sie iti 5 AB Aa) AR Mite094 100 106 112 122 128 136 144 174 180 186 Templestowe Park Primary School Mcbride Charles Ryan SL bd Rafael Arozarena High School 7 arquitectos feist BUMPS in Beijing 510 -wenicers BUMPS Clarke Quay Redevelopment sop Avehitects SELLA SIP RIK Brandhorst Museum Sauerinueh Hation iL AS HE Klein Bottle House Mebiice Chases Ryan SE ELE Addition to the Center for Contemporary Archives, Fontainebleau !/amonic+Massan rie ao Fort Dunlop sheakmn Abie a Expansion of thePalais des Congrés de Montréal Ha! ingberg Architecte BAY FA aiestets Social Housing ©is wiles! Ma Oxford University Biochemistry Department Hawkins Brown PIOCP ANCE R Habitat 825 Lorcan Ot estiny Architects s2stbe Lace Apartments aMree TKTS Booth Perkins Easiman, Choi Ropiha TRTS {SRE PUMA City Lorex REEL aR006 008 014 022 028 034 040 048 056 062 068 076 082 088 Contents Ae Preface ites Nestlé Chocolate Museum Rolkind Arquitectos ILE D1 Netherlands Institute For Sound And Vision Neuielings Riedik Be AIEOFIET Ann Demeulemeester Shop Mass studies Te UBT ARMAS eI Hotel Hesperia Bilbao ‘ab anurek ASLAN The Public Aisop architecis eh” ERK Taka-Tuka-Land Kindergarten Scupilown HR MEE ILE Orestad 1 College aXxN ST JO ConHouse 2+ Arhitekiura Jure Kotik 2 LAE It Blue Residential Tower Seri Tschumi Keow Agora Theater | siuctio PAF Offices La Defense UN siucio BIEN DR AR Galleria Hall West UN Stucio Innit FB i 8 Sharpe Center for Design “sep avchitceis BRER SEMEL192 198 204 210 218 224 230 236 242 248 256 264 270 Refurbishment Santa Caterina Market 2¥er auc Mrcdes, Beneclencr Tagiabue aA Oslo International Schoo] Jarmund/Vigsnaes AS arkitekier SUMED MF Be Signalhuset Sobel eet Sjakket Youth Center 8!¢+/ps SLRS TS ET aehs Manzana 2.3.1 Diaz del Bo y Asociados PALHH231 Didden Village “vrov BOCA King’s Mill Hospital; Modernisation of Acute Services ‘Swanke Hayden Connell Architects EDO AREEBE OU Jennie Lee Building swanke staycten Connell wehieets SIE AE Studio Thonik “very Tess ie New Flower Market, Mercabarna Flor willy Miller architects FEL GreenPix — Zero Energy Media Wall sinione Giosra é Punners: ARUP HE RCMB EIA Vanke Sales Pavilion (1.3 Architecs iP Hts Index #51Preface — Color endows architecture with individuality RETIN PRINS HE Facade generally refers to outside appearance of a building in terms of architecture and often impresses the viewers a lot at the first sight. Nowadays, as art is more and more integrated with architectural design, the facade of a building is no longer of the previous unified pattern, Color as an essential decorative element starts to play its role. Color is a deeply emotive subject. For most of us It ig also highly personal, we each have a unique response to color that we develop internelly through experience and association The roles different decorative elements play in fagade design is gradually changing. in western thinking of the late 20th century, color and its potential gravitas seem to have diminished, become secondary, decorative, deeming @ colorful object or artwork less serious or intellectual than its lees chromatic counterpart. The use of natural, material color found in eonerete, glass and ‘metal, celebrating a chromatically devoid minimalism, has dominated architectural thinking since Le Corbusier. White has most often been associated with en elevated intellect and color consequently delegated to the arena of whimsical decoration wit but a few notable exceptions such ae the chromatically masterful architect, Luis Barragan. Unfortunately color has often been ‘used se badly on tha outside of buildings, though, that it spawned a great fear of large-scale colorful architecture. Apart from an ill conceived, short-lived rend in the 1960s where cladding materials lecked durability and light-fastness, color has been, on the whole, conspicuously absent from our buildings. Recently 2 visible renaissance is taking place where intelligent, provocative and serious color is being used to serve form and funetion and take a leading role in architectural environments. All the projects featured in this book were completed between 2004 and 2008 clearly illustrating this resurgence over @ vory short period of time. We have, for now, put aside our chromophobia, replacing the achiomic facades of the last several decades with a pelychromatic celebration of new technology, What is most intriguing about this collection of projects is the diversity of materials and application. Color has become wholly integrated into the construction procass with a vast array of techniques. Rather than a secondary afterthought, chromaticity is considered through material, aurface, light and finish at an early stage in the design process. Technological advancements over the last ten years has enabled the use of cheaper, repeatable and more durable materials than ever before, available in an extensive range of colors. Paints are more UV-stable, coorfest, Polymer bused and able to ‘cover large surfaces. Glass spandrel panels can be back painted, powder coated metals sprayed in a range of closely related RAL colors as Bernard Tschumi Architects’ blue residential tower in New York illustrates. Curtain wall technology allows a range af materials to clothe a fagade and new glass technology such as the laminated photovoltaic soler panel system used in the Zero Energy Media Wall in Beijing by Simone Giostra and Partners can create almost psychedelic nuances of moving color. Transparent films end prismatie foils react to night end day light giving their structures changing reactive color, whieh is exquisitely revealed by UN Studio's Offices "La Défense” in The Netherlands. Coatings and smart films can change from transperent to opaque using heating elements potentially changing the Identity of a fagade instantaneously RRUMAEENND, AEWTTANT-OR, SAMA EAC, LAMAATAHAY, CHRELINT. MEPRRLOMERAN. wee EMRE, AT TRNRD. +N -SB RTE TM, QMS ATERATIRAUREAURIE, AM AMOS, CONLKS, MARTHA TERT, RRS ANR REM, BELA ATABVAA RAB ONC ERMELAT ASENAME TS, 10- BE CRRA MCR, MEL, SMASRUHORRTSRA REREGO, # MER" TUMORS, FECL, CHCMRAM LTRKOM, SET ANAMORABANS TOADS, POMLAOT RABIN Gh, OOP RRENAEAACMANAR, THERE, mit, MMCNEE SEE “HN HE, AEE ENC ANAS, AHH RAMOONTTOOTOR IANS, AWAMIETS REM ROEORN. RIKER, AONRMRTON, Me 8) BMEARAE, MUC2HR “EO” RA, Uh. KEOSSRRAITRUAANE, RATERABRMMARSEMTNE, RUGS. TAM, MALURT, COMERCRE TANSEY, HETHUMERMNE EH, MI, TAREE AUADIZD, GTRAOED, JNRARRUN, URN SOMEMAD, BAER HARE, REEAKUBIANS. RANUTRORESAD HARRARM, SUSME AIL, A18IF, URELARMEE, RN, PREMOALA, MCT KMERRTSN, RORMETET WME, TOR TAGES [PAL] TNRORAM (AUSTIRLARET MN). wy, MARA ARRON MMMM EGET IGA, RANIn Singapore, Alsop Architects have used laser cutting technologies which mean materials can be manipulated in complex ‘regular formations, in this case ETFE (Ethyl Tetra Fluro Ethylene) cushioned canopies are iridescently illuminated with color above street lavel, Ceramie hexagonal tiles in a pixilated kaleidoscope echo the produce sold below in Barcelone’s Santa Catering food merket (EMBT) highlighting the building as @ complex artwork in its own right. Larger single sheets of certain materials such a8 glazed voleanic stone and ceramics and the ability to curve materials for facade use all merge to bring a new natural color palette into play. Sustainability and eco friendly techniques have also advanced to enable a green goo- textile planted, living wall to replace concrete with foliage in Seoul's Ann Demeulemeester Shop by Mlinsuk Cho Architects, so the color scheme is literally determined by a living skin. Furthermore, materiais once associated exclusively with industri architecture are being adapted to different uses, Hamonic + Masson's "Addition to the Centre for Contemporary Archives” in Fontainebleau uses deliberately “poor” industrial cladding materials to link the building with i's cural site concealing @ ‘monochromatic magenta interior, while Latek's nomadic ‘Pura City’ takes industrial material to the extreme with shipping sontainers seturated externally with 'Puma red’. Nowadeys, expressive specification of external color can aiso alter out pre-conceived ideas about how certain types of buildings