gardens and themselves occupy the perimeter
some enormous trade buildings. of the site, creating a kind of
We had no set sle to emulate.’ buffer between public and private
Additionally, the 100-x-100-m plot space. ‘As a resident, you can
of land – a pical size for the area enjoy the liveliness of the street
– is enclosed on all four sides by on the outside and the calmness
public roads. and intimacy of the garden on
Comprising 149 the inside,’ says Wildpaner. ‘e
residential units, with flexible Eenberg courard is a quiet
commercial space incorporated paradise – a hortus conclusus that
into the ground floor, the angular is both in and away from the ci
building thanks its shape to at the same time.’
Pentaplan’s desire for a project pentaplan.at
Pentaplan Graz — Austria 035
Photo Christian Repnik
+3 Section
Yayladagi
Islahiye camp 2
Apaydin
Islahiye camp 1
Regee Land
Oncupinar
Serbia Elbeyli
Suruc
Nizip camp 1,2
Central and Southern Serbia* Karkamis
Bulgaria** Akcakale
Harran
Viransehir
Ceylanpinar
Syro-Turkish border
Turkey 183,891 refugees
Adiyaman
Kahramanmaras Merkez
Duhok*
Erbil*
Iran
Iraq
zoom in
Tindouf*
Algeria
Lybia**
Touloum
Am Nabak
Mile
Kounoungou
Gaga
Farchana
Treguine
Bredjing
Mauritania Djabal
Chadian-Sudanese border
220,024 refugees Sudan
Niger
Mbera Northern Darfur*
Intikane Khartoum*
Oure Cassoni Wad Sherife
Abala Chad Iridimi
Eritrea Yemen
Shagarab 2
Tabareybarey Eastern Darfur* Hitsats
Western Darfur* Berhale
Mentao Central Darfur* Lahij*
Shagarab 1 Mai-Ayni
West Kordofan*
White Nile*
Burkina Faso** Goz Amer Southern Darfur* Asaita Yusuf Batil Djibouti
Kaya
Guinea Minawao Blue Nile* Sherkole Ali-Addeh
South Kordofan* Awdal
Tsore Awbarre
Yida Gendrassa Bambasi Camp Woqooyi Galbeed*
Tongo Sheder
Ghana Dosseye C.A.R. Ajuong Thok Kebribeyah
Nugaal*
Gore* Togdheer* Sool*
Doro
Togo Cameroon Borgop
Nana-Gribizi* Haute-Kotto* South Sudan
Ouham* Ethiopia Somalia
Nana Mambere Lakes*
Garoua-Boulai Ouham-Pende* Basse Kotto
Liberia Gado Badzere Haut-Mbomou* Galgaduud*
Mambere Kadei Lobaye Mbomou* Hiraan*
Gbiti Mole
Lolo Inke* Lasu Adjumani* Bakool
Mbile Kenzou Shabelle Dhexe
Boyabu Kakuma
Gedo*
Bidi Bidi Palorinya Bay* Banaadir*
Kambioos Shabelle Hoose*
Dem. Rep. Uganda Ifo 2
Ifo Juba Dhexe*
of the Congo Dagahaley
Hagadera Juba Hoose*
Gihembe Kenya
Kirehe
Kiziba
Rwanda
Refugee camps caused by Palestinian exodus Gatsibo*
Nyamagabe*
Burbiey
Nguenyyiel Kavumu
Lusenda
Mtendeli
Neirab
Tierkidi Burundi Nduta Melkadida
Kule Bokolmanyo
Jewi Nyarugusu Ulyankulu Kobe
Pugnido 2 Mishamo Hilaweyn
Pugnido Buramino
Latakia Camp Gambella Tanzania Melkadia
270,683 refugees 204,382 refugees
Katumba
Syria
Zambia**
Nahr el-Bared
Beddawi
Meheba
Lebanon Malawi
Dzaleka
Yarmouk Mayukwayukwa
Burj el-Barajneh
Sbeineh Jaramana
Ein el-Hilweh
Khan Eshieh Qabr Essit
El-Buss Khan Dunoun
Burj el-Shemali Mozambique
Rashidieh
Dera'a
Irbid
Tulkarm Husn Zaatari
Askar Souf
Balata Jerash Botswana
West Bank
Baqa'a Zarqa Namibia
Dheisheh Marka
Gaza Strip
Amman New
Camp
Jabalia
Rafah Beach Jabal el-Hussein
Khan Younis Bureij, Maghazi
Deir el-Balah
Nuseirat Jordan
Infographic 037
Takhar*
Faryab* China
Baghlan* Timer
Badghis*
Ghor* Panian
Paktya*
Afghanistan Kot Chandna
Paktika*
Barakai
Akora Khattak
Saranan Khairabad
Badaber
Old Shamshatoo Fujian*
Punjab
113,582 refugees Nepal
Pakistan
Guangdong*
Bangladesh
Guangxi*
Yunnan*
India Kutupalong
Nayapara
Mai Nai Soi

Hainan*
Mae Ra Ma Luang
Mae La
Umpium
Nu Po
Thailand
Tamil Nadu*
Text and graphics eo Deutinger and

Ekaterina Vititneva
Of the 33 million people that are se lement, which opened in

currently uprooted from their August 2016. A half year later,
homes worldwide, 12 million Bidi Bidi was harbouring no
are regees that live in one of fewer than 270,000 regees, Indonesia
450 regee camps. As nations making it the largest camp in
solidi more and more, people the world and the second largest
find themselves stranded in ci in Uganda – until hostilities
foreign countries, floating in a are over and its inhabitants can
legal and social limbo. e state of return home.
statelessness continues to grow, Even when the structures
and regee land keeps adding erected are meant to be temporary,
new cities. Regee camps seem though, one never knows how Legend
to be an old-world phenomenon, long a camp will exist. e Camp sizes and year of construction
an observation confirmed by the oldest UN regee camps shelter
1940 - 1960
1960 - 1980
1980 - 2000
complete lack of camps in the displaced Palestinians who found

2000 +
Americas and Australia, according themselves homeless when the

to the UNHCR. State of Israel was established in
> 100.000
When a crisis arises in one 1948. Now 70 years old, the camps Camps marked with * are spread
country, regee camps instantly that serve Palestinians – such as 50.000 - 100.000 over larger regions; precise
10.000 - 50.000 locations are not available.
pop up in neighbouring states. the Khan Younis Camp in Gaza,
Take, for instance, the conflict which houses over 80,000 people 5.000 - 10.000 Countries marked with ** have
in South Sudan, where figures – are nothing like the camps 1.000 - 5.000 regees that are dispersed around
released by the UNHCR show previously mentioned. ey are the country.
< 1.000
the internal displacement of 1.9 towns and cities with houses made
Information on the camps shown
million people and the departure from bricks and concrete. But even Refugees per country
here is based on data from 2016,
of 1.6 million more who fled to when the foundations, walls and > 1.000.000 provided by the United Nations
another country to escape the roof of your dwelling are as solid High Commissioner for Regees
250.000 - 1.000.000
(UNHCR) and the United Nations
South Sudanese Civil War. Bidi as a rock, it will feel temporary as 25.000 - 250.000 Relief and Works Agency for
Bidi, for example, was a small long as your dream is a safe return Palestine Regees in the Near
< 25.000
village before becoming a regee to the place you call home. East (UNRWA).
Cooling Down
Case Design uses low-tech
climate engineering.
Set back from the building’s edge, bamboo screens provide

shade and protection from rain.
Text David Keuning

Photos Ariel Huber
American architect Samuel columns. Classrooms surround a the classrooms: at night, the includes the Mumbai area. It
Barclay and Dutch architect spacious veranda that features a temperature of the concrete falls, makes for a rather unique work
Anne Geenen were employed by void. On the roof are eye-catching and the resulting chill is released milieu – one that’s inaccessible to
Studio Mumbai in India, when air ducts that provide the building during the day.’ most architects in the Netherlands
in 2013 Barclay was asked to with natural ventilation; the Barclay and Geenen spend and the USA. With this advantage
design school buildings and an architects collaborated with quite a bit of time at the building in mind, we’ve set up Casegoods, a
accompanying campus in Lavale, the New York office of climate sites of their projects, where line of rniture, lamps and objects
a village 10 km west of the ci of engineering firm Transsolar. ‘A they demonstrate mock-ups to produced in collaboration with
Pune. e project led to Barclay’s tight budget forced us to forgo construction workers, who play local carpenters, metalworkers and
establishment of Case Design, elaborate finishing touches,’ says a major role in the execution of other artisans.’
where he was joined by Geenen, Geenen. ‘You’ll find no lowered the architectural design and of casedesign.in
who is now a partner in the firm. ceilings, for instance, a decision certain details. ‘What makes India
e first building they that also complies with our so interesting,’ says Geenen, ‘is
completed for the Avasara climatic concept. Unadorned the traditional cra smanship
Academy is a simple arrangement ceilings, together with the massive that’s still available throughout
of concrete walls, floors and volume of concrete, help to cool the country, and that definitely
Case Design Lavale — India 039
Long Section
+3
+2
Open façades and a void in the hallway

allow for cross ventilation.
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Mr Schaedler Builds
His Dream House
Production designer Tino Schaedler picked
a dramatically steep street in Los Angeles as
the seing for his self-designed home.
+1
affini for the dramatic.

‘I immediately fell in love with
the lot,’ he says. ‘It has such a
great vibe, an amazing view and
beautil sun exposure.’
Working in the film
industry but trained as an
-1 architect, Schaedler designed

the family home himself, using
Text Lauren Teague his professional experience as
Photos Kris Grunert inspiration. ‘My wife and I talked
a lot about how we envisioned
LA’s Baxter Street is reputed to be certain scenarios playing out in the
one of the steepest streets in the house,’ he says. ‘We began writing
United States. With a 32 per cent up these moments and designing
gradient (on both sides), not only the space around them – similar
do you have to see it to believe it; to the journey a script takes from
you’re also le wondering who storyboard to screen.’ Among the
in their right mind would build results of their conversations are
on it. Production designer Tino an outdoor terrace featuring a
Schaedler, looking for a building kitchen with an integrated wood-
site, didn’t see the problem; the fired oven to encourage the family’s
founder of Optimist Design has an love for cooking (especially pizza);
Optimist Design Los Angeles — CA — USA 041
Tino Schaedler: ‘Legend has it that

Charlie Chaplin perfected his signature
walk on Baxter Street in order to find
an easier way up the slope.’
a motorized projection screen

recessed into the ceilings of both
living room and terrace, as well as
hidden speakers throughout the
house for all-round sound; and,
in the living area, a 3.65-m-wide
panoramic window that frames
a view over the Hollywood Hills,
accompanied by a giant window
seat that doubles as a chill-out zone
for watching movies. Alongside
the entertainment gadgets, a
large proportion of the rniture
and surface materials were also
custom-made, conforming to
Schaedler’s image of what his
dream house should be. ‘I love
figuring out the details and doing
it exactly how I imagined,’ he says.
‘I think there is a beau in bespoke
design, as it feels very personal
and unique to the house.’
optimistdesign.com
Underworld
Socie of Architecture
transforms a former
disconnected traffic island
into an art installation.
Text Jinyoung Lim

Photos Kyungsub Shin
Malli-dong Square, which is next asked to create an art installation with a series of highly reflective the reflective bars diminish the
to Seoul Station, used to be a that would imbue the square 1.2-m-high horizontal bars. At depth of the space and fracture all
disconnected island, cut off from with a sense of place. street level, only the bars are visible, images, resulting in ever-changing
its surroundings by busy roads. Playing with the imagery and they form a visual boundary surfaces and affirming the name
The situation changed when of pedestrians crossing the between the elevated walkway and of the installation, Yunsl, which
MVRDV’s Seoullo 7017 project elevated walkway, the architects the underground void. means ‘small waves that reflect
began with a renovated, elevated came up with a ‘kaleidoscope’ Visitors can enter the the light of the sun or the moon’.
walkway that offers access to the that reflects and refracts their concave underground space, e pixillated slope of the curved
square (see page 110). Society of movements. Instead of erecting an escaping the hustle and bustle pit blurs all sense of perspective.
Architecture – a local outfit that installation above ground, Socie of the ci, by descending from At the same time, the contrasting
comprises Yerin Kang, Chi Hoon of Architecture had a large pit openings between two bars. paern of the regularly spaced
Lee and Jae Woen Lee – was dug. is excavation is covered Seen from the boom of the pit, bars combines with this slope
Socie of Architecture Seoul — South Korea 043
Cross Section
to produce an intriguing moiré
effect. Like the coloured pieces
of glass in a kaleidoscope make
paerns by deflecting light, Yunsl
deflects and recomposes space,
Long Section
as well as its visitors’ actions,
while transforming a part of the
incoherent urban landscape into
an invigorating collage.
socieofarchitecture.com
CCPM Arquitectos Buenos Aires — Argentina 045
First ings First

e very first project realized by
Constanza Chiozza and Pedro Magnasco
of CCPM Arquitectos involved the
renovation of their own house.
Text Lauren Teague

Photos Javier Agustín Rojas
Can you tell us about the project? as a consequence of various

CONSTANZA CHIOZZA: We interventions carried out since
were actually our own client. e its original construction in 1948.
renovation of the house we now Fortunately, it had a strong
live in triered our professional concrete foundation and didn’t
partnership and the establishment need much structural work. We
of our firm. Programmatically had to replace the roof, however,
speaking, we wanted a place where and the interior space was badly
we could both live and work. We fragmented.
never intended to highlight the
practical elements; we wanted to Please explain the unusual shape
shape an environment with an of the roof you designed?
integrated flow of light, natural CHIOZZA: e project coexists the layout, we were on our way which to create vertical continui
ventilation and green areas. Over in a highly dense area of low-rise, to understanding how to cover throughout the different areas
time, the project will be able to mid-century townhouses that the whole infrastructure with a of the house – for example, with
accommodate fluctuations in are being converted into high- continuous envelope. e white the recurrent use of chipboard
nction, eventually becoming rise buildings. Our house resists corrugated-metal roof, with its flooring – to make the closed,
more house than office – or more the surrounding development sculptural angles, coincides with claustrophobic spaces come to life.
office than house. but participates in urbanization the specific internal programming e relationship between the new
by extrapolating the rhythm of of our house. roof and the removal of certain
What was the condition of the the existing building. We used existing walls resulted in open,
house before you started the 3D modelling in an a empt to How did you address the compact light-filled spaces.
project? tackle the seemingly disordered floor area? ccpm.com.ar
PEDRO MAGNASCO: e organization of the interior. Once MAGNASCO: at was quite a
building had fallen into disrepair we could see a precise order for challenge. We looked for ways in
Section
A Museum without Walls

AL_A added an underground gallery to the
V&A while strengthening its link to the ci.
AL_A London — UK 047
By placing the entrance to AL_A’s

underground gallery within the
museum’s existing Western Range
Section
building, the architects maximized
the usable area of the courard.
Text Giovanna Dunmall

Photos Huon + Crow
It isn’t every day that London gallery from the square above and
inaugurates a new gallery and a through which visitors can see the
new public square. With AL_A’s folding structure that supports
Exhibition Road extension for the the all-ceramic surface beneath
Victoria and Albert Museum, the their feet. What’s more, the pa ern
ci has done just that. e revered for the courard is a digital
cultural institution now boasts a interpretation of the structural
1,100-m2 column-free subterranean truss below, a detail perhaps less
space designed for big temporary obvious to onlookers, however.
shows, as well as a striking piazza- Undoubtedly, the architects’
like courard (complete with the most radical and success l move
inevitable café) finished in glazed has been to open up the original
porcelain tiles by Royal Tichelaar 1909 Grade I listed masonry
Makkum, the oldest company in screen that used to divide the
the Netherlands. museum from the road. It had
Because the gallery been built to hide boiler houses,
space is underground, the now long gone, they argued. AL_A
architects were able to leave the removed the balustrades and walls
surrounding buildings, including between the existing columns and
the recently restored sgraffito replaced them with aluminium
façade of the museum’s Henry gates, poetically perforated to
Cole wing, largely untouched map shrapnel damage sustained
and unobscured. ‘One of the during the Second World War.
overarching concepts that drove e gates are kept open during
our thinking was how to deal with the day, making the extension a
the paradox of a project where the genuine urban project. ‘e street
big event is below ground,’ says comes into the museum, and the
AL_A founder Amanda Levete. museum goes out onto the street,’
‘How do we make visible the says Levete. ‘It’s a way of allowing
invisible?’ e architects met that the museum to engage with
challenge by creating a sweeping contemporary life beyond its walls.’
oculus that affords views into the ala.uk.com
Uncovering the Box

Aki Hamada added a
communi space to a
circuit-board factory.
space,’ says Hamada. e open- the deeper layers of a structure,
plan layout worked rather well to being ‘merely interested in the
accommodate the programmatic interface’ – as in the case of the
Text Cathelijne Nuijsink change he describes. ‘Instead of smartphone. ‘e building in
Photos Kenta Hasegawa storing machinery, the ground question is a substrate factory,’
floor has become an area where he says, ‘so its product, the
Situated in a semi-industrial zone closed, steel-structured box. He members of the local communi, circuit board, is always hidden
where ordinary homes sit next opted instead for an intriguing potential clients and employees from view by a body. erefore, I
to light industry, a circuit-board timber-framed creation with lots can meet.’ A young manager thought the kind of architecture
factory became the project of of apertures and, on both levels, actively coordinates ground-level this company needs is precisely
33-year-old Japanese architect Aki open-floor plans that can be communi activities, which something that exposes its deeper
Hamada, who was commissioned flexibly subdivided using fiings include meetings and parties. layers and even makes them
to design an extension to the installed within the building’s large Showroom displays, a lunchroom prominent. e hi-tech wooden
building on an adjacent car park. wooden beams. and rental space for workshops structure not only allows a free
Faced with the challenge of fiing e company initially complete the picture. e upper flow of people but also permits
a factory building comfortably planned the extension as a floor provides 26 company its users to build a relationship
into the everyday environment factory space for machines, employees with office space. with the architecture and the
of a residential neighbourhood, but during the design process Hamada says that environment.’
Hamada rejected the conventional it changed into a communi people today rarely discover aki-hamada.com
Aki Hamada Architects Ayase — Japan 049
Section
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Living with
the Elements
Freaks Architecture
converts an unsightly shed
into a comfortable cabin.
e cabin sits on a masonry retaining wall.

Freaks Architecture Fermanville — France 051
+1
Text Maryse Quinton

Photos Jules Couartou
Few could have imagined that

one day this tiny shed would
become a comfortable lile cabin.
Near the small French village of
Fermanville, in Normandy, the
windowless concrete structure
had been used as a storage space
for several years before being put
up for sale. When the new owner Two large sliding windows now
discovered the advertisement (and face the sea. Freaks Architecture
the low price) online, he didn’t bought all building materials at
hesitate. A prime location with a a local DIY shop. Roofing and
sea view is very rare. exterior insulation were replaced
Aer a thorough by a light, champagne-coloured,
renovation carried out by Freaks galvanized metal cladding.
Architecture, the shed became Confronted with such a limited
an ideal ‘Viking seaside summer space, the architects had to use
house’. e description is that of their imagination. e ground
the architects, who base it on the floor is very nctional. A toilet,
beachfront site and the history shower and open kitchen form
of the region. Built on the rocks the core. Furnishing the main
in the 1950s, the 3-x-4-m former room are several folding chairs
shed didn’t offer Freaks a lot of and a sofa bed. A double bed is
space to work with. French laws at mezzanine level. But the real
that protect the coast are stringent, living space is outdoors, subject
oen making it impossible to to the elements of nature: wind, e living space offers a magnificent view of the sea.
change either the size or shape sun and sea. In contrast with the
of existing structures. In the case busy Parisian life of the owner,
of a cabin with such an amazing the ‘Viking house’ is the perfect
outlook, however, size is of place to disconnect.
secondary importance. freaksarchitecture.com
Faith in Minimalism
Marek Stěpán designed a church in Sazovice
that evokes a sense of harmony.
the difficult task. e brief asked

for a modern yet spiritual building
that would embody the roots
of history and faith. Basing his
concept on a cylinder, he gradually
kneaded the shape until it became
the austere, organic structure he
had in mind. ‘As an architect,’ he
says, ‘I examined the church as
an enti , as well as its influence
on mankind.’ He wants users
to understand the institution,
consciously or unconsciously.
Experiencing the church and its
architecture subliminally can give
Unlike older churches, oen ll of visual information,
the Church of Saint Václav in Sazovice has a nave that worshippers a sense of balance
emphasizes the puri of the space. and harmony.
e design of the building,
reminiscent of a paper scroll,
refers to the traditional rotunda,
a rounded Romanesque pology
that was popular in the 10th
century, a period during which
Saint Václav, duke of Bohemia and
the Czech nation’s patron saint,
Section
lived and died, assassinated – on
Text Adam Štěch the orders of his brother – while
Photos BoysPlayNice still in his 20s.
e exterior of the building
Not many new churches were is solid, strong and earthy. Inside,
built in recent years in the Czech the architect created a calm sacred
Republic, the country in which 66 space highlighted by symbolic
per cent of those surveyed by the objects designed especially for
Pew Research Center in 2015-2016 the project. e circular nave
claimed to be nonbelievers. An is dominated by simple curved
exception is the Church of Saint seating that faces an altar, lectern
Wenceslas (or Václav in Czech), and font, all in gleaming bronze.
which is in Sazovice, Moravia, a e figurative wall painting of
traditionally Christian region. Saint Václav and Jesus Christ is
With a number of sacral the work of prolific Czech artist
notches already on his belt, Vladimír Kokolia.
architect Marek Stěpán accepted atelier-stepan.cz
Atelier Stěpán Sazovice — Czech Republic 053
-1 0 +1
054
Mark 70
Per-
spective
Perspective 055
‘Peo le
don’t
like
develo ment.
e
don’t
like Lorcan O’Herlihy on working with
neighbourhood groups, page 066
densi ’
056 Mark 70 Perspective
Tackling LA’s
Housing Crisis
Text
Michael Webb
ere is an urgent need to build many more featuring 30 exemplary projects from around housing for being too expensive, and the
apartments in all the major coastal cities of the the world. Four of them are located in architect is blamed [a charge levelled at Michel
US to relieve the shortage of affordable housing. Southern California and many more in that de Klerk in Amsterdam a century ago!]. In
Rapidly escalating prices are aravating the area deserved inclusion. fact, what drives up costs are the escalating
homeless problem. It’s estimated that there are e three newly completed projects requirements of overlapping agencies and
about 60,000 homeless people in Greater LA, a described in the following pages are models nding sources, including bank loans
number that rose 23 per cent in 2016. Everyone of their kind. Two were commissioned and tax credits. State, ci and communi
but the rich is being squeezed, and the lack of by the nonprofit Skid Row Housing Trust development agencies have overlapping
buildable land within the ci boundaries has (SRHT), which is devoted to accommodating requirements, and regulations encumber
driven developers to the desert areas – a two-hour the homeless; the third, by an enlightened projects with unneeded costs.’
commute by car from booming employment developer, is a rental proper . All stretch Zoning regulations need to be changed
opportunities on LA’s Westside. modest budgets to realize humane living to permit densification and the development of
Even when developers can overcome environments for people of modest means. unused sites. Maltzan built the prefabricated
the resistance to new construction in ey achieve a balance between private and Star Apartments atop a single-storey retail
residential neighbourhoods, they fall back shared spaces, open up to natural light and building in Downtown LA, and there are
on tired formulae to minimize risk and breezes, and find space for plantings. However, hundreds of underutilized warehouses to the
maximize profit. Far too many apartment these are isolated examples in a vast sea of east, which could provide the foundations for a
buildings at every price level are constructed mediocri . Radical solutions are needed, and new communi . To encourage developers to be
like cheap hotels: generic boxes that present architects are brimming with creative ideas, more adventurous, the ci might offer financial
a blank face to the street, with repetitive cells but far too li le gets built. incentives to foster good design. Architects
opening off double-loaded corridors. Light Affordable housing built cheaply by deserve the chance to do their best work on a
and air come from one side only, and outdoor developers to secure bonuses and tax credits much larger scale. _
spaces are vestigial. o en proves unaffordable for low-income
Conscientious architects are pushing residents and, when maintenance is lacking, can
back, demonstrating that good design degenerate into a slum. SRHT creates permanent
adds value without increasing the cost of supportive housing, where rents are geared to
construction. Los Angeles is leading the way, income and residents can remain as long as
disregarding the stigma long a ached to they need to. Its projects serve only one in 300
renting an apartment. In the past, everyone of those in need; additional nding and many
aspired to owning a house, a goal that is more nonprofits are needed.
becoming una ainable for much of the e approvals process must be
middle class. I recently wrote a book, Building streamlined. As architect Lawrence Scarpa
Communi: New Apartment Architecture, observes: ‘Some people criticize affordable
Affordable Housing Los Angeles — CA — USA 057
01 e Six Apartments by
Brooks + Scarpa
02 Mariposa1038 by Lorcan
O’Herlihy Architects
03 Crest Apartments
by Michael Maltzan
Architecture
03
Pasadena
Glendale
01
02
Santa Los Angeles

Monica
Torrance
Long
Beach
Window on the World
Brooks + Scarpa
provides shelter
and securi
to formerly
homeless people.
Text
Michael Webb
Brooks + Scarpa Los Angeles — CA — USA 059
Photo Tara Wujcik

e backside of the building seen from South Coronado Street.

Brooks
+ Scarpa is an award-winning LA practice counselling and computer rooms, plus parking
with a strong commitment to social housing for bicycles and a few cars. Few residents
and sustainabili. An apartment block called need to drive in this pedestrian-friendly
e Six is the sixth project that the firm has neighbourhood.
designed for the homeless, but it takes its Stepped planters separate the courard
name from the soldier’s phrase ‘got your six’, from the street, serving – like a haha in
meaning ‘I’m covering your back’. It’s located a country estate – as an almost invisible
in MacArthur Park, a densely populated, low- boundary between the public and private
income neighbourhood on the western edge of domain. at provides a balance of openness
downtown Los Angeles, with around 400 people and securi, giving the residents the feeling
per hectare. A third of the 45 single-occupancy that they are suspended in a safe, welcoming
rooms and seven one-bedroom apartments are haven between street and s . e open areas
set aside for veterans of the military. e Skid are bathed in sunlight for much of the day and
Row Housing Trust (SRHT) would have liked are refreshed by cool air that is drawn through
to allocate all the living spaces to veterans, but from the east and south. To one side is a
the law mandates that all homeless people be communi lounge that opens up through glass
given equal consideration. However, their special sliders, and a self-service laundry. Stairs and
needs helped shape the design. galleries that link the upper floors encourage
e pical response to this confined social interaction. A gated flight of steps
site would be a closed volume that filled a gap provide direct access to the courard from the
in the street wall. Instead, the architects have street, and a side opening frames a row of palm
hollowed out the five-storey block, set it back trees – a vigne e that might have been li ed
behind a landscaped forecourt, and cut away from La La Land.
the façade between the first and third floors is was the architects’ first
to reveal the raised interior courard. From commission from the SRHT and they were
the street, it resembles a picture frame, tilted encouraged to be inventive. As Lawrence
up at one corner to reveal the lly-glazed Scarpa observes: ‘Some clients are afraid to
entry lobby and manager's office. Behind are hire us, thinking our buildings must be costlier
than they are. We have a strategy of making rich building. It’s a model of thoughtl design from schizophrenia, or imagining they hear
everything stack perfectly on 80 per cent of that relies on natural ventilation, geothermal voices. Veterans are o en victims of post-
every project – a straight shot from dirt to s. and solar-assisted heating, and permeable traumatic stress disorder, a ravated by
at saves time and money in construction and surfaces to retain rainwater on-site. It secured physical injuries. Most of them are cared for
gives us freedom on the remaining 20 per cent.’ – like most of this firm’s buildings – a LEED by the Veterans' Administration, but some
Wood-frame construction with stucco cladding Platinum Certification. fall through the cracks. ‘We needed to provide
kept the cost to a reasonable €2,400 per m2 Scarpa’s sister-in-law is a psychiatrist communal spaces for social interaction as well
for the 12,100-m2 block. Lead architect Diane and, as he was planning e Six, she warned as spaces where people can watch from the
epkhounphithack and her team drew on him that a high proportion of the formerly side-lines before they are ready to become lly
their experience to create a frugal, but spatially homeless are mentally disturbed, suffering involved with their neighbours,’ explains →
e corner of the building offers access to the reception area.