should look; we have come to expect public buildings in particular, to look a specific way. Swanke Hayden Connell’ + hospital, King’s Mill in Nottinghamshire, for example, does not immediately look like a hospital from the outside. A sequence of undulating, secondary colors vibrate across the facade, which can be seen from several miles awey. In this cese color was deliberately used to reduce ‘threshold anxiety’ often associated with hospital visits and distract the visitor momentarily on arrival. The notion of a building as ‘artwork on the landscape’ can be encouraged by the use of interesting colcr. Likewise, 4mund/Vigsnees AS Architects’ school in Oslo, Norway, crestes an unexpected place of learning. By stristing many shades of yellow and orange along its cuter wails and by using monochromatic internal color schemes the building itseif looks like & stimulating game that eny child would be intrigued by. In both projects itis undeniably ths color that has created these unusual dynamics, Intandem with explorative materials color is an extraordinary tool for giving a building both identity and presence. All of these projects share an immediate and jeonie persona, Another important element they share is thoir placement of color. The impact and strength of @ color scheme is determined by proportion, shade, saturation and location. A successful building can expose the intelligent use of one color to great effect and often ona color can go a long way. Color must be explored in relation to site and location, Ragardloss of whether one or many colors are used on a building's fagade, color becomes the most significant land noticeable thing about the building. Ptolemy Mann 2008 Bridget Vranckx 2009,9,20 ADRE ARTA DAMON RARE TYE LRT OR SERNA) | AMR N ASMA RRR TROON CORT CRMREMAVAMALSSA CH, TANTRA TEM): RAMERMMIMNT LAM ACT, CAMRNAMALIE RY. Blo CANIN. wih ee RAREAMLTA, MOMASAIRROBIA, HE TETE (REZ) MLE, BER, HARE SE MMAMEMENEE, SRMAE RN HEXSRNMERLRNED, SERRA TRRMEAR, EATS AGIER NET, PARSER ERE ASORM, HRUTANS “SAAEMEPSAONARAL’ | AMAARATARTMMT, LAER LER WC AHL “Be oe, AIOE SAMBA: SAORMARHLS, DiTRA TAT RRM, Re TAT ARNT MENE, AE, MARNE A AREMRETANEADAOROENOS, AYN, CULAR, EAWAWH LTMAM, Hetedkd. SHCA (Saarke Hayden ConneiiR SCRAP) Riv “ARI” , UNAM RRRARAES). AURRS REIRASLE “GR”. OMER MUL LANAI, SOL PRST TATA ERSAS, RUCEAGNOE, 75 METAL ORISLTILAM. GHMHARPR, MAHER, RERSRRM. MAA 202, SARESORAAAM ATA, GIRRAOK. MOAR, NIFTY, SENARETRINARMATAS, MMH —IM, MET SROAATA, MERRIE E. AUN SOREL NMA, R-SMAP SCREAMS. RL, OMMIUREREMRE. ERE FEMIANAN, MOCMIRRST THAR. amet 20029.50the Chocolete WMVlaseam PELL ye Js DT Location: Toluca, Mexico Ne Architect: Rojkind Arqutectos ope aa Photograp! © Paitfivera/archphote.com, Buido Torres/Rojkind Arqutectos ae eee Nestlé’s chocolate factory in Toluca (Mexico) was in need of a visitor space and inner walkway for cocoa lovers to witness the production of chocolate first hand. Mexican architecture firm, Rojkind Arquitectos, suggested their client create the country’s first chocolate museum thus giving the candy giant a cultural space and a new image for its headquarters at the same time. The first stage required 643sq.m to accommodate a reception area, a theater to introduce visitors to the Nestlé experience, a museum shop and a passage to the existing factory. The building (design and construction) had to be completed within two-and-a-half months, which required three daily eight-hour shifts from all the people involved. The new museum is clad in red corrugated steel panels and is raised off the ground by concrete pillars making it even more visible from the main highway leading into Paseo Tollucan. A gaping mouth reveals the museum’s pristine white interiors which lead straight to the chocolate factory. The multi-faceted structure creates interesting abstract interior spaces, while the playful zigzagging volumes of the exterior could remind children of a spaceship or even a caterpillar. ATRAACAROOEROA DAT, AMAT SAGTL HALE VRRC ARTE RT, REL RGR BAG, EARERTATATLAR, UALATSARA—M, PNRM LA ATER, PM MARRS. A REM) MARRS T Fastin. Ha FLERE, KIRA, DRG HERE. RANA INT), RTA ROA 28, FFL AMCTM, BAPMLSRGMEM, BOREL: ATHENA TREN FT REBELS, 008Netherlands. Sis. —— ils andl, Veinw Architect: Noutetngs Riedik Architecten, Rotterdam ‘anincpannanen Contributors: Bureau Bouwkunde Rotardam (Technical dasign and building consultancy), Azonsahn Rasdgavende Inganiours/ Rowerdiam (Structural design), Cauberg-Huygen Raadgevende Ingenieurs/Den Bosch (Building physics consultant), ‘Studia Jago Origstesn (Graphic dasign facde).7.N.O. Eindhoven, Studio Jaap Drupsisen and Samt Gobain (Development glass panels, in collaboration with Neutefngs Riek Architects} RRATATARERNN Photography: aria Scots & hn Baike The Netherlands Institute for Sound and Vision houses all the material produced in The Netherlands since the early days of Dutch radio and television. Half of the 30,000sq.m building is dedicated to storage and archive rooms with rigorously stipulated climatic conditions, but no need for daylight. Taking this into consideration, the building was divided into two; the archives vault is situated below ground, and the museum and other spaces requiring light above ground. The two portions are connected by a central south facing well at the heart of the building, which lets light into the core of the building and allows reflected light to skim over the wall of the offices. For the glass facade an entirely new production line was created: 748 colored, high relief images were applied to more than 2,100 glass panels. A stained-glass technique, in which ceramic paste is applied to glazed panels by means of a printer especially developed for this purpose, was devised for the panels, onto which Jaap Drupsteen transferred manipulated video stills. To create a relief, positive images of a video still were milled into a MDF panel with a CNC (computer numerical control - a computer technique with a programmed code which, in this case, guided a ball-tipped bit back and forth across the MDF panel) milling machine. The wood panel, coated on one side in ceramic paste was then laid on the sand mould and heated at 820°C in the oven to burn the image into the glass and soften the glass panel enough for it to take the shape of the mould. The result is a colored, high relief UV resistant glass pane with long-term durability, which presents original TV images from the institute’s archives, POCTAUFAMRSO, OOF AK, PARADA WORE METER, LUN. BERRAAMES, SIMA. MP—-SSCVTAT, BEAM, VRRHRE, ATMTSRERUT, MOEAMMO MATL, KARE, ERWNNAZINER, + DATARS EASA AM EPS), MUG EE MAAR SOR B, PORMRARNMULNS LAS RATS EUNNE:, MURA, BLAIR A Sete LRN OF (RAE) REAR AMOEL, QUOC, BERTMR. SH RAHTS, WERT EMR Ae on6he taba oo bad ih ies | viHeeea be Tay CN a ~~ f4 La / Aan Demeulemeester Shob Fe WEBER AITEIOE Location: ‘Seoul, South Kores one {rehitect: ‘Minsuk Cho, Kisu Park/ Mass ‘at nexaemacRe Photograph ‘© Yong-Kwan Kim Situated on a limited plot of 378sq.m in an alley near a busy thoroughfare in Seoul's Gangnam district - a neighbourhood, which is rapidly transforming into an upscale commercial area - this building consists of one subterranean level with three floors above. The concept is an attempt to incorporate as much nature as possible into the building working within the constraints of a low-elevation, high-density urban environment. The architects define the building’s relationship between natural/artificial and interior/exterior as an amalgamation, rather than a confrontation. ‘The interior spaces can be perceived and utilized as part of the outdoors in a variety of ways. Dense bamboo landscaping forms a wall on three sides of the building, which border neighbouring sites. Inside the internationally renowned Belgian fashion designer's first floor shop (accessed from the western side of the courtyard), undulating, dark brown exposed concrete forms an organically shaped ceiling. Round columns on the edges of the space continue the ceiling surface to provide the necessary structural support and allow for the creation of arched openings of varying sizes, exposing the inside to the outside