e communi space on the

first floor faces the courard.
Photo Tara Wujcik
‘e formerly
homeless want
to be like
everyone else’
e courard on the first floor offers

natural light, cross ventilation and views.
Scarpa. ‘We also provided a high level of on tax credits, so e Six had to be completed
sound insulation around the individual rooms, on a tight schedule. But there is no sign of
increasing the width of the walls by 5 per cent. parsimony. ough the finishes are spare,
Insulation is the cheapest thing you can do – there are more amenities and open space than
it’s almost free and there’s an immediate payoff.’ in most market-driven developments. e
Precautionary measures include doors rooms are small but well equipped, with a
that open outwards, so a disturbed occupant ll kitchen, a bed doubling as a sofa, a dining
cannot barricade himself in, and guard rails table and a handicapped-accessible shower.
around the access galleries that exceed the e Marciano Art Foundation (which recently
standard height to discourage jumpers. Still opened its gallery in a landmark building
to come are screens of cast aluminium baens close by) has loaned some serious paintings
with the texture and colour of ipe wood. ese and these add a vibrant splash of colour.
will be placed diagonally around the galleries, It is small touches like this and the
from the courard up to the roof terrace, to add plantings in the courtyard that humanize The
another layer of privacy and enclosure. ey Six. ‘The formerly homeless want to be like
would be up already but for the ci’s insistence everyone else, so we treat them with dignity,’
that €174,000 be expended on a window- says Scarpa. ‘Good design is for everyone
e rooms are well equipped with a ll
cleaning system that may never be used. e and they respond to the same basic things
kitchen, a sofa-bed, a dining table and a
inflexibili of the LA Planning office and its – natural light, cross ventilation and views. handicapped-accessible shower.
Building and Safe officials seriously impedes Housing contributes to the healing process. Photo Tara Wujcik
innovation, even though the ci desperately It’s a struggle to achieve quality on projects
needs more affordable housing. of this kind because our clients are mission-
Happily, architects and client are driven and they sometimes accept poor
skilled in negotiating the labyrinth of workmanship that a private client would
restrictions and were able to achieve their not. On the positive side, they give you a lot
goals. e site was formerly a parking lot of creative freedom, whereas market-rate
and poor soil conditions required piles to be developers want to control every detail.’ _
driven 12 m deep. Funding depended largely brooksscarpa.com
e roof terrace offers a view

of downtown Los Angeles.
Photo Tara Wujcik
Cross Section Long Section

01 Parking garage
02 Bicycle storage/workshop
03 Reception
04 Conference room
05 Courard
06 Standard studio unit
07 Laundry room
08 One-bedroom unit
09 Communi space
10 Hallway/circulation space
11 Void
12 Green roof
13 Roof deck
14 Roof planter
15 Photovoltaic array
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Social Construct
In his latest
LA housing
complex, Lorcan
O’Herlihy adds
a bit of public
space to a
disparate ci.
Text
Kaa Tylevich
Photos
Paul Vu
Lorcan O’Herlihy Architects Los Angeles — CA — USA 067
Only a few interesting buildings line South Mariposa Avenue

between West Olympic Boulevard and West 11th Street.
Someday
soon, maybe Los Angeles won’t be a fragmented, subway line and its proximi to a burgeoning but the lack of one. At 6,300 m2, Mariposa1038
uneven suburb trapped in the infrastructure of downtown. Like other rapidly developing assumes an unusual concave shape, embracing
a promising urban metropolis. New initiatives urban zones in LA, Koreatown tends to a ract its neighbourhood and nctioning foremost
for high-densi housing, car-free living options newcomers of a certain philosophy: people as an outline for the ‘untitled’ outdoor space
and the development of connective public uninterested in white picket fences and lawns to between building and pavement. ‘Right now,
transport are visibly changing the way this ci mow, who would rather walk, bike, rideshare or we’re engaging in the third space between public
operates, where its new businesses open, where use public transport than own a car – at least in and private,’ says O’Herlihy, when I meet him
young renters seek (relatively) affordable places, theory. We’re not quite there yet. at Mariposa1038 and pass the threshold from
and where cafés and restaurants see a ture Mariposa1038, a 32-unit housing complex the pavement to a narrow landscaped area just
filled with regular patrons. by Lorcan O’Herlihy Architects located on a outside the building.
Koreatown, the densest neighbourhood residential street in Koreatown, embodies and The untitled space has large planters
in Los Angeles, appeals to a large population of promotes that philosophy. What immediately and some built-in seating options that could
young renters who are drawn by its great varie separates it from neighbouring homes and serve the social utility of what Americans
of food and nightlife, its access to a lengthening apartment buildings is, surprisingly, not a fence call a ‘stoop’ – a place for neighbours to
Some window frames include French balconies.
‘If you let the social aspect drive

your architecture, you’re going
to make a good place to live’
alive with the different patterns created by sculptural ‘interior’ open to the s . ‘e design
those shadows throughout the day. Although provides ample opportunities for neighbours to
required to comply with ‘strict economic meet,’ says O’Herlihy. ‘What’s nice is that when
parameters’, O’Herlihy wanted to experiment you create these kinds of environments, people
with bold materiality. The balconies are yet want to hang out with each other.’
another ‘untitled’ outdoor space. They are As the architect and I make our way
private extensions of the home that emerge to the rooop deck, the highest point of
into the shared outdoor world, allowing for public interaction at Mariposa1038, he recalls
unscripted interaction. flying into Los Angeles on the first morning
Mariposa1038’s residents also connect of the year 2000. Having just returned
via a shared interior courard and a rooop from London, where he saw millennium
spontaneously stop and make small talk, with a view of the surrounding ci. ‘is is celebrations at Trafalgar Square (and having
with a connection to passers-by on the street. a very democratic building,’ says O’Herlihy. watched televised celebrations taking place
‘People don’t move to the city to hide,’ says ‘ere’s no front and back. All four sides are worldwide, from Times Square to Tiananmen
O’Herlihy, ‘A person who rents a unit in dealt with equally.’ At its centre, the building’s Square), he wondered out loud where the
this building does so knowing there will be focal point is an oval outdoor courard bathed communal gathering had taken place in LA. A
engagement.’ He argues that ‘expanding the in natural light from an open roof, which also flight a endant told him that ‘they lit up the
bandwidth’ of public pavements makes for helps cool the space. All units are organized Hollywood Sign’. O’Herlihy was taken aback
better cities. elliptically around the courard, so that people by the lack of available public space and public
The building’s white plaster façade is can see one another moving in and out of their experience in a ci so big and consequential.
punctuated by protruding black balconies and private homes. An integrated seating area in Although he’s definitely seen an improvement
window frames. They cast shadows across the courard doubles as a rainwater collection and an increase in LA’s public spaces since
the surface and provide shade throughout system. Most people see it simply as a nice then, he is still on a mission to generate be er
the day. The result is a building in motion, place to relax or gather for a barbeque – a place opportunities, at every scale, for people to
deceptively minimalistic in appearance but where they feel cocooned within a cohesive come together in this disparate ci. →
e rooop offers communal facilities

for Mariposa1038’s residents.
+ 2/+ 4 Roof
01 Parking garage
02 Ramp to basement
03 Entrance
04 Apartment
05 Interior courard
06 Void
07 Roof terrace
04
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0 Long Section
01
03
02 04
‘One of the nicest experiences an architect

can have is going back to a building
and meeting the people who live there’
As we open the door to the roof, marvelling

at the sline view and noting the untapped
potential of surrounding rooops, O’Herlihy
tells me: ‘In a small way, this project is one way
of creating a public realm. e social aspect
of our buildings is very important to me.’
roughout our conversation he underscores
the methodology of ‘amplified urbanism’ that
he and his studio of 28 people instil into every
one of their projects – from a prominent urban
complex to a series of bus stops or a single-
family home. e guiding principles of Lorcan
O’Herlihy Architects are to establish a ‘fluid
interaction between public and private spaces,
to emphasize social and civic connections,
and to harness existing ecological and
infrastructural paerns’.
‘I think architecture is a social act,’
he says. ‘e role of an architect is to do
work with consequence and to recognize
that social civic connections, engagement
and experiences like this maer.’ Yes, like
this – like our taking a seat together at a
table, under a sunshade, on a pleasant rooop,
where we might see neighbours and have a
visual and spiritual sense of connection to
the ci surrounding us. O’Herlihy is a big
proponent of being part of the networks he
achieves. An important aspect of practising
what he preaches is meeting with members
of the communi well before a project begins
and being available aer its completion. e
reali is that ‘there’s always opposition.
People don’t like development. ey don’t
like densi.’ So he makes a point of geing
acquainted with neighbourhood groups
and communi activists in order to open
up lines of communication and to find good
solutions. ‘Look, most people are reasonable.
ey appreciate our efforts.’ e proof, he says,
is the number of people who call him aer
they’ve moved into one of his buildings, just to
talk about their lives there.
‘One of the nicest experiences an
architect can have is going back to a building
and meeting the people who live there. If
it’s good architecture, they’re really happy,
and they’re excited to talk and chat with the
architect. ey come to a building like this for
a reason,’ he says. ‘If you let the social aspect
drive your architecture, you’re going to make a
good place to live.’ _
loharchitects.com
An oval courard allows for cross ventilation that also benefits the apartments.
Suburban Rege
Michael Maltzan
Architecture
houses the
homeless.
Text
Michael Webb
Photos
Iwan Baan
Michael Maltzan Architecture Los Angeles — CA — USA 075
Sherman
Way is one of the long generic boulevards and contributes to the passive cooling of the
that frame the street grid of the San Fernando building. Typically, cars would invade such a
Valley, a north-westerly extension of Los space; here they park on grass verges to the
Angeles. It feels infinite and unremiingly rear and off the gravel fire lane.
banal. Anyone who saw the neo-noir film ‘Stacking units to get people off the
Chinatown will know that this suburban street isn’t enough,’ says Tim Williams, the
sprawl was the product of a land grab in the partner in charge of Crest. ‘We need to go
1930s, when a conspiratorial cabal bought beyond basic shelter to improve the quali
farmland cheaply and profited hugely from its of life for people who have been damaged,
redevelopment. Finally an architectural gem mentally or physically, by their experiences.’
has risen from this street of bad dreams: Crest When Crest was submied to a neighbourhood
Apartments by Michael Maltzan Architecture. review, there were NIMBY objections from
Even more surprising: it was designed not local residents. Williams helped win them
for affluent buyers but for the (formerly) over by showing them models and renderings
homeless, with a third of the 64 single-room of a building that is far superior in design to
units set aside for veterans. neighbouring blocks, and by challenging the
is is the fourth such project that perception that Crest would become a den of
Maltzan has realized for the Skid Row Housing drug dealers and pey criminals. In fact, it
Trust and the first to be located far beyond should have the opposite effect, taking people
Downtown LA, which is the epicentre of off the street and offering them a secure rege,
homelessness. At night, Fi h Street at Main with counselling and referrals to help them
resembles the poorer districts of Mumbai, rebuild their lives.
with improvised shelters lining the sidewalk. From the moment you step through
For the client, it was a bold move to venture the glass entry door, there’s a feeling you’ve
30 km from its base, but it knew that people come home. Mailboxes are located in the
lose their homes in every part of the metropolis. reception area to encourage social intercourse
For Maltzan, it was a challenge to develop a and reassure people who may have spent years
long skinny site that bridged the commercial without a fixed address at which to receive
strip to the north and a seled residential leers from friends and the authorities. Beyond
neighbourhood to the south. In contrast to the is a communi room for meetings and a lounge,
confined downtown sites (the prefabricated Star both lly glazed and opening out to the →
apartments rose from the roof of a single-story
retail block; see Mark 53, page 94), the architects
had room for landscaping, which became the
defining feature of Crest. Mailboxes are in the reception area
to encourage social intercourse.
Crest is a frugal wood-frame
construction, rising from a concrete base and
clad in white plaster. Four storeys of living
spaces are raised on pilotis, and a cluster of
ground-level amenities is at the front end.
e units are sta ered on plan and cut away
to break up the mass, provide upper-level
terraces, and impart a sense of movement to
the block. Luxuriant plantings, designed by
the LA office of SWA, wrap the block on all
four sides, so that every room has a verdant
outlook. Plantings proved cheaper than paving,
since California requires that rainwater be
collected and cleaned before it is reused or
released. Here bioswales in the garden filter
the rainwater, which is retained on site and
released into the aquifer. More importantly,
in an area where summer temperatures can
exceed 40ºC, the plantings absorb heat and
create a psychological feeling of freshness. e
undercro provides a shady gathering place
e building is on Sherman Way, close to the Tujunga Wash (le).
‘We need to improve the

quali of life for people
who have been damaged
by their experiences’
e stairwell gives a vertical

accent to the main façade.
+4
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Most apartments project from the façade

and have windows on two sides that supply
a measure of cross-ventilation, which is
augmented by a ceiling fan and an air
conditioning unit. landscaping. ere’s a laundry and a counselling have achieved sustainabili, despite the
service with rooms for private consultations. hot summers, on a budget of about €3,200
And the boulevard offers a wide varie of shops per m2. Rooop solar panels provide more
and services within a few blocks of Crest. To than half the heated-water needs. Permeable
the rear are storage lockers, one for each unit, ground surfaces, drought-resistant plantings,
and a residents’ garden that provides lessons in abundant natural lighting and cross-
healthy eating and in how things grow. ventilation combine with efficient appliances
Stairs at either end and an elevator lead to reduce energy consumption well below the
up to the four residential floors. e architects level mandated in California.
01 Lobby cranked the plan to make each unit project Remarkable as this achievement is in
02 Manager’s office from the façade. Windows on two sides supply a ci that still squanders its resources, Crest
03 Telephone and data
a measure of cross-ventilation, augmented scores even higher as a sion of architecture
04 Machine room
05 Communi kitchen by a ceiling fan and an air conditioning unit. and landscaping that respects the scale of its
06 Communi lounge Each apartment is lly rnished with a bed, neighbours while soaring far beyond them in
07 Conference room table and chairs, kitchenee and handicapped- its dynamic massing. It combines openness
08 Laundry room
accessible shower. e double-loaded corridors and securi, urbani with a human scale. As
09 Electrici room
10 Office zigzag and open into light wells that pull Michael Maltzan observes: ‘I’ve always shared
11 Social services area in air and natural light. Recessed ceiling the early modernists’ belief that housing is
12 Client room lights are supplemented by thin fluorescent the ndamental pography in architecture,
13 Break room
tubes – a signature feature in all of Maltzan’s because it’s a microcosm of our lives, public
14 Transformer
15 BBQ area buildings – which are arranged diagonally or and private, and the ci. Because of that we
16 Common area to emphasize a corner. e sinuous buffers approach every project with a similar level
17 Parking that protect the pilotis from a stray vehicle of design intensi. A house for a wealthy
18 Landscape area / bioswale
are another example of how the architects person has a different set of parameters than
19 Communi garden
20 Trash room have enriched this bare-bones structure housing for the homeless, but the ndamentals
21 Recycling with appealing details. As in the firm’s other are not that dissimilar. Each of our projects
22 Mechanical room buildings, white surfaces are accented with for the Trust has been a laboratory test of
23 Bicycle parking
colour – a vibrant yellow, green and so blue – how a communi can grow and thrive in an
24 Vehicular entry
25 Apartment and these are carried up vertically. individual building, and of what architecture
26 Roof A LEED Platinum certification can do to support that communi.’ _
27 Terrace demonstrates how successlly the architects mmaltzan.com
082
Mark 70
Long
Section
Long Section 083
‘What
ha ens in a
s ace
is more
im ortant
than Carlos Teixeira quotes
Bernard Tschumi, page 166
the s ace
itself’
084 Mark 70 Long Section
Arrival
SelgasCano Plasencia — Spain 085
SelgasCano’s auditorium in Plasencia took 12

years to complete, but today it sits at the edge
of the ci, with no apparent plans to assimilate.
Text Photos
Anna Sansom Iwan Baan
e
Aer dark, the semi-transparent building

glows like a beacon in the landscape.
Plasencia Conference Centre and Auditorium, because people would have been prepared invest in a cultural building. But then the crisis
designed by Madrid-based duo SelgasCano for it. But its impact on Plasencia is far hit, and during a crisis cities don’t want to
(José Selgas and Lucía Cano), has been mired greater, because it’s the ci’s first big building finance buildings like this one. e result was
in protracted problems. A decade aer the since the cathedral or the bullring. It’s super a feeling of regret. It was heavily criticized in
building was commissioned by Plasencia – a important that projects like these happen in the newspapers, because it was delayed for ages
historical ci in the province of Cáceres in places like Plasencia. You’re giving something and construction stopped a few times.
western Spain – it finally opened in May 2017. extra to the people – something that has a When the project was finally completed,
An ambivalent identi characterizes the huge impact and that is very needed for the people came to the inauguration almost wanting
project, owing to its situation at the edge of the ture ci – and they’ll be much prouder than to kill the building. But when they entered,
ci and the influence of an untamed landscape. anyone else in the world. they were surprised by the spaces. I remember
someone shouting – ‘What the hell is this?’ –
is is the first important building constructed How have Plasencia’s inhabitants responded and people running around the building, going
in Plasencia for centuries. What do you think it to it? completely insane. ey eventually realized it
represents for the ci? LUCÍA CANO: For years, people have been very was their building, and they decided to love it.
JOSÉ SELGAS: Realizing this kind of building upset about the building. e project started e feeling at that moment was: We’ve paid for it,
in a ci like New York would have been easier, in 2005, when the region had the money to why would we hate it? →
With its doors opened, the entrance hall –

an orange space that pierces the building
– becomes a semi-outdoor area.
Plasencia is on a plateau that rises from

the Spanish landscape. e auditorium lies
just beyond the ci’s boundary, on a site
that is 17 m lower than Plasencia itself.
‘You have
the feeling
the building
is huge,
because it’s
complicated
and
consing’
How would you describe the particulari of very narrow but very long, so it seems like a
the plot? never-ending building.
CANO: It’s where the ci ends and nature
begins. We wanted to position the auditorium What was ndamental to the project?
in the landscape but to touch nature as lile CANO: e orange space that pierces the
as possible by liing the building. at also building is ndamental, as it connects the ci
explains why we stacked the programme as on one side of the building with the mountains
much as possible. on the other. It is like a big window that
provides a view of the mountains, since its
Did you want the building to recall the transparency makes the building blossom into
mountains beyond? the landscape.
SELGAS: We never work with metaphors or
relate our buildings to other shapes. Instead, How did you decide which colours to use?
we explore the many possibilities of the SELGAS: ere are many reasons to choose a
programme, the values and the history of the colour and we try to explore them all. But if one
place. When we have a clear view of all this would try to simpli this, we could say that
input, all these necessities and possibilities, the orange of the ramp and the entrance space
we bring them together and pically arrive at has been derived from the colour of the sunset.
an initial shape. Only then do we play a lile en, in contrast, we worked with lighter
with that shape and try to make it as beautil colours for the rest of the building, to give
as possible. If the shape makes people think visitors the impression that they’re floating.
of something – like a mountain – that’s all e colours of the two circulation systems
right, because a building has to be open to flanking the auditorium are complementary
personal interpretation. When we finished the and contrary to each other. If you’re going up,
auditorium, some people said it reminded them the floor is yellow and the ceiling is blue; if
of a big rock or a boat in the sea. at’s fine, but you’re going down, the floor is blue and the
it wasn’t our intention. ceiling is yellow. So there’s this playlness
with regard to direction. We experimented
In designing the building, did you work from with colours on the computer, but the reali is
the inside out? that white is the dominant colour throughout
CANO: Yes. e auditorium has two main the project, because it blends with the s. e
walls in concrete. e rest of the programme ETFE looks white, but that’s just the main part,
is structured around them. Creating the from the ramp upwards. From the ramp down,
envelope of the building are two circulation it has a greenish tint. We wanted to indicate
systems surrounding these two walls; they that the building ascends at one point and
wrap around it and add a layer of complexi. descends at another.
It’s the smallest building of this pe that
we’ve ever made – less than half the size of the What about the use of concrete and ETFE?
other two [El Batel Auditorium in Cartagena CANO: Concrete is the main material, but you
Harbour and the Badajoz Congress Centre]. don’t see it much. e auditorium’s walls are
But you have the feeling that it’s huge, because doed with small holes to give texture to the
it’s complicated and consing. It can be hard concrete. e ETFE envelope has 40 per cent
to understand where you are. e corridors are translucency in order to protect the → Diagrams of the circulation system.
e multinctional space on the upper

level includes a glass floor that offers a
view through the building.
e building has a semi-

transparent ETFE envelope.
Long Section
e main auditorium seats 600.

Cross Sections
building from the sun; otherwise it would be wall as being too much of a ‘structure’. Our
‘We don’t extremely hot inside. It was clear from the
beginning that we wanted the building to glow
decision has been to go in the other direction.
We cannot keep building and building and
like the at night, allowing everybody in the ci to see

its radiance. When it’s all lit up, the effect is
extremely powerl, because the building is
building forever. We also need to think about
dismantling the things that we build.
A related concept we’re interested in
idea of visible from a great distance. is how to reuse and reorganize buildings by
moving the programme rather than the whole
permanent What guided your decision to use circular

shapes for doors, windows and s lights?
SELGAS: When you’re dealing with a faceted
building – leaving the actual structure in place
and moving its use. Movable architecture as
we know it now is very complicated. Even
architecture’ shape that has different angles in every section,

it’s difficult to create a gap or a door or a
rectangular window. e easiest option is a circle.
when we moved the Kibera school pavilion
[Mark 63, page 86] – which was meant to be
moved from the start – from the Louisiana
Museum of Modern Art in Denmark to
Like your other two auditoriums, the Plasencia Nairobi, transport was complex. Only in
project features diagonal sweeps of visibili . very few cases it makes sense to tear down a
Can you elaborate? building and rebuild it in a different way in
SELGAS: ere are a lot of diagonals across the another place. It makes more sense to keep the
section that you don’t see but feel. One of the structure and change the use. It’s a solution
most exciting aspects is that people standing in that will become more and more relevant
the orange entrance hall can follow a diagonal in the ture; making a new building from
sightline that passes through all the spaces. scratch has to have a very good reason.
We installed s lights that provide the interior
with more or less natural light, depending on e building is connected to the street by a
the time of day. At certain points you can look ramp – or gangway – that makes it appear to
up and see people walking on the floor above or be a visitor.
see their feet through one of the s lights. SELGAS: It’s nice to think of it as a visitor.
We always liked the idea of the auditorium as
Because most of the building seems to li a boat – someday suddenly sailing away and
from the ground, the project has a sense of perhaps being replaced. e message it sends is
impermanence. Did you do that intentionally? that architecture is not as important as nature.
CANO: We’ve been working on impermanence Someone will get rid of the building someday
and exploring the possibilities in many – its lightness suests its eventual extinction –
ways. We don’t like the idea of permanent while the landscape will always be there. _
architecture. We’ve always thought of the selgascano.net
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Antonin Ziegler Paris — France 099
Looking
‘What I strive for in my projects is for them
to not resemble what they are,’ says 39-year-
old French architect Antonin Ziegler. We’re
siing in the kitchen of Le 107, the house he
totally transformed in Asnières-sur-Seine, a
suburb northwest of Paris that is connected
to the capital by the metro. Le 107, named
for Clues aer the street number of the house, is in

a quiet, unassuming neighbourhood. e
original two-storey dwelling was jerry-built
in the 1900s with the use of modest materials.
Ziegler has turned the garage into a kitchen
and added two floors, changing the proper
beyond recognition. If you stop at the blue iron
gate and catch a glimpse of the verticali of
collaged, motley materials, you see nothing of
the diversi of integrated improvements inside
the house. Nor do you realize that what you’re
observing is a work in progress.
‘For me, a house is a temporary place
Antonin Ziegler’s you pass through, a bit like a hotel, not
projects blend somewhere you live forever,’ says Ziegler. ‘My

architecture is unfinished. Because it won’t
in with their be me living here tomorrow, the space needs
to be open so that it can be appropriated
surroundings, intellectually and physically by somebody else.’
is way of thinking is impacted
while also showing by Ziegler’s upbringing: the years he spent
living with his French mother in Rouen and
how they change his German father in Paris. ‘My parents are
over time. divorced, and I moved around while growing

up,’ he says. ‘I don’t become aached to places.
I’ve always been fascinated by nomadism
and have made regular trips to the US, where
Text houses are oen prefabricated, and you can
Anna Sansom sense the instabili of the habitat.’

e notions of impermanence and
changeabili being commonalities in his
projects, Ziegler has an evident knack for
spoing the potential of metamorphosis. ‘I
saw the advert for this small, run-down house
online on a Sunday evening, visited it the next
day, and on Tuesday I made an offer,’ recalls
Ziegler, who lives here with his girlfriend. ‘It
was an act of craziness,’ he remarks, laughing.
Ziegler spent a year drawing plans
while waiting for the sale to proceed, then
another 18 months drawing all the details
during the renovation, which cost €300,000.
To convert the garage to a kitchen, he removed
the dilapidating stone and replaced it with a
Antonin Ziegler. combination of concrete and other materials.
Photo Alice Boursini To soen the rawness, he layered a black- →
painted strip of ribboned wood onto a golden work is an indication of a job still uncompleted.
‘A house wall, bringing a touch of glamour to the room
where he and his girlfriend entertain guests.
‘I give plen of clues as to what something was
before and what it could be.’
is a ‘My aim wasn’t to do an industrial-looking

lo,’ he says. ‘I try to be sincere in what I do
and not to follow trends.’
e stairs continue up to the couple’s
large-windowed bedroom, where the door of
an integrated wardrobe doubles as the door to
temporary A floor-to-ceiling window looks out

onto the patio and the cosy living room behind
the room. e bathroom is here as well. Another
vertical extension, the guest room, features
place it. Previously, this room was an outhouse

for storing tools. Ziegler inserted a window
into the façade, built steps that lead to a roof
walls panelled in composite plywood of various
colours and paerns; the laundry at this level
will become a second bathroom in due time.
you pass terrace, and constructed an interior corridor

linking the room to the rest of the house.
He used a ribboned wall in wood to clad
Occupying the lo above the guest-room floor is
Ziegler’s workshop. ‘From the outside, I wanted
the workshop to look like a piece of scaffolding,’
through, the corridor's exterior. ‘ere’s this dialogue
between windows that look at each other,’
he says. ‘e aim was to increase the surface area
of the house as much as possible.’ e house now
a bit like he says. ‘e house has nearly 20 windows in

total, which is enormous for a house of this
size. It’s always the windows that cost the
has almost five floors and a total area of 120 m2.
A touch of mystery and an air of
spatiali characterize other projects by
a hotel’ most in my projects.’

e kitchen offers perspectives of the
Antonin Ziegler. Impasse des Falaises, for
example, is a 60-m2, black-boxlike extension
floors above, rther underlining the open, that serves as a library and music room for a
luminous feel of the interior, which is so pical lesbian couple in Normandy. Huge windows
of Ziegler’s work. ‘I didn’t want the floors to dominate the front and back of the structure,
be closed off from each other,’ he says. Steps offering expansive views. ‘e two women
ascend to his office, which was once a ground- came to me for a kitchen extension, but when I
floor space. Ziegler cut into part of the ceiling, learned that their lives revolved around music
to increase visibili, and le his intervention and books, I proposed something completely
discernible. ‘e structural aspect has to remain different,’ says Ziegler about the project, which
visible,’ he says, explaining that his exposed was nominated in 2015 for a Prix de l’Équerre
Rendering of the house.