road and the bamboo hedges. Stairs leading down to the basement shop begin as a narrow, white architectural space, gradually enlarging to turn into another organic shape and eventually serve as an entrance. The outside building material is primarily a geo-textile planted with an herbaceous perennial, which forms a living facade. The three sides that face the bamboo borders are clad in steel sheets finished with propylene resin. BRAKE TLR RAs EN, OUR ART ORR, Mie), OIROTOSTR. HRS “ARIA, MEARE AESHERER WHS, BEASR. ARMRSATHWRRGALR, (STMRDANAD-M9, BEE, ROR OAMAMKOM, SEERAE, REMUR TREMAINE. | AAB SRR) PAANMERH MRT, ARAM, ERAARE, ABET, BOM SRAM, BALA, L RANT STFORRAPAROESRR, ATM TRAN MRSS, DMN, RELL TAD, BARWAT (— PSARTHA) Bm, LUPMEMPRAREAMH, ARPS EARNER, 22Pletal Flesberia Bilbao He Ase Shai Ni Location, Bilbao, Soain trehitect 1AsB Arkitektura Taldea, GCA Photography © Altor Ortiz ‘The urban renewal of this Basque city has attracted a lot of attention in recent years. The city is host to a number of important architectural creations by a number of internationally renowned architects, which have helped turn the city and region move on from its industrial history and focus instead on tourism and services. This four-star hotel is situated on a rectangular site at the end of a residential block along Bilbao’s riverfront and ‘opposite to one of the city’s main attractions, the Guggenheim Museum. The brief for this project called for a facade that has the presence and lure of a hotel, yet fits into its urban surroundings. To create a harmonious facade, proportions and spaces were characterized by color. Using neutral colors, the building subtly blends into its residential neighbourhood on the side and rear facades, while a bold use of color on the main facade overlooking the river Nervién and the Campo Volantin esplanade makes the hotel stand out from the other buildings. What makes this facade unique is the way the architects chose to apply the idea of the lookout: colorful boxes enrich the esplanade and reinforce the building’s singularity at the same time. The thirty-six lookout Units are organized in rows of six-by-six using the three primary colors - red, yellow, blue - and their complementary colors, green, violet and orange. HER, SREBNE (OMAR) MEBASIT RS MRAM, HITLAMMTRT ML Esa RNC AO BRMEGDAYAT—TEERGEA, SEROUTNM, AMUISIOMIEEN (ATMOS —) , IEMA TSLAR EAM 2, MARR MIRAE ALEMOR, LTT RGRECRRASME TMM, FHRARRSMAMETES. VME MAME, EMMA ROUTE GE, LARLROATRMTL, OLLI, BTM AT “MMA RMS, LM. RR. RABAT ROEM TAO By, GEAWEE LRAT RMS ATi Osa Qe 1 a me Las Cm |a a 2 i Ui he a “OTLE “BAR” ERK Location: West Bromwich, UK Irchitect. Alsop Architacts, Flannery & dela Photography: © Roderick Coyne ann ue The Public is a new kind of arts building at the heart of the new town center for West Bromwich (central England), which has undergone a complete regeneration. The building, which will host exhibitions of local and international interest as well as artistic, educational and community projects, is designed to inspire and encourage creativity fron its users. Conceived as a 'Box of Delights’, The Public offers a wide variety of spaces, forms, angles, curves, surfaces, vistas and atmospheres. The building is a simple rectilinear form (113m x 21m x 22m) clad with aluminium and punctured by a scattering of "jellybean’ shaped windows that pierce the sides of the building. Running through the center of the building are 13 pairs of concrete-filled steel columns, which support the visitor arrival area on the main floor. All the floors are supported by this core steel structure, but the facade is a self-supporting secondary structure, free of the main structure. The ground floor was conceived as an extension of the New Town Square. The building opens up via large sliding pink steel doors to provide a public route along elevations from the Queen’s Square shopping center to the new public spaces. The interior is a little more complex than the exterior. Rugged, multi-faceted or curved forms, which appeat to balloon into the space, sit on or are suspended from a table structure, are containers for the building's different functions, such as displaying art or housing creative workspaces. Lifts cut past these spaces and a large-scale ramp links them alt. “Ak SRAMATT RABE TOD, AMM MES, ERMAN (113%2120%) . FARR SIE | CSL MRNER, LEAT PMOLRETA, RAM, METAR, AHALORAMMTAWR, WARKGE, BRIE, 1) A-MEADAL, TETME. SRAAMARHARH ANGST, MD PRAT. RURTRORM, TF 2 ASL. ADDER ORHAIA (FRAME ) ERR AES, AIAN RRMA EOL, ALTE REM, RVSTVRHEONILA, RELA REEMSD, —KMTTEHALTS. RASTER, XK) URERTONSH BSR, OITA, “AE REAM, ORT MES. SHMAMNSOARTR, MADMIN RRL *Cika-laka-Land. Kindergarten sei MEHR JL Location Bein, Germany Irehitect Die Baupitoten: Nikiaus Maller, Ole Haller, Darvel Hulsovveg, Annika Koster, Christian Nocker, Katrin Zot, Katja Zinmariing, iis Gondelmann, Susan sJetrowski, Anna Meditsch, Anne Pind, Mirko Wanders meee ATS Project Management Susanne Hofmann Photography © Jan Biter The Baupiloten was created in June 2003 with the intention to give the fourth and fifth year architecture students of the TU Berlin practical experience on architectural projects. For this particular project, the students in turn involved the children in the design of the refurbishment of their nursery school. Together with a child minder, the Baupiloten inspired the children to design their own vision of the popular children’s book character Pippi Longstocking’s Taka Tuka Land. When presented with the children’s concepts of this imaginary world, the Baupiloten began to understand what the children imagined for their new nursery school. The students communicated their views to the staff and children through collages and architectural models, and observed the children’s daily routines for further inspiration. All this set the scene and story board for the design of the space and also resulted in a building that is gorgeous in colour and chic in form. The original temporary structure was turned into ‘an everlasting oak tree where lemonade grows and flows. The building itself represents Pipp'’s old oak tree, which contains a lemonade factory. The lemonade breaks through the bark of the tree and flows outside where it turns into padded play areas. The flow of the lemonade has seven stages, which facilitate a different activity in the building: Glittering Lemonade in the sun light, Lemonade Gallery, Lemonade Drops, Lemonade Island, Waiting for the Parents, The Bark Breaks Open, and Delving Into Lemonade. Yellow is the dominant color, present in the entrance and the corridors with the lemonade gallery where children show their parents their latest achievements. Bauploten-F2003 6B sk, STAMUANRAKE, ARO AR RLS. AMR T ROR, S/O TRB RINE ANAM COATEEKER, ARAETOME, RUES. ATER MN ALMERIA H, PORMMHAREAAY, ANSON. REGMRA-TEVERER, MUNK HMEEALER, THE AAE. AEH MRSCERT ERR, HRA RRS, HRAASUIAE “RA” ALGER (ARIE TREMOR BY SEAS), SEMEL. SAORI, MARIE FRE ROM, BAD, SODA (EE ARM AMAALR HA ) ATI/ a Y Y Orestad Co: log SANIT Lavin Copenhagen, Denmark Irehitect aN Photography © Adam Mork This educational building in the Danish capital is the first to fulfil the country’s new educational visions regarding subjects, organisation and teaching systems. The key issues taken into consideration for the design of this school were communication, interaction and synergy. This college displays a visionary interpretation of openness and flexibility regarding team sizes and reflects international tendencies aiming to achieve a more dynamic and life-like studying environment and introducing IT as a main toot. The college is interconnected vertically and horizontally: four boomerang-shaped floor plans are rotated to create ‘a superstructure, which forms the overall simple, yet highly flexible frame of the building, The Persian blinds break the clear texture of the facade and colour plays a determinant role, Avoiding level changes makes increased organisational flexibility easier and allows the different teaching and learning spaces to overlap and interact without any distinct borders. Moreover, the rotation opens up a part of each floor to the