d’Argent in the ‘first work’ category. ‘e same budget,’ says Ziegler. e roof and the Aer looking at American street photography,
library is one level above the garden and one of exterior of the building are clad almost entirely which includes something that he says is ‘like
the windows overlooks the sea.’ in zinc; one façade is panelled partially in wood an old hut collapsed on a road’, Ziegler tried
e emphasis on windows that for the sake of varie . ‘e outside is grey and to push references of other container homes
communicate with the outdoors and that ma e, and in time – as the wood weathers to out of his mind. He wanted to do something
influence how occupants observe the space a silvery grey – the house will resemble an different, but he stru led to get to grips
inside applies to Chemin du Calvaire (2016) agricultural building,’ he says. ‘Because it’s in with the project. ‘I applied for three building
as well. A family bought a horse barn in the fields, it needs to be discreet.’ permits before starting construction,’ he
Normandy that was to become their main Indeed, Ziegler’s projects are developed admits. ‘Each time, the permit was accepted,
home. ‘My clients fell in love with this barn, to blend with their surroundings. Another but the project didn’t look right to me. It was
which is in a regional park, lost in the fields example of his work, Savoye Recycled (under too much like an ordinary house. In the end,
near the River Seine,’ says Ziegler. Following construction), is a 100-m2 house made of I reduced the number of openings to just one,
the approach he’s taking to Le 107, Ziegler le containers and located in Normandy. ‘Its finally reaching a simplified language.’
clues regarding the history of the barn. ‘I kept opening corresponds to a particular view, e house consists of four containers:
the wood framework and beams apparent, and which makes it contextual,’ says Ziegler. ‘If I two at the front, two at the back. Because all
constructed above them.’ had to remake it somewhere else tomorrow, it elements are fastened mechanically rather than
e timber skeleton is ndamental to wouldn’t be the same.’ welded together, it can be dismantled in half a
the 210-m2 project. e original volume has e project is named aer the adjacent day and easily reassembled. ‘Elevated on stilts,
been retained, and double-height windows road, but the appellation inevitably brings to the house looks as if it’s just been put down and
extend across the living room, opening the mind the modernist Villa Savoye designed could go elsewhere very fast,’ he says. ‘I wanted
house towards the countryside. Bordering the by Le Corbusier and Pierre Jeanneret. to give it a precarious aspect.’
living room on opposite sides are the kitchen ‘As it’s a white house, it could almost be Asked if he’d considered
and the parents’ bedroom, above which are four postmodernist,’ notes Ziegler, for whom the commercializing the container house, Ziegler
‘niches’ that serve as the children’s bedrooms. realization of the project is a long-held dream. replies: ‘Initially, I thought of making Savoye
A bonus for the couple is a double- ‘I’d been drawing and reflecting on something Recycled as a proto pe, but I don’t like the idea
height room for the swimming pool. ‘Initially, like this for ten years,’ he says. ‘My girlfriend’s of using it as a model to be commercialized. For
they wanted a large bathroom with a whirlpool mother heard that I’d like to make a house me, each project is unique.’ _
bath, because the wife’s illness necessitates from containers and asked me if I’d make one antoninziegler.com
daily therapeutic exercise. But I proposed a for her to live in, for €100,000. Two weeks
made-to-measure swimming pool within the later, she bought the plot of land.’
Savoye Recycled Plan

Saint-Valéry en Caux — France 01
02
Entrance
Dining room
06
Under construction 03 Kitchen
3
04 Living room
4
5
05 Patio
6
7
05
8
06 Bedroom
Savoye Recycled is a 100-m2 house made of 07 Walk-in closet 9
20
four containers. Ziegler designed it for his 08 Bathroom 07

girlfriend’s mother on a budget of €100,000.
It’s located in a small seaside commune in
Normandy, on a street named aer politician 04
Louis Savoye.
03
02
Cross Section
01
08
Le 107
Asnières — France — 2015
Photos David Boureau
e house to be renovated was a small
structure built at the beginning of the
20th century. e narrow 4.5-x-25-m
site le the house with a living area of
barely 60 m2. Because the ground floor
provided Zeigler with no opportuni for
expansion, he opted to build vertically.
e materials he used, both inside
and out, are simple, hard-wearing and
inexpensive. By stretching the budget
in this way, he still had enough money
for the many custom-dimensioned
windows he had in mind. e beau of
the suburban surroundings le much
to be desired, so Zeigler focused on the
creation of surprising sightlines within
the house itself. e spacious layout,
featuring various voids, allows the
occupants of Le 107 to hear and see each
another no ma er where they may be in
the house.
- 1 0
07
01 02 05 06
04
03
Long S tion
Rooms on two upper floors, which Ziegler added to the original

volume, feature walls panelled in composite plywood.
A patio separates the living room from the rest of the house.
+1 +2 +3
10 15
13
11
08 12 14
09
01 Entrance
02 Dining room
03 Cellar
04 Carport
05 Office
06 Living room
07 Patio
08 Master bedroom
09 Bathroom
10 Walk-in closet
11 Roof terrace
12 Utili
13 Bedroom
14 Atelier
15 Loia
Antonin Ziegler’s office on

the ground floor shows
traces of the renovation.
Impasse des Falaises

Senneville-sur-Fécamp — France — 2014
Photos Antonin Ziegler
Impasse des Falaises is the name of the last dead-end street in
Senneville-sur-Fécamp, a hamlet in Normandy. A stone’s throw to the
north, behind a slope, is the English Channel. e last house on the
street, an unpretentious terraced house, now has an extension realized
by Antonin Ziegler. e boxy volume accommodates a spacious library
and, below it, a half-open garage. A small flight of stairs connects the
new extension to the terraced house. Large windows on three sides of
the addition offer views of the village, trees in the garden and – thanks
to the height of the upper floor – the coastline.
0 +1
01 07 06
01 Entrance
02 Kitchen
03 Dining room
04 Garage 03 02 04
05 Bedroom
05 08
06 Bathroom
07 Utili
08 Library
‘It’s
always
the
windows
that cost
the most
in my
projects’
Because of two clean incisions in the north façade,
the library seems to hover above the garage.
Space and views contribute to the library’s

contemplative atmosphere.
Chemin du Calvaire
Notre-Dame-de-Bliquetuit — France — 2016
Photos David Boureau
In the Regional Natural Park of Boucles de la Seine, Antonin Ziegler converted a barn in ruins
into a house. Abandoned at the edge of the river, it used to nction as fodder storage for
the farm’s haulage horses. Its thin weatherboarding had worn away over time, and only the
timber framework remained. e new shelter, with few openings, was built on the existing
one. Unsophisticated and undetailed, the project is as rustic as its simple rural context. Zinc
cladding on the roof and outer walls preserves the barn’s monolithic, agricultural architecture.
Light enters the 217-m² house on all sides.
+1
01 Living room
02 Kitchen
07 07
03 Office
04 Master bedroom An important feature of the house is a swimming
05 Utili pool, installed especially for therapeutic use.
06 Pool Photo Antonin Ziegler
07 Bedroom
07 07
0
04
06 02 01
05 03
Long Section Cross Section

e choice of interior materials – breeze blocks,

baens and exposed concrete slabs – expresses
the same desire for rustici as the exterior does.
112
MVRDV Seoul — South Korea 113
Walk
that
Walk
A flyover-turned-pedestrian bridge
makes Seoul a greener place.
Text Photos
Kirsten Hannema Ossip van Duivenbode
a new – friendly – monster in town. Posters on

buses and bus shelters throughout Seoul had
ere's grandly been proclaiming its arrival: Seoullo

7017 S Garden, opens 20 May. e enterprise
in question is an octopus-shaped ci park,
designed and realized by MVRDV on a former
motorway viaduct. Seoullo 7017 stretches its
‘tentacles’ from the centre of Seoul to the ci’s
surrounding neighbourhoods. e project
represents a new step in the Korean capital’s
gradually unfolding ‘green’ evolution.
As I walk with MVRDV project
architect Kyo Suk Lee, he translates Seoullo
for me. It means ‘to Seoul’ or ‘Seoul main
street’. We’re crossing the 11-m-wide, 1-km-
e bridge has various offshoots

that converge above the railways.
long bridge that runs from Namdaemun Mayor Won-soon Park (serving since 2011) complete pedestrian network with landings
Market past Seoul Station and across the decides that it’s time for a radical change. in the surrounding neighbourhoods and
railway, while offering a spectacular view If the ci wants to keep its middle-class bridge connections to bordering buildings.
over the ci. Its name conveys pride: this is citizens and to a ract industry, it has to be A hotel and shopping centre have already
the new heart and soul of this – still mostly more human-focused and cleaner. Where to been linked to the network. More and more
grey – metropolis. e addition 7017 refers to start? e eureka moment came in New York building owners are seeing the value of such a
1970, the year the viaduct was built, and 2017, Ci, where the mayor paid a visit to the High connection; the park bridge had over 2 million
the year of its transformation. Seoul was built Line and realized that the public park was the visitors in the first month aer it’s opening –
with cars in mind in the 1960s and 1970s; symbolic kind of project that Seoul needed. all potential customers. To finish, newly emp
infrastructure formed the backbone of any Seoullo 7017 isn’t just a copy of the pieces of ground surrounding the bridge will
large-scale expansions during that period. In High Line, however, says Winy Maas, the be replanted with greenery.
half a century, the population grew from 2.5 M from MVRDV. ‘e park bridge is just e project also distinguishes itself
million to 10 million. Traffic jams, air pollution the beginning of the project,’ he says. e through a special landscape design: it’s an
and noise increased exponentially. e ci is master plan includes rther expansion of arboretum. ‘I’ve dreamed of a plant library for a
in danger of becoming uninhabitable. construction in the coming years, creating a long time,’ confesses Maas, who was educated →
‘e 11-m-wide, 1-km-long bridge

offers a grand view over the ci’
Children having n on one of the trampolines.
as a landscape architect. Mayor Park’s request designed 25 so-called urban activators,

for a High Line in Seoul sle was a great reason circular objects and pavilions. Kids peep into
to create a collection of plants: 232 species that the peeping pots, jump on trampolines and
flourish in the Korean climate – hot and dry enjoy the performance on the music stage, all
during the summer, cold in the winter. A total of while their parents watch from the café with
24,000 plants and shrubs were divided among roof terrace slash viewing platform. You’ll
650 flower pots and arranged – per family – in find stores, exhibition rooms and – great
(Korean) alphabetical order. ‘We wanted to show foresight – a tourist information stand. Due
all kinds and at the same time create differing in part to the realization of the S Garden,
spaces: a magnolia plaza, a rose garden, a birch Seoul was promptly added to travelling guide
lawn. A er all, landscape architecture is meant Lonely Planet’s tip list. To cool down there are
to be surprising.’ umbrellas, mist sprays and a wading pool. Even
e botanical garden isn’t just for the design of the lanterns was part of the main
show; it’s also a nursery garden. ‘ e idea is to project: at night, the park is enveloped in a
experiment with new species of plants and teach mystical blue light.
residents how to plant and take care of plants; e park bridge isn’t alone. e project
South-Korea has no gardening tradition.’ e is part of a large-scale ci renewal project
grown plants can be transferred to newly built that was started during the government of the
pocket parks and roo op gardens. last mayor, Se-Hoon Oh. A former motorway
To compliment the round flower pots was success lly transformed into a stream
with their broad edges to sit on, the architects with green banks – popular among hikers →
One of the pavilions serves as an

information centre for gardeners.
e project consists of transforming a

938-m-long section of an elevated highway.
Some visitors don’t have much faith in the

load-bearing capaci of the glass floor.
‘In total, 24,000 plants and shrubs

were divided among 650 flower pots’
Plan and jo ers. Looking for the Bilbao effect, he

tried to put the ci on the map with iconic
emp buildings are being filled with cultural
nctions. We’re looking for projects that
buildings, like the gigantic Dongdaemun also set the neighbours into motion.’ For
Design Plaza complex (Mark 52, page 166), ture urban developments, he formulated
designed by Zaha Hadid. three goals. One: respect history. As such, the
Mayor Park doesn’t think a building 1-km-long megastructure Sewoonsanga from
can change the ci, but that you have to start the 1960s – scheduled for demolishion until
with the public space. ere is a reason that a short time ago – is now being redeveloped.
the newly elected president, Jae-in Moon, Two: work on changing from a car to a
calls himself the ‘Gwanghwamun-president’, pedestrian system. ere are plans to place
aer the plaza that was the stage for the half a dozen motorways underground, to
demonstration to depose the last (corrupt) create more space for footpaths, plazas and
president. e nickname emphasizes the belief nature. ree: don’t think in single buildings,
in the public domain, in which Park is now but in networks.
investing – also because the returns seem ose three goals are beautilly
much higher. Design Plaza (for which the realized in the S Garden, which doesn’t
Dongdaemun stadium was demolished) cost just stand for the durable metropolis Seoul
300 million euros, while the Seoul S Garden wants to be, but is also a beautil business
cost ‘only’ 50 million. card and reception room for the (first) Seoul
‘We like the idea of a strategically Biennale of Architecture and Urbanism (theme:
oriented design,’ says ci architect Young- Imminent Commons) and the UIA 2017 World
joon Kim about the choice for the plan by Architects, which will both be held in the ci
MVRDV. ‘You can still add something, which in September. e green carpet is ready. _
is now happening in the railway area, where mvrdv.com
Redesigning
the Future
Blade Runner 2049 Production Design 123
Blade Runner 2049, sequel to the famous

science fiction film that was released in 1982,
manipulates architecture to magical effect.
Text Images
Oliver Zeller Warner Bros.
On
a summer day in 1982, audiences were cinema’s most seminal depiction of an alternate weather. 2049’s director Denis Villeneuve
introduced to an eye-opening vision of ture ture. Its hauntingly beautil urban dystopia (Arrival, Sicario, Prisoners) comments: ‘ e
Los Angeles, November 2019. It begins with a – designed in conjunction with a team that climate has gone berserk – the ocean, the rain,
noir-ish urban landscape where flames spew included production designer Lawrence G. the snow is all toxic.’
into the s from a plain of industrialization that Paull and visual turist Syd Mead – seemed Talking with 2049’s production designer
stretches to the horizon. Aerial cars (spinners) tangible and proved influential. is ture Dennis Gassner (Sfall, e Golden Compass,
fly-by as we move into the domineering Los Angeles evoked a distinct sense of place e Truman Show), he indicates: ‘ e world is
pyramidal megastructure of the android-making and history, scrambled like the memories of its turned around; that is the general feeling of
Tyrell Corporation. Dense architecture plastered characters into a ci scape that was magical. what Blade Runner 2049 is.’ Los Angeles has
with video billboards and infrastructure loom 35 years later, the magic of Blade Runner adapted to ‘an environment that is challenged.
above neon-lit streets permeated with smoke has evolved with the worldwide theatrical e desert is cooler and rain in the original film
and blanketed by corrosive rain. Here ex-police release of Blade Runner 2049 on 6 October. has now progressed to snow; we’re evolving
officer Rick Deckard, played by Harrison Ford, is In the sequel ‘Officer K (Ryan Gosling), a into an ice age.’ In response, Gassner elaborates:
recalled to du for his ‘ol’ Blade Runner magic’ new blade runner for the Los Angeles Police ‘We had the opportuni to make a larger scale
to pursue and retire androids: bio-engineered Department, unearths a long-buried secret that environment based on fighting the elements and
replicants. Upon encountering a replicant with has the potential to plunge what's le of socie the architecture reflects that; it has to become
implanted memories, he begins to question the into chaos’. stronger. In an environment that is challenged,
persistence of memory, identi and what it Whereas the original film was detached brutalism in the vein of Louis Kahn or the
means to be human. from nature, the repercussions of unmitigated Barbican in London that I used for Spectre [and
Blade Runner, directed by Ridley Sco technological advancement are made all the opened the same year as Blade Runner], was key
and based on Philip K. Dick’s novel Do Androids more apparent in 2049 with the depiction in how we approached the architecture of Blade
Dream of Electric Sheep, instantly became of vast barren, toxic lands shaped by violent Runner 2049.’ →
e sprawling roof of the LAPD building