vertical central atrium and forms an ideal space for community interaction. The broad staircase in the central core of the building, which winds its way up to the roof terrace, is the heart of college’s educational and social life. This is a transitory area as well as a resting place and a place to see and be seen. The glass facade is covered with a series of colored semi-transparent glass louvers that can open or close to protect from the sun, while adding some color to the interior spaces. MNCIOTAEHO, RECTAL, HACE, BUMURRAARASS. REESE RATER ARMAS TVARGRNM LBA, LAA, FRE WE, RHE ORAM ERR PSLOVGITRAURELAS, FLAMAMEAARIG REST, MIGRATE A MTEAMIMHRHAM, BEMSRTRR RAM, PROM HAZE. SARELOLAMLATH, TAMMLEAABLH ER TARAS, EFFECT ORAL, MEATS. BAH, EEMERTS, HRTRANEC, MAST ROE, eERHES Hf, HBT FARR 3. Smt Ae os |ee mT Ea myinhCon louse we 2+ JADA EAB aE Location, Trebnie, Slovenia Irchiteet Sora Koanik Artivokt Photography © Vid Brezoenik The rise in real estate prices in recent years has led to the search for and development of alternative housing solutions all around the world. This prefab structure is a two-level mini housing unit composed of two containers that are placed perpendicular to each other. This project is different from other container projects in that it pushes the development of containers manufactured especially for housing and office purposes, rather than depending on the excess of existing cargo containers. The ConHouse system maintains the basic form of the containers, but upgrades them to enable a quality of living that is comparable to a classic housing style. This is achieved mainly through rationally designed floor plans, carefully selected materials, well-lit interiors and a customized exterior appearance of each individual unit. The modular nature Of this system allows for containers to be added or removed according to the individual's needs. The steel facade of this prefab house is painted an anthracite grey color and the interior walls are painted with a special paint used for steel or cars. The colour of magenta complements the wooden material and gives new appearance to the container. The bedrooms are red/lilac, the living room yellow/green and the ground floor an ivory color. The magenta dots on the exterior are made with a special, very long-lasting sticker foil used for car stickers. The production of these container houses bears many similarities with the car production industry and the architect admits to being inspired by the winning recipe for interior design developed by the Swedish furniture design giant, IKEA. (SLRTAMOR, RT ARAWINES, SMO METHRAR RROD. HESS R! AR. KUM SHOMRAMEEAM, HT EAE INAPIA TTR RRMA LER, FETA, RABE RRO MOL, LIMO A RATE RRE SH AUSTAREES, MORE, HATRAASM MAUNA ES, MAMET ROE SRS, BH tA. A RAT KONE, HIPMDAAMAS, BHASTREK RAW, MAPARHRBNONT ACRAESS, FETE RAME B, SORTA Hes ORME TAA | Hl, OED LABAT, SHAK 96. RARRETHNR TE EE fi, ENFRTRE, RAR T RRR KEARE A ERE,Bla e Resi hntiall' Tower eae Location: ‘ow York, USA ‘sah irchitect: Bamard Techum Architects Contributors: LCE. Tonto Tomaset sae Berger & Asocites,Etnger Engineers Are Consulting Tensei eR Photography: © Peter Mauss/Esto ‘a Despite the constraints of New York City zoning laws and market-driven commercial requirements, Bernard Tshumi created an original architectural statement for this residential mid-rise in Manhattan’s Lower East Side district. In order to both conform to a strict building code and differentiate the building from similar high-rise structures, ‘Tschumi devised an original envelope pattern and distinctive shape for this seventeen-storey tower, which contains thirty-two apartments and rises to a height of 55 meters. The building’s base occupies a lot zoned for residential use and cantilevers over an existing commercial building on Delancey Street with air-rights permissions. Varying setback rules, which cross the line between the commercial any residential zoning districts, are artfully negotiated with slightly angled walls facing the street and rear yard, while sloped top integrates the zoning district's two sky exposure plane requirements. The building is angled from base t top creating large units on the upper floors. This strategy also maximizes the amount of allowable residential squan footage. Acurtain wall system with a pixelated glass design, composed of grey tinted vision glass, spandrel glass in four shades of blue and periodic panes of full body blue tinted vision glass, reflects both the internal arrangement of spaces and the multi-faceted character of the vibrant and dynamic neighbourhood below. The interiors are fitted o. with sustainable materials, including bamboo floors and wall panels, paim flooring and river-pebble bathroom tiles. WCE TARO THRAREE ( Lowor Eastside} . i AR. ROE ATTINT — MAR West —BSSKE 7M, UREA CHOSEROR LER, HK EAERE-ROMATRWAL, AAO TR— IMRAN ROEMRT LARSEN OT HLA TRAME. AMAPBETLE LOMITA LEASE, TAT ERTS, ta BAMOSIRREN Bt BWR AT ERGOT RMR SERA EROSEA, SEROMA AMI MERIR, PERSE REAM AE MR, OHNE EMER AM REHTORMREGM. EORARM LAURER, MHETIRT SO RE LIS, RMON NSH, ILI, BITE! ERMEAT ARUN, OTH, I, PURE. HTL INREANTOS SLAM RAS RL 062Go tes eeLocation: Letystad, The Netherlands Architect: UY Sta Photography © chnstan Renters This colorful building is part of the master plan for the city of Lelystad by Adriaan Geuze, which aims to revitalize the pragmatic and sober Dutch town center. The design of the theater responds to this mission of revival by focusin) con the archetypal function of a theater: creating a world of artifice and enchantment. The inside and outside walls are shaped to reconstruct the kaleidoscopic and unpredictable experience of the world of the stage. The shape of the building is dictated by the function and need for two auditoriums to be as far apart from each ‘other as possible (for acoustic reasons). One protruding volume, which dramatically juts out in various directions, contains a larger and smaller theatrical space, a stage tower, several interlinked and separate foyers, dressing and multifunctional rooms, a café and restaurant, while a raised technical block contains the stage machinery. All the facades have sharp angles and jutting planes clad in steel plates and glass, often layered, in shades of yellow and orange. The colorfulness of the outside increases with intensity on the inside; for example, a handrail shaped like a pink ribbon cascades down the main staircase winding itself around the void at the center of the large open foyer on the first floor and extending up the wall towards the roof. The color of the ribbon changes from violet to crimson, cherry and almost white. The main theater is decked out in red and the intimate dimensfons of the auditorium are emphasized by the horse shoe shaped balcony and the vibrant forms and shades of the acoustic panelling. BER OMMENT EZ heCu AMIR, ERLE Hl SITE RIRUNE, Te ARAMA. PUNGENT, LAE LM URALACREGLER LEAL, REAMERE, CNACEMRAASES. DINER TRH, MRRKMETEADAAB A, UREN RIOR, HOR. (CK. SIEM, UNRITHT. MAMAS SORHE— TA OTAR, SIRI, OE) 2, IGOR IRANI. RUANM ARATE, SAM CR TMM, OT—AMRE—MARRATOPO, GL—MERT. “RAT OME BE, AMBER, ABMISES, TRUCE, SARAMAUAUK, SUSRONTRLOARE RMR 068Len AoW bat‘La Defense” Wid Zs Offices 5 Location: Almere, The Netherlands Irehitect: UN Studio Photography: © Christian Richtors This modest office building is situated on an irregular plot behind the city’s Central Station. The design is based on the complex being uséd by a number of different companies. The density and programme of this closed complex are balanced to keep the cost per square meter as low as possible, thus making the development more attractive ta local users. ‘The organization accentuates the flexibility of this office block. Accessibility to the complex is highlighted by a large number of entrances. On the street side the units can be accessed via entrances at ground level, while raised entrances within the complex provide access from within, The complex has an inner courtyard and is interrupted at two points, which creates a link with the park to the rear. The direct surroundings are reflected in the volume’s metallic facade finishing. The outer skin expresses the urbanit and a degree of closeness of the units. The facade adjacent to the courtyard is made of glass panels integrated with multi-colored foil. Depending on the time of day and the angle of the incidence, the facade changes color, from yellow to blue to red, or from purple to green and back again. SUD AARREM AMM POLERAE— ERATURE, Lk” MENARD. RETA RANAN, | eR EIRS| 7 Wt HU, AGMGHRRREL, MESHADRUT RMGRANE. CAMARA M, RET SARS SIAM. BUEHRAERSH, PETARHRAES. NERORATORRAMO, # A, OCEAN TM, CLA RVESME, RARE, SIR A CEA. Rm RLR IISA, ey ZIRARAALS, AWK, RURNORRAE OR AMS, MEH eT. RR= for (i aGalleria Ha Ll West J nie Fal Z8 PA Location: ‘Seow, South Kores Architect; UN Studio Photography @ Christan Rictors ‘The Galleria Fashion Hall carries a large number of highly prestigious brands and is situated in the Apgujeong-dong district, one of the trendiest commercial districts in Seoul. The exterior of the store was unremarkable, though, ur UN Studio designed a new facade and interior to mark the store’s transformation into something more luxurious, ‘The architects wanted to create a lively fagade, one that will fascinate, attract attention and always look differer depending on the time of day and year as well as the angle at which the spectator is viewing it. A total of 4,330 gl discs, made of sandblasted laminated glass and including a special dicroic foil, are hung from a metal substructure which is mounted onto the department store’s existing concrete facade. During the day, the degree of reflection and amount of light and color absorbed by the glass circles is influenced b, atmospheric and weather changes, resulting in a constantly changing facade. At night, a special lighting scheme, which was designed in cooperation with ARUP Lighting, illuminates the discs by reflecting the dynamics of the day’ s weather conditions. An LED-Light source is placed behind each glass disc and digitally controlled individually, whi: creates endless possibilities for the manipulation of color and light emission. Advanced technology allows day-to- day weather conditions to be recorded and processed before being projected in a transformed version onto the gla skin. The facade can also be adapted for special occasions and can be changed according to seasons, fashion event or artistic inspirations. APR D SATEEN MEL —ROM, CRT ETNA. AT, RBINEARSARS, OIE (UN Sudo! Hf B, RERSEGRMeDZA, RANGAHENS—AEORAM, MANO RMRMR, TATA MSEMR, RARE LMS T—ReME, as00EOT PAMEREOMIEE |, B—TERUEMBTATATEMMLEOKT, BR, MOLAR MENSL, RRTRE AMIR: BOR, TL LRH, AACE REOEA, KIM—AUAIDOR TE, UI, RAMI TRAE ARE ose~~ pa = Shart Center for Desiigu TG ER SEU FR ET Eb Location: Toronto, Canada frehitect Alsop Architects Collaborators Rbbi/Young + Wright Architects siouienaamean Photography © Richard Johnson / interior images; UFKine Alsop Architects, in collaboration with Toronto-based architects Robbie/Young + Wright, spent three years working the design of a 6,224 sq.m addition and the majority of the 220,000 sq ft renovation project for the Ontario Colleg Of Art & Design (OCAD) in Toronto. The College (situated west of Toronto’s central business district, bordered to the north by the Art Gallery of Ontari and to the west by the historic Grange Park) wanted an iconic representation for the school as it entered a new ag Will Alsop, leading the project as Design Architect, instigated a series of client workshops in which early concepts were developed with college staff, students, local residents and the City of Toronto. A large box or ‘table top" elevated above the existing school and neighbouring residential properties, allowing Grange Park to re-engage with McCaul Street, was one of two ideas that emerged from these workshops. The final design housing is a flying, vividly patterned ‘table top’ with a pixilated skin of black on white, raised nine storeys from the ground by six 29-meter legs made of steel pipe. The skin is a field of white aluminium and a rande pattern of black squares and rectangles, which creates a pixellated effect. Structural engineers were challenged by the effect of the wind, due to the unconventional way in which the building structure is raised above the groune plane. A secondary structure was designed in the soffit to counteract this effect. A distinct bight red diagonal element, finished in opaque custom red aluminium, located to the south end of the underside of the table contains an enclosed existing stairway. Fre eT TT Ea HNL ( RobbierYoung + Wright) St, ARMEEMITAT RAR SEAPROARURE WS APG z PRUATERSHOR UR, tRRAAKE, AML LERMMAAM, AURHULMTE, PERMA REMORSE MR TRRE Re. mS, ALOR RRR RA, WITT —TA2m “AO 9, TEARS, SoS: ORK). Alo, TARGRA “AR LEH. AMRRAMEM, BRLBNL LOREM, APRA, $4, MARRUARABGNE, DIMA] RU RIES—aMAORNL Me —TEARR TAB, at eH, RISER EAAR RRUAMA TAH, Hoh, RRMA assP. i Tem, tion lurk CPrimary Soke alle HUMOR Ab Location: Melbourne, Australia Architec ob McBride, Debbie-Lyn yan, Sunny Wilder, Jamie McCutcheon, Adam Pustola, Drew Wilemson, Metthew Bors, Brett Searkins / McBride Charles Ryan Photography ® don Golinas Templestowe is an outer suburb of Melbourne (Victoria, where institutional buildings are dispersed and hard to fine The local primary scfiool wanted a new hall for a range of activities including assembly, sport, performances and after-hours community use. The new multipurpose hall needed to redress the fact that the community was barely aware of the school’s presence, by giving it a new identity and reconnecting it with the community and the street. Site and budget restrictions (government allocation was only enough for a large room and funding was raised by the school itself) meant the school could essentially afford a decorated shed. A parabola-shaped building works well with the intended programmes, effectively containing performance and sporting activities. A new colonnaded canopy/giant portico, representing the formal entrance to the school, was created by careful rotation of the form. The building is covered with a mixture of black metal sheet cladding, brickwork, semi-translucent sheet and painte cladding. The uprightness of the building was extensively generated by the application of simple lines and pure colours and the sharp contrast between different colours.Loud colors representing the Australian ‘Olympic Stripe’ textbook brand were applied to the street-facing facade. These colors not only recall a quintessentially Australian icon, but also bring to mind a local football team. The textbook contains hopes, imagination and disappointments f the Australian people and its shared memory creates a symbolic function for the building, which the Principal admi {s just as important as the utilitarian function of the space. ORME A ARATE, Soke SRE SAMA AFAR TARSNRORY, MINTER, SAMERS, RUA TMMRORMMR, NURAMIR, HE BWSRARSSMEHNTE, MENA, ANMAROUARNME NLR TRAM Lee. Ko, RIAA ORR 2AM, CRRA LMAOMABAM, MELAAMRSS SRD, BOMATRAHTARGAR, SRDS Bi ERENT se2s, 09%Fl Por Ll | = 1: SSPSA Location: a Oratava, Tener, Spain ce ; A A, fo ff Refad i Lresarena High Sched: Architect: AMP Arquitectos Feline Futno, Fernando Martin Mens, Jase Mt Rodiue-Pastrana Melagon Senn Photography Miquel de Guzman This new school on the largest of the seven Canary Islands in the Atlantic Ocean fs situated on a plot very close to the historic town center of La Orotava. The building is designed to blend in with the urban layout and the topography of the surrounding landscape. The plot covers a site on the slopes of the Orotava valley between 345 and 365 meters high, which was used for growing the area’s traditional single crops. The main access to the school is from the street to the southeast, which is the road that links to the largest population of potential school children. A stight ramp leads to the hall floor where the porter’s office, administration offices and library are located. Most of the secondary school activities tak place on the two floors immediately below the entrance level. The gymnasium and sports center are situated at the northern end. This volume is partially sent into the earth to minimize the size of this hall and its impact on