provides protection and facilitates spinners
landing in treacherous weather.
Blade Runner 2049’s Los Angeles

recalls the unbuilt architecture of
Italian Futurist Antonio Sant’Elia.
‘We
designed an
environment
based on
fighting the
elements’
e brutish flared top-heavy form of the LAPD and design became pure nction. Outdated e spaces exhibit an evolved dynamic
building is indicative of this nctionalist architecture isn’t destroyed, it persists beneath manipulation of sunlight, reflecting the
approach with a sprawling roof capable of towering megastructures that transform the same god complex Neander Wallace – actor
providing protection while beer facilitating street level into dehumanized service alleys Jared Leto – shares with his predecessor
spinners landing in treacherous weather. that are augmented to provide beer protection Eldon Tyrell. Steps leading into the depths of
Conditions that inspired and coincidentally from the elements. Wallace’s pyramidal interior, where replicants
mirror original director Ridley Sco’s Inside the architecture of 2049’s are born, resembles the descent into the Mayan
experiences during the 1970s in New York, replicant manufacturer, the Wallace underworld; an integral component of zi urat
where he’d land atop the Pan Am Building in Corporation, this functionalist brutalism design that also alludes to Mayan beliefs in the
blizzard-like weather. becomes elegantly minimalistic. A spiritual cyclical nature of life.
Such extreme nctionalism is integral sanctuary, untouched by the chaos that lies is continues the tradition of
to the retrofit design philosophy of the original beyond. Mesoamerican influences from the original
and persists in 2049. As Gassner notes: ‘It’s e lobby bears striking resemblance film where the textured concrete blocks of
a s le we all loved and wanted to honour.’ to the interior geometry of Estudio Barozzi Frank Lloyd Wright’s Ennis House – culled
Infrastructure is exposed; it adorns buildings, Veiga’s Neanderthal Museum in Piloña, Spain. from the relief paerns of Mayan Puuc
mirroring the High-Tech architecture It is a remarkably fiing muse for minimalist architecture at Uxmal – were recreated for
movement instigated by Richard Rogers in the spaces imbued with a spirituali that recalls the claustrophobic interior set that was
1970s and 1980s. According to visual turist the work of Tadao Ando, David Chipperfield, Deckard’s 97th-floor apartment. Re-envisioning
Syd Mead – who returns as a concept artist for John Pawson and Peter Zumthor, but perhaps Los Angeles landmarks was central to Blade
the sequel – buildings and technology were none more so than sculptor Eduardo Chillida’s Runner’s narrative and world-building. is
constantly retrofied to keep up with demand monumental spatial carving in Mount Tindaya was a ture grounded in memory and history,
to the point where s le was relinquished on Fuerteventura, one of the Canary Islands. where Sco and original production designer →
Inside the Wallace Corporation,

the manufacturer of replicants.
‘My job is
finding
that point
where the
artifice is
integrated’
Lawrence G. Paull famously transformed the While Gassner remains coy on the Budapest unbuilt architecture of Italian Futurist Antonio
landmark Bradbury Building – built in 1893 locations and proclaims ‘the n part is picking Sant’Elia (1888-1916), reaffirming his continued
– from one of cinema’s most used shooting it out’, the ci ’s influence is apparent. Facets influence on this cinematic world.
locations into a dark waterloed ruin, its from the Great Market Hall to the statues of Even when recognizable, Blade Runner
atrium illuminated by the occasional passing Memento Park seem to suest some degree 2049 and its predecessor manipulate the
of an airship espousing off-world colonies. of influence. One Budapest location reveals identi of architecture to spectacular effect.
Curiously, its architect George Wyman was itself when Ryan Gosling’s Officer K arrives on Dennis Gassner notes: ‘On my last film Spectre,
inspired by Edward Bellamy’s 1887 utopian sci-fi the outskirts of a desolate Vegas bathed in an Sam Mendes came to me at the premiere and
book, Looking Backward, in which he described a eternal dust storm, steps beneath monumental said you’ve designed four of my films and in
pical commercial building of the ture. hedonistic statues that allude to Sodom and this film I guarantee that nobody will know
at historical component is part of the Gomorrah, and enters the foyer of the Vintage what is a location and what is a set because
‘uniqueness of the original film and we wanted Casino. e casino foyer is in actuali the you’ve refined it to a point where it’s magical.
to reflect that’, but Gassner reveals, this time Stock Exchange Palace at Szabadság (Liber ) at’s my job, finding that point where the
‘we shot in Budapest, Hungary’. ‘Ridley filmed Square that for some time acted as the national artifice is integrated.’ In postulating the ture,
e Martian there and fell in love with the ci , broadcasting building. Built in 1905, noted Blade Runner continues to influence and
so we took a look and there was something Hungarian architect Ignác Alpár designed manipulate our memories. _
unique about the environment that I had not ‘what was the largest building of its kind in
seen.’ Be er known for its Renaissance and Europe’. Its architecture intended to represent
Art Nouveau architecture, Gassner observed economic power, well suited for survival in the
that ‘Budapest is also a li le brutal. It was remnants of Las Vegas – a ci that symbolizes
refreshing, a gi , to find some architecture that the excesses of socie . e interior ses well
could interface into our world.’ with the exterior set, whose design recalls the
Diing Deep
Productora Mexico Ci — Mexico 131
Teopanzolco Cultural Centre in Cuernavaca.

Photo Jaime Navarro
Two new projects by Mexico Ci-based studio

Productora unearth new ways of living with history.
Text
Kaa Tylevich
e roof of the building doubles

as an elevated viewing platform.
‘It’s
Cultural Centre, Productora realized a new Ickx. ‘In the end, it’s the result of four people
cultural centre sited directly in front of siing around a table’ and analysing every
Teopanzolco, an Aztec archaeological site in direction a project could possibly take, as well
the Mexican ci of Cuernavaca. In that area, as the ramifications. ‘For us, it’s really about
says Ickx, if ‘you stick a shovel anywhere in the reading into a site. e buildings we design are
ground, you hit an archaeological site’. He says the outcome of specific sets of circumstances.’
that the scale and complexi achieved in the e rigorous approach he describes is made
two recent projects covered here are ‘what we’ve evident by the auditorium and the cultural
been working toward for the last ten years’. centre, in which both history and communi
But right now, Ickx and I are meeting required an architecture that was sensitive –
in Los Angeles, over 3,000 km from the that could listen to the surroundings as much
enchanting places in question. We’re at a lovely as speak to them.
a rare gi to an architect – a project like residential project in Eastside Los Angeles, In Cuernavaca, the new Teopanzolco
this in a place like that. So rich in culture, so where Ickx is tending to finishing touches. Cultural Centre confronts history head-on
extremely beauti l, surrounded by mountains,’ e project is so fresh, I wear shoe covers. We but treads lightly. Located in front of an
Wonne Ickx tells me. ‘When we first presented take in the new-house smell of just-finished excavated Aztec ceremonial centre, it is housed
the project, it was in front of a communi renovation and the sunlit view of a decidedly in two interconnected triangular volumes,
of 200 women, all in traditional clothing, Southern California private garden, while proportional to the Aztec pyramid it faces.
speaking a language we didn’t know. It’s been acknowledging LA’s relative lack of history e new building, designed by Productora
overwhelming from beginning to end.’ is is and its fragmented communities of smiling in collaboration with architect Isaac Broid,
Ickx’s ode to the newly completed Communi strangers, a sharp contrast with the two is made of ochre concrete and oxidized steel.
Cultural Centre in Teotitlán del Valle, an projects in Mexico that Ickx and I discuss. Bowing to its surroundings, it is both an
indigenous village in the mountains of the Dichotomy and context form the reoccurring homage and an elevated viewing platform.
Mexican state of Oaxaca. theme of our ensuing conversation. Instead of blocking a view of history, the
Ickx is one of four founding members ‘At Productora, we work together as building props people up on its ‘shoulders’
of Productora, a firm based in Mexico Ci; his four people, so it’s impossible for a project to for an even more spectacular vision, perhaps
partners are Abel Perles, Carlos Bedoya and emerge from one person’s intuitive stroke-of- a rediscovery of what is already there. Its
Victor Jaime. In addition to the Communi genius, or even from an individual desire,’ says inclined exteriors are staircases with a dual →
Teopanzolco Cultural Centre

Cuernavaca — Mexico — 2017
In collaboration with Isaac Broid
Photos Jaime Navarro
e cultural centre is opposite the excavated Located in front of an excavated Aztec ceremonial centre,
ceremonial centre of Teopanzolco. Like the the cultural centre occupies two interconnected triangular
volumes that are proportional to the Aztec pyramid it faces.
Aztec pyramids, the building is conceived as
an enormous staircase: the rooop nctions
as a viewing platform that offers a panoramic
perspective of the archaeological site and its ruins.
e new structure rests on the foundation of a
former cultural centre that no longer lfilled the
requirements set by local authorities.
e main hall faces the Aztec pyramid.

Outdoor spaces are suitable for

performances and other events.
0 +1
06
10 10
12
05
11
13
09 08 09 08 04
03
14 05 02
14 01
16
14
15 07
18 15
13 17
13
Cross Sections
01 Main hall
02 Tickets
03 Coffee shop
04 Auditorium
05 Box seats
06 North patio
07 South patio
08 Stage
09 Backstage
10 Foyer
11 Tickets and coffee shop
12 First aid
13 Toilets
14 Staff
15 Dressing rooms
16 Rehearsal room
17 Maintenance area
18 Loading dock
e auditorium of the
cultural centre seats 800.
As seen in the foyer, the building is

dominated by timber and concrete.
nction. Besides serving as informal seating For all it does to enhance life on site, the
that provides a number of vantage points, building is carel not to disturb whatever
the stairs invite visitors to the archaeological life lives below it. Conscious of likely pre-
pyramids to catch an eyel of dynamic and Hispanic ruins buried beneath the site, Broid
spontaneous public life across the way, rather and Productora realized the project without
than the cold, invasive façade oen associated excavation, building on top of a pre-existing
with new architecture. e relationship foundation and pouring an additional
between past and present is therefore amicable, foundation slab at ground level. Taking rther
inseparable even. steps to minimize disruption of the site and
At the summit of the exterior staircase, its nature, the team equipped only the main
on the ‘rooop’ of the cultural centre, you might performance area with air conditioning. e
notice the irregulari of your footsteps. ‘is rest of the project is open to the environment,
is a moment of encounter,’ says Ickx. It’s a place cooled by a natural ventilation system of
reached through curiosi and big, unintuitive grilles and meshes. e complex breathes the
strides, generating a physical recall of ‘the feeling same air as its seing.
that you’re climbing one of the ancient pyramids In Teotitlán del Valle, the Communi
of Mexico. It’s a more adventurous experience Cultural Centre likewise integrates lly with its
than climbing a flight of stairs that are up to environment and built predecessors. e building
code with handrails.’ Wink wink. A break with contains a small museum, which exhibits local
‘ere’s muscle memory makes visitors aware of the

physicali of experiencing architecture. And
then there’s the scenic panorama as payoff. e
textiles, costumes and archaeological artefacts. It
also nctions as a multipurpose gathering spot
and shelter for the local indigenous communi.
tremendous focal point of public space. ‘I hope people will

come here with their boyfriend or girlfriend
to take in the view of the ci,’ Ickx says,
As does the Cuernavaca auditorium, the centre
contains nonprescriptive spaces, which foster
unstructured movements and play to the natural
beau emphasizing that although the building provides
the programme required of it, it also gives plen
coming together and driing apart of bodies and
conversations.
in ruins’ of opportunities to go off script, to become a

vital part of everyday life in the area.
‘Overall, the structural solution is very
basic,’ says Ickx. ‘We take advantage of the fact →
Communi Cultural Centre

Teotitlán del Valle — Mexico — 2017
Photos Luis Gallardo
is municipal cultural and communi centre
displays the archaeological richness, textiles and
traditions of Teotitlán del Valle, a small town in the
Mexican state of Oaxaca. e main building, which
houses a museum, is next to the town plaza. Its
height, colour and materiali harmonize with those
aspects of surrounding buildings. e secondary
building accommodates a small municipal library and
additional restrooms. e footprints of both buildings
represent only 18 per cent of the site, leaving a large
area dedicated to public spaces, such as courards
and gardens, designed to enhance existing pedestrian
routes that cross the site.
‘We want
our
buildings
to point
out what
was there
e architects integrated the Communi Cultural Centre into its surroundings by using a
minimum of locally produced materials: ochre concrete, timber, clay tiles and brick.
all along’
e Communi Cultural Centre frames passageways through the town.
that Mexico has a strong tradition of handmade way people move about. ose are questions
concrete; it’s a basic way of building here. e architecture should address.’
village houses surrounding the building are all Productora rther addresses
constructed with concrete beams and columns.’ environmental concerns by leaving the building
Although the cultural centre is an obvious without air conditioning, instead regulating
newcomer, it’s one that’s fluent in the local the temperature with 30-cm-thick walls and a
dialect and physically open – even framing double-slab roof. Its entire footprint occupies
passageways through the town, as if conscious but a small fraction of the site; remaining areas
of staying out of the way. designed for public use include plazas, gardens
‘In the end, we hope the buildings are and navigation through the town.
beautil and powerl, but we also want them ‘Something that we find very important
to point out what was there all along,’ says is the question of how our buildings will age,’
Ickx. ‘We ask ourselves: how can we insert says Ickx. ‘ese two public buildings will
a very abstract composition into an existing receive limited maintenance and lile money for
site? How can geometry create just enough upgrades, so what’s there now is what has to be
tension to make you look differently at what’s there in ten years – and in 50 years.’ Productora
already there, rather than seeing only the erected two structures whose concrete materiali
building itself? e building can blend with the not only echoes and respects the environment but
environment, while at the same time make you can age with it as well, while living comfortably
rethink the street it’s on, the village it’s in, the with inevitable imperfections. →
Interior spaces feature diverse lighting

conditions and spatial solutions – such
as single, double and triple heights –
which produce a range of ambiences for
exhibition and programming.
Controlled openings and 30-cm-thick concrete