the surroundings and also to avoid creating an obstruction to the views over the valley and towards the sea. A concrete finish is softened with a degraded wash of different tones, so that the building blends into both the urban strata of La Orotava and the more rural nature of the southwestern zones. These color washes start from the staircase and the volume of the main access. The chromatic character of the building is important both inside and ‘out and relates to the educational function of the center. PUNTAMTAEMYHNSRAHSEL, SORTTL— ARLE, QHARRARMIORTAS, FSMROLEA REMI ARE, SORRTEATRMEA (OKO ——MERAD). TANI TRED (TMM ), AALHHANEATSROROR FA -SRFHMM, ARENA, BELA LE, AOS, BHR. AN TERRERA SDSS, ABRARUSUTLH, HMMOTMT, PRATER RAR, PEERED RUNAW AK, RACINE MTES, HORA ERAAT, FAREHCH ALOMAR MRK RA SHAR, SALUTMASTERAR, HRM SRARMR,BUMPS Location: Beijing, China BUMES tx Begin Architect: Keiichio Seko, Yoko Fuji, icaaki Sawamura, Jiye Zhang/SAKO Photography: © Bejing NOC Studia, Inc. Misze Hiromatsu This mixed-use building located in Beijing, with a total floor area of 103,218 sq.m, designed by the Japanese architecture firm SAKO Architects comprises four 80-meter high residential towers and one six-storey commercial building. The upper building massing varies by stacking and staggering small-scale black and white stone blocks in a repeated pattern. Each block comprises two levels and a two-meter setback between the volumes which create ideal terraces for the residences. These setbacks are also used for a restaurant terrace on the 6th storey of the commercial building, which further enhances the dynamics of the facade. ‘The whole project is rotated 45 degrees on a north-south axis, which provides optimum sunshine for every building, and at the same time guarantees a visual flow of lines from the four angles of the project towards the central business area. The low-rise commercial building, situated among the four high-rise towers, is accessible by roads located on each corner of the project. BUMPS AR/SS]—ieR—-MAMEH LHR, AMARY1OG, 207 HX, Aa PeoaHeSh—TARMAW OI. RAL RARE MERTAARBHR, SAAN. SGRRAMRSELR—THASRUMSO, TATRS, AEPMMRBHALZH. AR EUESOAFHTRG, ROT RGSS, RACHHEMER TAHIR STRRARIR LOS , AREF OMARATORNTA TARAS. KROSUREN TESLA, TANG UMMA,ty ie = =)3 I fe im Jq Loom eat ye — . Olathe Quay Red ev x re EDLY I IP BEIK Singapore. Singapore Architect. As Contributors ‘ASP Architects: ARUP (environmental engineer: AtaierOne (concep gine) Photography © deromy San /Stornstudio. This dramatic redevelopment of the riverfront district of Clarke Quay in Singapore has succeeded in drawing the tourists and locals back to the city’s historic waterfront. The mixed-use scheme designed to increase commercial and leisure activities has given the riverfront area a new identity not least thanks to the architect and engineers! sophisticated shading and cooling system, which is not only environmentally beneficial, but also gives the site a tremendous visual interest. A revival of the riverfront was achieved through a series of elevated ‘Lilypad’ dining platforms covered by colorful bespoke sun and rain umbrellas, known as ‘Bluebells’, which animate the water’s edge, especially at night when the are illuminated in a variety of colors and reflect in the Singapore River. The umbrellas are reminiscent of an array traditional Chinese lanterns arranged to celebrate the Chinese mid-autumn festival. The streetscape, formerly a hal humid and wet domain of tacky shopping outlets and hawkers stalls, has been transformed by elegant, canopies, also known as ‘Angels’, which provide environmentally-friendly shading and rain protection. The structures are mad of ETFE (Ethyl Tetra Fluro Ethylene) cushioned canopies, which are supported on steel frames, and illuminated in different bright colors at night. EIT w ea LTS iI it FRR 17 RE 9, BEALL AUTRE LARAGRERHEMOMR, WARTS PRALNS, BALTES RRM, AH, MORMEMGETE (ZBL) MMR, 7 AMAR. Buk, SITILASRUNT, MOERIAL AEIREM. 9h, TESLA AARMROELE, TAT NERGEENORD TNS, KNB)Braudtorst (Vluseum 4 ATES Ba Location, Munich, Germany trehite Seuerbruch Hutton Photography ©Annotte Kising The Brandhorst Museum forms the north-western corner of Munich’s Museum Quarter in the city’s Maxvorstadt district, alongside the Alte Pinakotek, the Neue Pinakothek, the Pinakothek der Moderne and the Staatliche Graphische Sammlung. The museum’s exhibition spaces are spread over three levels. Each gallery differs in size, layout and proportion, as well as in their specific natural and artificial lighting configurations. While inside the museum, the main concept was to create ideal display and light conditions, the exterior is intend) to direct attention to its role as a repository of lively art; the polychromatic facade appears similar to a large, abstract painting. The exterior skin consists of several layers. A horizontally folded bi-colored sheet-metal skin with fine perforations is placed in front of the substructure and thermal installation and absorbs the noise of traffic from nearby streets, Attached to this facade, and glazed in 23 different colors, are 36,000 separate ceramic rods (4cmx 44cm x 110cm), in three families of differing color tone and (light-medium-dark), have been arranged in three areas in such a way that the building appears to consist of three interlocking individual volumes. The facade is a visible surface, which alters as the observer moves. From an angle, the ceramic rods merge visually into a solid plane, while a frontal view lets the horizontally striated background become visible and dominant. Seen from afar, the three color groups coalesce to form a neutral color with respectively differing brightness and tone; uf close, each field resolves into its individual color. FPAAEHHMOROMT OAMARHL LEEK, SHAAN, HAAN AMERIRAMIMRSARRE, MOREE, OM Fees. HOR, SIME RICE SONAR, RHE MITA RRRMU AERTS. —MIAREHAN, SEHHROS-REARRAM, PERE HE HEAR KAAER, PH AROSRAAPT RMR TRER RAE, HF RMNE FOIE. TMZ FR AZORART HIG, COORG (Al AMON) RENAL, QRLAIRA= TAR, RODS TARE ER RE RIMES MRO HEME StL AURAL, MOR HMSRA AMOR, MME, MRM —L, Rik T EARP: NEWB, Ri: ARR, SRFRHEMRAR OLED, OR IT eH KARMA TED ieKlin Bottle House SESE AEE Location: Aye, Australia Architect: fob MeBride, Debbia-Lyn Ryan Drews Wiiamsan, Fang Cheah /MeBrie Chaves yan Photography: © Jain Goings The ‘Klein Bottle’ js a descriptive model of a surface developed by topological mathematicians. "klein Bottle’, ‘mob strips’ and ‘boy surfaces’ are unique surfaces that remain topologically the same even when distorted. For exampl ‘a donut will only change topologically if itis cut; if you twist and turn it, it will still be a donut topologically. This holiday house is situated on Australia's Mornington Peninsula (a short drive from Melbourne, Victoria) within t! tee-tree on the sand dunes, near the wild beach. The architects wanted to create a building that nestled within th tree line and that reflected the journey and playfulness of holiday time. They also wanted to stay true to the ‘Klei Bottle’, though the building had to function as a home.. Starting with a spiral or shell-like building, the house gradually developed into a more complex spiral, the Klein Bottle. The resulting version of this holiday residence has a comforting relationship to the traditional cement shee beach house. The building is also within the tradition of the use of an experimental geometry that could be adapte to more suitably meet contemporary needs and desires. The house revolves around a central courtyard, a grand regal stair connecting all levels, which creates the sense of being both close to and far away from all the occupant ‘On the exterior, a bright doorway cuts through a predominantly white and black palette and draws the eye toward: the entrance. The judges of the Dulux Awards admired this detail and praised the reflectivity of the design, which “allowed the same color to be read in many ways”. “ASR” RATNER REBAR, “WOELATEA” [ mobius stp) A "boy surtaces" ARRANGES. “UREA RAM AM, RECESMARMR, CATRMAIOHRA "AIT, — THORS ARE, IRIN, SHRI T RES SHAR TARMMHELS (Mornngton Peninsula | AID, REAM, BINPH ETA MAMAS ET, IRR. BOL EROSERMAMARTAMEMD, ERA EM ALS AC sen SSRN TAGE. TLL ASR, MERLE ONOL, STR mee . (S—ABLONS. AURA, RETRMNAAS, BEBLNTAORE OH. ABANAEREATAARHTM, SKLAR RARE it, HRA RRA REITAddition te the C eater for Cont mporary Archives, Fontainebla - MR Location: Fantainobleau, France trehitect: Gaélle Hamonic, Jean-Christophe Masson, Katharine Thilmann, Céobic ‘Brogoot, Nathalie Blaise/Hamonic + Masson Contributors: Berin Engineering) Photograph © Xavier Testeln Hen This temporary archive center in the metropolitan area of Paris was created to urgently store 28km of archives until the Archives Nationales de Pierrefitte, designed by the renowned architect Massimiliano Fuksas, opens its doors. The competition organized for the design of the contemporary archives center presented very clear objectives: to build something quickly and cheaply. Hamonic+Masson considered the nature of the building and decided that a building destined for the storage of papet ‘would essentially be a heavy construction and would need a simple, rational and functional floor plan to enable quick and easy management within. The result is a parallelepiped structure that is 32 meters wide, 64 meters long and § meters high. Because of the project's sizeable impact on the rural site (in the Fontainebleau forest), and keeping in mind the budget restrictions, the construction materials were carefully considered. The cladding is a composition of “poor” industrial materials, which have been stacked and warped specifically and graphically to the building a certain dimension of quality. By cladding the building in the color green, the architects tried to cre a building that is in movement and one that has a close relationship with its rural surroundings, in contrast with tk compact and dense nature of the structure. While the facade has certain connotations of kinetic art, the interior is. a sea of monochrome magenta. SRR EATRMER (RESP SRER - weeMIE) RZ, Fikaris, NAM AROMAEOR, Wik, BRIM MRE CRAASTRAASOMAEAARIS, CARMA AMOS, RHA. DEFSHSO, ETH, BABARRREREAMA, Aina, HREM, wanes oP BARRABOK, 30K, OF, EAHA eH mINE ERAS TD: A, BABA A RBM ER, (OFAN ) DOCTORATE ft, RATRRNARRSE TL, PERLE MSNA, SOIRelie San een Meetsfort Dunlos ete Location: Birmingham, UK Back frchitect: shed Photography: © Ben Blackall Daniel Hopkinson, Morley Von Sternberg, Urban Splash BAST Ae eres This project in Birmingham fs the result of a close working relationship between the client, architect and butlder. A derelict, forgotten building has reinvented an area of the city once known as the workshop of the world thanks to a speculative and flexible approach to use, budget and final occupation. The fabric of the existing building was preserved by the rigorous application of a series of bold, strong design principles. The original building (derelict since the 1980s) was built in the early 1920s as a tyre store for the neighbouring factories. The structure has a depth of 52 meters and a five-meter column grid, made the task of adaptation to anew use problematic. However, a few simple design moves enhance the existing structure through an approach of discerning conservation and clearly express the new insertions that transform the building’s appearance and use. Firstly, a central circulation space provides a new ‘through route’ to the public ground floor and a visual tink to evet upper floor, while a central blue spine contains fire-fighting cores and services as well as a 100-bedroom hotel and a rooftop urban promenade on the top. All office ventilation requirements are housed in a new glass box, which edds depth to the preserved brick and concrete elevations. And, finally, a new roof structure creates a penthouse level 0 accommodation as well as one of the country’s largest green roofs, as a habitat for the wildlife that had inhabited the site since it fell into dectine. ATUMMGERERLUTA, QHODRRASKADARHTMS, BURSEM SERRA Fh, PROMS, Hii ANLT TAH SARA SEL —AAR. BAMMT 1900F, ARAN, APASKRULE, ROMAN, ATRIME ERATE AR, CTRRAMIRS, 1 TEPER ALT Her hah, MATER TSN ATA be He, MARTA RET EREREE, WN LAME-ROATERRS: MEKEORMOROITAMDL, REE, 100m F: AREAS TRE TRATES, ASNT RRS, RS, MRAM, SAAR RO =. MERE CLINT MEZA Neh “EAME TO Ol — MOT p04ee) & il a cial=" | ) =i | == est 4 Fes Hi ee meinpension of hel eas de res de Montréia rere ny Location: ‘Montréal, Canad Architect: Les architectes Tétrault, Dubuc Seia et associés, Ha Ingberg erchtecte ndependent architecture! consultant), ‘ai Bana Ane Photography: @ Hal ingborg ‘The original convention center in Montreal constituted an important psychological barrier, which separated Old Montreal from the modern city. This project fills in the absent ground level and creates some urgently required spaces of connection in the shape of public and commercial activity and a series of major pedestrian links. ‘A wedge-shaped pedestrian mall runs the entire 300-meter northern length of the building. This space with a luminous ceiling, links Saint-Urbain Street on the east with the Hall Bleury, a new public room, on the west. The Hall Bleury is the focal point of this project and extends the entire length of the Bleury Street. The casual sectional arrangement of floor and void of this grand urban room is revealed on the main facade of multi-colored glass, which creates a startling play of colored light inside. The urban intention fs to clearly indicate its public function and iconic aspiration. Spatially, the Hall Bleury is a receptacle for a startling play of cast cotored light. Bordering the “L” shaped plan resulting from the meeting of the pedestrian mall and the Hall Bleury, the scheme is further divided into three conceptual “rings”, which structure and organize the planning of the interior space. The ‘outer layer of each ring houses mainly commercial activity. So-called holes” within hide a series of loading docks, truck ramps, bus statfons and other service areas. Two pedestrian passageways situated between each ring re-establish the north-south urban link, which was previously severed by an expressway, thus reconnecting Otd Montreal with the modern 21* century city. The building grafts itself onto the four pre- exiting buildings on its site, in such a way as to always retain an equivalence of height with respect to this context. Therefore, in spite of its many dramatic characteristics, the expanded Palais des Congrés is highly contextual and almost chameleon-ike. ERANTSLOOM ARNON, DEMSMRMALORD, FRIGMLAK, SUSMARSAHARM, ARTE—KS, BREDA HSKSOOK, MEME. ORIMERMGE - SAAT AM MATRA (Bleuy Hall) IR. fA RA WD, ATERBAAREAA (Bluy Shes!) , LEAARMS, SFM, HmEMTRIT EMA THAR. ® ARE IS BM, HERAT MLA, A TUAT ROPRAAA, A IOE, SUERCLICMRER, HIN, SRT ETL TARE, HSE SAIL HeRRN ER,3 ft * “ Crest’ Housing HAA Location: Iola, Slovenia WH frchitect Fok Oman, Spele Videénik Collaborators: ‘Martina Lipicer, Nejc Batisud, Neza Oman, Foran Frey, Mavisa Baptists Photography: © Tomas Grogonié This project located on the Adriatic coast in the south-western tip of Slovenia is the winner of a competition organized by the Slovenia Housing Fund, a government-run programme, which provides low-cost apartments for young families. The winning points of this project were economic, rational and functional issues, but more importantly, the ratio between gross versus saleable surface area and the flexibility of floor plans. The residential blocks are built on a hill with a view of Izola Bay on the one side and the surrounding hills on the other. Each block sits on a 60-by-28-meter plot. The brief required 30 apartments of different sizes and structures, ranging from studio flats to three-bedroom apartments. There are no structural elements inside the small apartmer in order to provide plenty of flexibility and the possibility of reorganizing the space. Considering the Mediterranean climate, each apartment has a veranda, partly connected to the interior, which provides an outdoor space for the tenants as well shading and natural ventilation inside thanks to perforated side panels, which allow the summer breeze to ventilate the space. Semi-transparent textile shades block direct sunligh and help accumulate an “air buffer” zone. In the summer