walls create a passive system that responds to
adverse weather conditions.
‘Sounds to me like all this work with
archaeology has goen to you,’ I say.
‘Well, there’s tremendous beau in
ruins,’ he replies. ‘When you design a new
e library is in a separate building. building, you go step by step, beginning with the
spatial layout and moving on to the finishing
details before ending with the perfect doorknob.
When buildings age, when they become
ruins, the design process is reversed: first the
doorknobs fall off, then the doors fall out. But
if you look at the Roman or Mayan ruins, you
see that the general layout, the very first trace
drawn on a piece of paper, remains. at’s
architecture in its bare essence, removed of all
superficial detailing and superficial meaning.’
Wonne Ickx rises from his seat and
motions for us to go upstairs, returning to the
present to inspect the bare essence of a new
home in preparation for the complexities that
will inevitably inhabit it. Eventually, every new
project will be an old one, an outline of how
life was lived and navigated at a particular time
in a particular place, its intentions resting in
cracked concrete, seemingly inextricable from
the soil from which it grows, talking easily
with other ruins, whether 3,000 km or 3,000
years apart. _
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MUSEUM
01 Entrance
02 Reception and gi shop
03 Office
04 Temporary exhibitions
05 Patio
06 Storage
07 Multipurpose room
08 Textile exhibition
09 Archaeology exhibition
10 Archaeology storage
11 Restoration workshop
LIBRARY
12 Reception
13 Reading room
14 Children’s reading room
15 Toilets
16 Computer room
17 Storage
18 Technical room
Roman
Baroque
Labics builds public space on the
eternal ci’s edge.
Text Photos
Aaron Bets Marco Cappellei
Labics Rome — Italy 145
‘We
anchored by his terraced 1929 Casa del Sole, the ci on our side, they set the minimum and
or House of the Sun. ey call their project stuck with that demand.’
the Cià del Sole, or Ci of the Sun, and have Labics broke the 17,300-m2 programme
worked hard to align its parts with the massing apart into five buildings. Two are commercial
and entryways of the neighbouring buildings, plinths, separated by a walkway that
while offering a buffer to the con sion of leads from the main road of Via della Lega
roads, bus parking and mixed commercial and Lombarda to the south to the location in the
residential structures to their south and east. rear along Via Arduino where a staircase leads
‘We try to bring order to these spaces,’ explains up from the street to the series of Sabbatini’s
Clemente, ‘which is why we suppressed the semi-public courards on a hill to the north
details of each building behind vertical blinds that Labics wanted to extend into their
and struts. It is not about the building, it is project. e stores continue into the alleyway
about making a piece of the ci.’ they designed to line up with that staircase,
wanted to work in a modern version of the e project started when ATAC, bringing commercial life into the project’s
Roman Baroque,’ says Francesco Isidori of the Rome’s municipal transport system, decided core. On top of the western part of this base,
mixed-use project he and his business partner, to redevelop a bus shed and yard near the new they designed an L-shaped office building. It
Maria Claudia Clemente, just finished on the high-speed train station of Tiburtina. ey comes down to the ground next to Via della
edge of that ci; ‘I don’t mean in terms of sle, issued a design/build challenge to developers Lega Lombarda, and then bridges a public
but in how it shapes the public outdoor space, and architects. Labics won the commission plaza, which can be reached via broad stairs
how that shaping comes first and the building with Parsitalia, but their partner turned on top of the shops. A two-storey bar of offices
second.’ Even the cantilevers and gravi- around and sold its interest to the American extends rther to the west, cantilevering over
de ing leaps the complex’s structures make are developer Hines Properties, who in turn sold the site’s tip to echo the cantilevered shed roof
meant, he says, to ‘draw you in, to connect to it to the local firm Investere before the project over the existing ATAC bus bar, which will
what is there, to define the outdoor space’. was finished. Labics had to navigate these be preserved and turned into a restaurant (it
Isidori and Clementi, whose firm is various ownerships while protecting what they is currently used to house and preserve the
called Labics, had the advantage of working thought was the most important aspect of their archaeological remains that were inevitably
close to a social housing project designed in design, according to Isidori: ‘e public space; found during the project’s construction).
the 1930s by Innocenzo Sabbatini, then head most developers try to minimize that bit by bit On top of the easternmost plinth a
of Rome’s Public Housing Authori, which is to get more developable space. Luckily, we had two-storey apartment building balances on →
‘It is not about the building, it is

about making a piece of the ci’
Opposite e project is articulated over different levels, with

commercial activities and a public library at ground level,
offices on the first floor and public spaces on top of those. ree
buildings are suspended above this public area – one containing
more offices and the other two for residential use.
Below A nearby pedestrian route is extended into the project.

A two-storey bar of offices cantilevers

over the site’s tip to echo the shed roof
over the existing ATAC bus bar, which
will be preserved and turned into a
restaurant.
‘We don’t want you to recognize what

is social and what is market housing’
Right e highest element of the complex is

a tower containing 70 small and medium-
sized apartments, partially enclosed with a
horizontal glass brise-soleil.
Opposite Labics clad the complex in skins

that emphasize mass, rather than use.
slender columns. is contains eight duplex ‘It was important for us that you can’t really see are now filled, and some stores and other
apartments, ‘completely autonomous, like the individual elements,’ says Isidori; ‘we don’t commercial uses are venturing onto the site (a
townhomes’, according to Isidori. ey have want you to recognize what is social and what dentist occupies a suite on the ground floor),
their own entrances and roof terraces, all is market housing, what is offices and what is much of the commercial space and most of
hiding behind glass and metal louvers so that the back. We want to express the volumes as a the townhomes sit emp . e raised plazas,
the whole appears to be a mass. Finally, a nine- backdrop and shaper of the public spaces on the moreover, are bare, which one assumes is all
storey apartment block, which Labics split in street and on the terraces we made.’ ey see the developer would like them to be. ‘Yes, I
the middle to both reveal its core and break up their raised plazas as offering a level in-between am worried,’ says Clemente, ‘but it is a larger
its mass, contains 70 smaller apartments, each the consion of the commercial area to the concern. Everywhere in Rome – and the
with its own loia. Part of this block balances south and the more park-like cour ards above world – there is this fear of public space and
on columns that interrupt the second public them and to the north. what might happen there, and there is this
staircase, leading from the park area in front ere is no doubt that the Ci à del Sole urge to close it off. ey even want to close off
of the train station to the public areas on top of is successl as a contribution to Rome’s public the Trevi Fountain. I’m afraid that they will
the plinth. space. It is one of those rare modern structures barricade the upper plazas, but I hope the ci
Labics clad the complex in skins that that looks as if it has always been on the site, so will fight. e public dimension of the ci is
‘emphasize mass, rather than use’, as Clemente well do its forms echo, respond to and complete under pressure and we must fight back.’
says, though you can understand the different the buildings and open spaces all around it. With the Ci à del Sole, Labics certainly
parts of the complex through the variations. at does not mean the design is recessive. has made a contribution to Rome’s public
e commercial base above and around the e abstraction of the volumes, along with the space and life. It is especially important that
storefronts is obscured by closely spaced li ing, pushing, pulling and cantilevering of the the architects have done so at the frayed edge
vertical metal slats. e office building hides blocks, creates continuing changing vistas and where that common area needs most support.
its windows behind vertical louvers with a composition of forms takes the implosion of at they have done so with buildings that
horizontal slats. e main apartment building the site and explodes it back out into a play of build beau out of a combination of urban
is a porous block of balconies behind a metal forms in the Roman light. expression and detailed restraint makes their
grid. e smaller apartment block, finally, What concerns both Labics and this contribution all the more impressive. _
shields its homes behind a combination of reviewer is those public spaces. While the labics.it
horizontal slats and vertical metal members. large apartment block and half of the offices
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Axonometric
Island
Spirit
Eloisa Ramos and Moreno

Castellano designed a hotel
for hikers on the Cape
Verdean island of São Vicente.
Text and photos

Ser io Pirrone
Ramos Castellano Arquitectos Mindelo — São Vicente — Cape Verde 155
Eloisa Ramos and Moreno Castellano.

e Terra Lodge Hotel is situated on a

hill on the outskirts of Mindelo.
Almost
600 km west of the African coasts of Senegal, on a suroard. Ramos is Cape Verdean, born
ten black stone tips emerge from the deep on the neighbouring island of Santo Antão, the
blue sea, like obsidian hardened and polished most north-western of the Barlavento group
by the warm Saharan winds. e two groups and a growing tourist destination.
of islands – Barlavento and Sotavento – that While São Vicente, dry and constantly
together form the Cape Verde archipelago, are whipped by strong hot winds, has a shay
shaped like a handheld fan. and yellowish vegetation because of the
Cape Verde is home to architects lack of rain, Santo Antão, only 15 km away,
Eloisa Ramos and Moreno Castellano. ey mountainous and surrounded by gorgeous
met in early 2000, at the Universi of deep ravines, is quite damp and green.
Coimbra in Portugal, when they were studying Every year Santo Antão aracts thousands
architecture. ey became a couple and of tourists who want to experience the
embarked on a journey that took them first to wonderl hiking trails in its dramatic coves.
Florence and then to Los Angeles. In 2003, they But the tourists arrive on São Vicente first,
landed in Mindelo, port ci of the island of São because it has the airport. Typically, they will
Vicente. Castellano originates from Sardinia, stay there a few days, enjoying the greater
an island in the Mediterranean Sea, and was cultural identi and the deserted beaches,
looking for a life where freedom and wind meet before taking the ferry to Santo Antão. →
e entrance gate is made

of recycled metal cans.
e raised volume containing the breakfast room

provides a shaded area beyond the entrance gate.
e roof terrace on the old

colonial house is the heart
of the complex.
is inspired eo Lautrey, a French trekking place to live. Without raw materials and mainly Ramos actually already knew the colonial
guide, to develop ideas for a hotel for those developed by the former Portuguese colonists house from her childhood. Castellano got
adventurous trekking pilgrims on São Vicente. to be a stop-over for charcoal-carrying ships to know it by spending a lot of time on site,
He bought an old colonial house on the edge between Europe and America, Cape Verde only geing a sense of its potential before his daily
of the historical centre of Mindelo, the capital survives thanks to small businesses, tourism surf. Inspiration arrived one day, when the
of the island. His idea was that it would both and regular aid from Portugal. On the one architects were standing on the roo op of
house the tourist travel agency and be the core hand, the archipelago’s geographic isolation, the house, then still almost a ruin, facing the
of the hotel he wanted to build around it. By scarce resources and relatively small number breath-taking panoramic view of the island.
offering both services and lodging, the project of inhabitants have shaped a strong cultural Its colour l roofs were like steps descending
would embody a complete tourist package, identi, but on the other the new generations to the south-west towards Baia Do Porto
combining the charm of a frontier post with have not learned to adapt to change and pursue Grande, and beyond, to the hardened hills and
the comfort of a four-star hotel. innovation. Contemporary Cape Verdean the iconic Monte Cara. e thought hit them
And so the young French guide began architecture is prey unremarkable: simple that the anarchistic growth of houses on the
his search for the right architect to realize cubic volumes, flat roofs and aluminium arid lava roc mountain could be understood
his dream. But whoever has been to São fixtures. In this barren architectural landscape, as its vegetation. Ramos and Castellano: ‘We
Vicente knows that the 227 km2 of volcanic Lautrey met Ramos and Castellano and decided to respect the context and use the same
earth, flailed by oceanic waves and hot winds commissioned them to design what would turn philosophical architectural approach of the
regularly exceeding 20 knots, is not an easy out to be the Terra Lodge Hotel. surrounding buildings, adapting the spaced →
e 15-m-long footbridge to the roof

terrace adds a sense of adventure.
‘São Vicente
must be
respected for
what it has
managed
to become
despite the
difficulties it
has faced’
e hotel rooms are distributed over four

separate volumes.
Instead of a TV set and air conditioning, guests

are offered a view of the bay and natural
ventilation supplemented with electric fans.
e breakfast room is
raised on pilotis.
units to the terrain morphology. Because São

Vicente is both beautil and ugly, it must
be lived as it is, without being judged, and it
must be respected for what it has managed to
become despite the difficulties it has faced.’
e architects divided the hotel rooms
(11 rooms and one suite) into four volumes,
separated by circumnavigating paths that
connect to the reception and main entrance.
ey decided to use the significant slope of
the site to create various terraces and, through
several stone retaining walls, chose to allude
to the roc nature of Santo Antão, the final
destination of the hotel guests. e four
volumes, three equal- and one double-sized on
Cross ventilation keeps the breakfast room cool.
the west side, blend into the built environment
and overlook the ci and the bay. Rather than
being set in line, there are small variations in
their orientation, just like the surrounding
buildings. eir terraces have been placed a certain Indiana Jones feeling – a sense of basic needs and not catering to ephemeral
according to precise solar path studies. Wooden adventure. e large panoramic terrace, where fashions.’ Like an exquisite dish cooked
panels in the verandas block direct solar guests can enjoy drinks and the sunset, is with a few ingredients found in the fridge,
radiation during the day and provide protected the pulsating heart of the complex. And if the two young architects have done the best
spots for the guests to enjoy the views. the four volumes holding the rooms can be with the very li le they had at their disposal.
e four volumes rest at different seen as the oxygenating lungs of the complex, Sustainabili, sociali and respect for the
heights on stone walls, as if they are rocks the breakfast bar suspended on pilotis is the people and place that welcomed them when
taken from the overhanging mountain. e stomach. Like the hotel rooms, it has numerous they moved to São Vicente are three of the
sun-sheltered paths at the back lend access openings to guarantee cross ventilation. pillars of the Terra Lodge. e fourth is love for
to a 15-m-long wooden suspension bridge, As the architects say: ‘Every solution architecture and, in their small way, the desire
leading to the terrace on the roof of the old has been simplified and adapted to the island. to change the world through beau. In order to
colonial house. Crossing the bridge evokes e complex is simple and essential, satis ing get the essence of that beau, Castellano →
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13 Breakfast room
14 Kitchen
15 Water storage
spent days sleeping on site, in a tent, and

studied the sun from sunrise to sunset, feeling
the gusts of wind. Such a ‘holy’ approach led
to a totally handmade project, using the local
labour taken from the neighbourhood, ‘trying
to distribute the economy of the building
construction into the social environment’.
e external materials have been le
raw: wood for the verandas, lime puy for the
white plaster. e ecological soul of the project
is embodied in the adopted recycled material,
such as the colourl entrance gate made of
cast-off petroleum barrels – used for shipping
goods and employed by the locals to make
artisanal objects. Furthermore, the building
is self-sufficient thanks to the photovoltaic
panels hidden on the roofs and the water-
recycling systems used to irrigate the native
plants. Finally, all of the rniture, including
the lighting, was designed by the architects
and built by local handcraers out of recycled
e hotel rooms are accessed from the north, via wood taken from electric cable reels. In spite of
a configuration of paths, stairs and small bridges.
the very happy ending, construction was not
always easy and it encountered delays, as also
happens in any couple’s life. ‘During the past
two years, we have also learnt that the same
rules should be applied to both architecture
‘Every solution has and private life. We all need passion and
compassion, respect and (a lot of) patience,’ say
Ramos and Castellano, smiling. _
been simplified and ramoscastellano.com
adapted to the island’

e 12 rooms combine contemporary
comfort with the character and appeal
of historical heritage.
Carlos Teixeira.
Bookmark Carlos Teixeira 167
Carlos Teixeira talks about the books and

magazines that influenced him and explains
why reading Baudrillard is dangerous.
Text Photo
Ana Martins Gabriel Castro
‘Practising
architects
need to be
optimistic’
contemporary architectural production is going What about the AA’s urbanism-related

through an unmistakably splendorous period.’ bibliography?
For now, we look at the authors, works Many of the authors I read when it came
and publications that most influenced Teixeira’s to theory were very much influenced by
search for a conscious architecture. Henri Lefebvre. All of them had him as a
reference, but I never read one of his books.
How would you compare your experiences at I wanted to keep a distance from the course’s
UFMG and the AA? strictly urbanist and politicized discourse.
CARLOS TEIXEIRA: At Minas Gerais, the I read a few things that weren’t really part
teachers were a bit alienated from the time of the curriculum, like Jean Baudrillard’s e
and the circumstances in which we were living. Transparency of Evil. He had a way of offending
ey ignored anything that went beyond the the academic world with his free and irreverent
plots of their projects. At the AA, teachers were sle of writing, which inspired me. However,
anti-object – pical planners with a certain the book’s delirious and absurd metaphors
disdain for architecture. I couldn’t follow either define an overly disillusioned and nihilistic
approach, because what I was looking for was view of Western culture. For practising
a kind of urban architecture that would be architects, who in my opinion need to be
commi ed to its impact on the ci. I wanted optimistic, it’s a dangerously immobilizing
to develop projects that made architecture, book, so I felt that in the ture it would be
urbanism and landscape design inseparable. necessary to look for authors who were more
My resistance to both schools led me to work ‘operative’.
on a critique of the ci, to try to pinpoint its
As
problems and to use them as a starting point Did you read any periodic publications on
for a project. e result was my first book, architecture while you were studying?
Em Obras: História do Vazio em Belo Horizonte. Yes. My two main influences were Módulo,
a now-extinct Brazilian magazine, and
How did this critique of the ci influence your Architectural Design, which was a very
rther work? influential publication through the 1980s and
e series of interventions titled ‘Amnésias maybe even the 1990s, but issues published
a child, Carlos Teixeira lived in a house built Topográficas’ [‘Topographical Amnesias’] in the 2000s haven’t been very interesting.
by his father, a civil engineer, and designed by was an explicit consequence of the book. It
Brazilian self-taught architect and woodwork all started in 2001, when an urban theatre
master Zanine Caldas. During his adolescence, troupe invited us to propose a location for
on the way to school from his parents’ home its next street production and to develop the
in Belo Horizonte’s Pampulha neighbourhood, scenography. For the former, we suested the
Teixeira passed by Lake Pampulha, considered spaces between the reinforced-concrete stilts
by many to be the birthplace of the country’s used for support throughout the hilly outskirts
modernist movement. It’s here that Oscar of Belo Horizonte, where a lack of architectural
Niemeyer realized some of his first buildings, and urbanist rigour led to steep slopes occupied
such as the Church of Saint Francis of Assisi by apartment blocks of ten, 15 and sometimes
Carlos Teixeira
(1943). ‘I think my choice of profession had 20 floors. Four years later, the group called on
something to do with my experience of these us again, and we had another opportuni to
Recommends
two realities,’ says Teixeira. ‘Maybe my family test the occupation of these spaces – to explore Bernard Tschumi, Architecture
home and Niemeyer’s buildings awoke in me the area’s widespread but unutilized non-places and Disjunction, MIT Press,
a certain sensibili towards the discipline of and thus to tackle one of the ci’s problems. Cambridge (MA), 1994
architecture.’
Samantha Hardingham, Cedric
He graduated from Universidade Which authors influenced your critique? Price Works 1952-2003: A
Federal de Minas Gerais (UFMG) with a BA in During my time at the AA, I read a lot of Forward-Minded Retrospective,
Architecture in 1992. Yet, unhappy with the Bernard Tschumi’s texts, many of which were Architectural Association
Publications / Canadian Centre
school’s ‘gleel, irresponsible, and apolitical’ later compiled in his book, Architecture and
for Architecture, London /
approach to postmodernism, Teixeira looked Disjunction. I was interested in themes like Montreal, 2017
to Europe, and more specifically to the the conflict between space and use, and the
Architectural Association (AA) in London, for a a empt to describe and represent an event in Yukio Mishima, e Temple of
the Golden Pavilion, Shinchosha,
different perspective. In 2001, seven years a er architecture. He writes that the programme is
Too, 1956
graduating with an MA in Urbanism from the more important than the form, and that what
AA, he returned to Brazil, where he founded happens in a space is more important than the Hal Foster, e Art-Architecture
Vazio, a studio that has remained true to its space itself. Complex, Verso, New York Ci ,
2011
dual objective: a mix of research and practice. More generally, a book that had a great
Now Teixeira is back in Europe and impact on me was e Temple of the Golden Olivia de Oliveira, Subtle
academia, studying for a PhD at the Facul of Pavilion by Yukio Mishima. It’s about a monk Substances: e Architecture of
Architecture in Porto, Portugal. ‘I am not sure who holds a pathologically insane adoration Lina Bo Bardi, Gustavo Gili,
Barcelona, 2006
what shape or form my doctorate research will for the Golden Pavilion, a Buddhist temple
take, but the time has come to dedicate myself in Kyoto. e book became a very important Robert Morris, Continuous
to a retrospective exercise of self-criticism, reference, because I had never seen such a strong Project Altered Daily, MIT Press,
while reflecting on a conceptual uni of the description of architecture that simultaneously Cambridge (MA), 1995
work developed by our studio,’ he says. ‘I will involves such a contradictory sentiment towards
Pier Vi orio Aureli, e Possibili
do this while capitalizing on the possibili of the adoration of beau. In my eyes, the book of an Absolute Architecture, MIT
living in a country to which I relate and whose merges the concepts of good and evil. Press, Cambridge (MA), 2011
Bookmark Carlos Teixeira 169
What do you read nowadays?

I subscribe to the London-based Architectural
Review and to Plot, a very good Argentinian
publication that dedicates one section to
news, another to projects, and a good part to
architectural theory, something that is very
rare these days. It is a relatively new magazine,
founded in 2010.
‘What happens in
How would you characterize the state of
architectural publications in Brazil?
a space is more
ey are mostly descriptive titles that publish
the most obvious novelties built in the
important than
country. I notice a certain obsession for built
work; unbuilt designs or discussions of ideas
are rarely published. ey favour the kind
the space itself’
of content that is likely to bring in higher
advertising revenues. e editors do a good
job of selecting the projects to be published,
but they don’t do much more than that. Texts
about projects are usually very descriptive,
polite, polished and obvious, lacking a critical
view of the work published. Recently, the editor
of aU - Arquitetura e Urbanismo le , only to
be replaced by a professional journalist with much more on conceptual work than on built time ago centred on a seminar of architecture
a more commercial vision for the magazine. projects, and its content is well curated. It’s critics held in this country in the 1960s. A
ese structural moves are a clear reflection of been around for over 15 years, and I think noteworthy seminar of architecture critics is
the vocation of such magazines. it’s still Brazil’s only online alternative to unimaginable today. You might find one or
the pical image-driven architecture sites. two, but they wouldn’t have the importance
Do you think this scenario is specific to Brazil? Maybe it’s too academic, and in a way I think they once had.
Not at all. It’s happening all over the world. But it demonstrates Brazil’s self-absorption when
even in Brazil, the magazines that survived it comes to architecture. Many of the texts are As you are about to embark on your PhD,
until now were once beer. ere used to be wrien by people who talk only about their can you reflect on important lessons about
space for criticism and discussion, but they are own ci and who seem to have no idea of architecture you took from books?
becoming more and more commercial, maybe what’s happening outside their world. I think I will have to go back to Tschumi’s Architecture
because of the internet. I think that’s why that’s a widespread problem in this country. and Disjunction. What remains with me is the
publications like Plot and Architectural Review During the 20th century, Brazil distanced idea that there is poetry in the friction between
survive and strive. ey want to stand out from itself from the rest of the world in terms of use and space, a conflict that involves an event
the immediate and mediagenic content of sites architecture, took itself too seriously, closed the or a nction that occurs in a particular space
like ArchDaily. door to external influences, and deified its good without having been specified in the original
architects. Most of the content in Vitruvius programme.
Fast-paced, image-driven sites aside, you is wrien in Portuguese by Brazilians about Someone whose work I believe inspired
can find good examples of online long-form Brazil’s academic production. It reveals Brazil Tschumi was Cedric Price, one of my teachers
architecture criticism that aempts to take ll as a very nostalgic country, almost lifeless at the AA. I had the opportuni to get to
advantage of the medium, like ‘A New Whitney’ in a way – a place with no disruption and no know his work beer when Cedric Price Works
by Michael Kimmelman, published on 19 April possibili of expansion. 1952-2003: A Forward-Minded Retrospective by
2015 in e New York Times . . . Samantha Hardingham was released in 2015.
Exactly, and I think that’s a ndamental Did you find the possibili of expansion in It was only a er I began to read this book that
observation. In my opinion, the presence anything you’ve read recently? the strength of the architect became clear. He
of architecture in newspapers is a lot more Yes, in the texts of Pier Viorio Aureli, defended a nonpermanent architecture. As
important for the profession than what who teaches at the AA. More specifically, in long ago as the 1960s, he spoke about the need
you get in specialized magazines. Critics in e Possibili of an Absolute Architecture. In for undesignated spaces – both public and
some countries are interested in debating Aureli’s work, I see a sign of counteraction private – in cities.
architecture publicly. A country where critics to mediagenic, image-driven architecture. I don’t think many architects of
of the discipline write for newspapers is a He redirects his focus back on the ci, my generation explore the relationship
country that takes architecture seriously. recapturing the importance of Italian between architecture and art. With The
It doesn’t o en happen in Brazil. ere are theorists and revising their more radical Art-Architecture Complex, Hal Foster tackles
isolated cases in which architects manage to ideas from the 1960s and 1970s. I’m thinking this somewhat lost relationship. At the
get opinion pieces in newspapers, but there’s of Archizoom and Superstudio. His book is beginning of his book, he writes that the best
no continui to this pe of discussion. It’s a a reaction to what he calls ‘the commercial architects are those who manage to work
maer of solitary ventures that survive for only ci’. He analyses architecture’s abili to between the two disciplines. I tend to agree
a short period of time. define another kind of public space. Aureli is with him, although I think the examples he
much more engaged in proposing unaainable selected are a bit too obvious and traditional.
Does Brazil have a good online architecture projects than in practising architecture. It’s Alternatives might be French studio Encore
publication? good to see that someone who approaches Heureux or Spanish-Italian outfit Basurama,
Yes, one called Vitruvius. e site was partly contemporary architecture criticism from a both founded in the early 2000s. These
obliterated by ArchDaily’s avalanche of images, theoretical perspective is part of a gathering are practices that focus on small-scale,
but it has one advantage: so far, it concentrates momentum. A book published in Brazil some sustainable, socially active interventions. _
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176 Mark 70 Exit
Exit
Mark 71
Dec 2017 – Jan 2018
Takasaki Architects
Japanese architect Masaharu
Takasaki is well known for his
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work has defied commonly accepted
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Also
COBE’s transformation of an
industrial silo in the Port of
Copenhagen
An interview with British architects

David Connor and Kate Darby
And Takasaki Architects, Shinon-no-ie,

New architecture in Shenzhen exploded view.
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Another Architecture N°70 October — November 2017

EUR 19.95 GBP 14 CHF 30 CAD 29.50

Productora Dennis Gassner MVRDV

The type F flat roof window:

FAKRO product range also includes the type C ﬂat roof

* for the D_F DU8 window according to EN 14351-1

The DEF U6 ﬂat roof window constructed and manufactured using

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054 Pers ective

056 Michael Webb discusses LA’s

082 Lon Section

084 SelgasCano’s auditorium in 098

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including oﬃces, restaurants,

William Mahews Associates and Sou Fujimoto

Reiulf Ramstad Arkitekter and Forbes Massie Studio

Rendering by WAX Architectural Visualisations

Text Michał Haduch and Bartosz Haduch

Plan (even levels)

Plan (odd levels)

Spacious balconies, some of which are double-height,

House in the Air

Text Lauren Teague

Sean Wright and Maciek Strychalski design an

Text Oliver Zeller

Next Architects continues to e path circles around a bowl-

presence and height, as the pylons

Photo Mastum Daksystemen / Maurice Iseger

e curved bicycle ramp gives shape to the school playground.

Waﬄe is a three-storey tower Kahn chanced upon it and was

Text Monica Zerboni

Andreas Gruber included his interpretation of the Tyrolean Stube.

e bathroom window oﬀers an unexpected view of the steep rock

-2 face outside, which threatens to touch the glazed surface.

e inner courard is a communal

Playing on Two Sides

Text Lauren Teague

e peaks and troughs of the that would be diﬀerent to

the architect’s primary concern terraces for some 40 per cent of

Photo Christian Repnik

Mai Nai Soi

Text and graphics eo Deutinger and

Of the 33 million people that are se lement, which opened in

complete lack of camps in the displaced Palestinians who found

Americas and Australia, according themselves homeless when the

Set back from the building’s edge, bamboo screens provide

Text David Keuning

Open façades and a void in the hallway

aﬃni for the dramatic.

-1 architect, Schaedler designed

Tino Schaedler: ‘Legend has it that

a motorized projection screen

Text Jinyoung Lim

First ings First

Text Lauren Teague

e curved bicycle ramp gives shape to the school playground.

e bathroom window oﬀers an unexpected view of the steep rock

e inner courard is a communal

aﬃni for the dramatic.

e cabin sits on a masonry retaining wall.

for Clues aer the street number of the house, is in