the hot air is naturally ventilated through the 10 cm hole in the side panels, while in the winter the warm air provides additional heating for the apartments. The strong colors used for the textile shading create different atmospheres within the apartments and make the small rooms visually bigger through a perspective effect that connects part of the exterior with the interior. Moreover, the brigt color as well as the irregular structure on the facade adds vividness to the whole building. AIQTHARLTONTEGLIEGR, HORAN, SCATCACRONTR ESM, REINER ETRRSS AD, KARAREA. AWLARAGNAR, DHREEH— a, SHRABROR MAMAS MRE ATERTUL, MMM, S-MRCEANON, SEA MOOETA, AON ARERR, H- BEN NORBERT, HERA SHAAMAA ARAL, RHHAHARANAT ME. SARMROENTAREAS VAS, RTM. EAM (LR ES) OWT —TeS “SEAS” HAM, REHKS TFN OBATHBAR HSA TS, TSHELSUURRRENER. BEAM HOSA, METAMYRS, OFAN, KATOOSTES, RAVER SRSSNE, DNR ROREHT SORA SAVE ROR, _—DERE ONCER Location: stor Unversity Seance Campus, Oxford, UK Oxf ah Chriversity Bisulenistey Debartment frehitect: Hawkins/Brown Photography: © Ket Coli Ti Crocker ‘The new £49 million Biochemistry building at the University of Oxford is a distinctive 12,000 square meter faciity with glass facades arid colored glass fins which brings together 300 lecturers, researcher and students, who were previously based in several separate buildings. The Biochemistry Department is internationally renowned for its research in the understanding of DNA and is the UK’s largest ‘The new building replaces the outmoded buildings, which were spread across the Science Area in the center of Oxford. The brief was "to achieve a new ethos of interdisciplinary working where the exchange of ideas is promote in a large collaborative environment”. Space was also required to enable research groups to focus on their cutting edge work in state-of-the-art laboratories. The external envelope of the new building is made with a unitized curtain walling system. Subtly colored laminater glass fins, which are fixed vertically within the mullions, wrap the full perimeter of the building. The colors of the fins reflect the rich red, terracotta, orange, brown and plum of the surrounding buildings, and provide a bold yet complementary take on the historic setting of Oxford. Moreover, the glass fins cast ever-changing colored light and shadows across the elevations making patterns of light both within the building and across the surrounding streets. ‘The clear lines on the facade connotate the serenity and rigidity of acdemic building. AlLof the interior spaces revolve around 2 400sq.m organic shaped, naturally ventilated, timber-clad atrium, criss-crossed by dramatic sculptural staircases, which facilitate chance encounters and conversations between researchers. Informal meeting areas and open-plan write-up areas are dispersed across the atrium and all cellular office accommodation enjoy full height glazed partitioning to allow greater transparency and availability SHER, OTR DIERAL, O12, OOPAX, MRINILAR OHIO RTA ERR, RSE AWONAURED, THER, AGERE, BRERA LIO00R IM, HERDS Pant, RTKERRIM, UROMTTRARTOOAER, RNESMMRT, 1 UL—TRTRANT HIME, HPN TICOMTEN” «AT AEAAREOT, CIMEMURR EMRE T—KSH, RUMRATRSRS, AAOVERAMRER ORCS, FACALRE. MMR ATS, F1e HAS. RELATE. 2H SRR T SLICER. 9S, URN LAMA SIE ICA DUALS 7k. ARR RT SERA TOE, SASTARASR, RAAMIARS, HTORARTACOM, BMRA, SAAS IRASIE. IAN, PAEELARARUDT, BATRA. ‘aei, . | son sw q UH idiiig, Te biw'y; a Habitat 825 82s{kak Location: West Hollywood, CA, US petted irchitect: Lorcan Hel, FAIA Pineal, Pere DeAngelis (P, David Thompson Franks Dihnet eaeanonamedne x2 3a Photography: © 2009 Lawrence Andersonfsto pa This project located adjacent to Rudolph Schindler’s Kings Road House draws inspiration from Schindler’s use of ligh materials, color and Gommon open space to develop a new form of contemporary lifestyle. Habitat 825 addresses the critical issues of density, site and the cultural and social impacts that arise from building next to a historical landmark, Given the historic presence of the Schindler House, several measures were taken to preserve the house’s relationshi to its surrounding landscape. To avoid casting shadows onto the neighbouring property, the building was reduced to two stories on the north side. In addition, the plan bends inwards away from the house to allow more breathing space and also draw attention towards the central open space. Two "L" bars create a central, common, open space and carefully weave the building’s circulation into a spectrum ¢ public space. A centrally located space allows all units to have direct access from the exterior while eliminating the need for mechanically climate-controlled corridors. Color-wise, the strategic use of black on the southern vertical volume grounds the building, rendering a heavy silhouette as an architectural proclamation, while lime green rhymes with nature and embodies both the horizontal and vertical landscape concepts of the Schindler House. White helps bounce light into the central courtyard and subsequent lower units. All units are organized around light wells that filter light down into the dwelling units from roof gardens above. Moreover, all units are single loaded, which allows cross-ventilation and light to enter from. multiple sides. 6A TRMOLIRTRLALA - SAHHMDEGR, ARASTERBIONEX, PMVLALTAWER, TAT —ReRORRLER: (Gh, EAU ARMSR AAT RARINS RTH, MEO. RARE ABATE, QPRAT MAES MONTE, CTITTMES, ERIM, BHO, OTT SS, sh FETE MMEZ IIE T— PANELS, MARBUT AMSA TAA, HIRT RST. LERRANEORISORM, RUTRRS: TARAGHE, ROARMAS, LALT PARRA RMS, SewRR TUL PUPAL, Ld), ELAAAAOBEEIG IRMA, ARENAS, THEM, mnae Nova Gorica, Slovenia frenarety Fok Oman, Sela Videcnik/ Otis Arhiteta Sena wsis ae © Tomae Gregoric ‘The Lace Apartments are located in Nova Gorica in the west of Slovenia, on the Slovene-ltalian border. Situated 92 meters above sea (evel, the town is said to be the hottest town in summer, while in winter it suffers from very strong winds, The climate, vegetation and way of life of Nova Gorica are very Mediterranean, with a strong emphas ‘on outdoor living, making external shady areas an important feature of the town’s architecture, The client of this project requested rich external spaces with different characters. The client was also very specific about the apartments’ size and typology, which needed to be simple and repeated. Because of the fixed urban plot, the building had to be an orthogonal block of 48-by-16-meters and five levels. The architects studied the external spaces of the area’s existing house and proposed balconies and terraces, which can be both opened and covered with a roof or pergola, and loggias that are closed from the side and fully or partly glazed, with different type of fences - transparent with glass or metal, full or of varying heights. This second skin of terraces gives each apartmen a different character and allows the buyer to choose a space that responds to his/her lifestyle. Though the facade’s color pattern is inspired by the area’s typical color elements, such as the valley's soil and the wine and brick rooftops, the locals soon nicknamed the building “pyjamas”, as it reminded them of a pattern on @ man’s nightwear. PARENT MERE T MARL ERT, SHMERELSTANOMAL, SLE MNOOX, AMER, BARN, SRR B, AUMERARATT UMAR AEEH, SRAMNACAMSC AR ARRAS. RT RAABARERM MEAL, EOVARHAD ARM ST HAA, BAILED. ATI. ATRAROR, ARE MIM, ROD ONEFDK, LALR. GHMTRAATLS, MAT SHER AOAA RMA, NOTE (SA RRRI, F AE G88). R-RMITERATRERHOAN, WEEMS TESHRH—KEAQHLAMRERORT. AROMVAAT SBADLTRRM, MIt, HLF, MORAVRERAMAR TIME AY NOE, ARE 6, RUACSL Baste "ie" ARAB RIA HO aiVe a | | a an a |site planTRIS. Booth TKTS{E Mi New York, WY, USA Irchitect Perkins Eastman, Choi Ropiha Photography © Pail Rivera /ArchPhoto Located in the middle of one of New York City’s most important tourist centers, Times Square, the TKTS Booth responds both to its unique site and the opportunity to become a major icon. The concept of the Booth-a discount ‘outlet for same-day tickets to Broadway and Off-Broadway productions - was designed by Choi Rophiha and is the major feature of the Theater Development Fund’s operation to help theater in New York reach audiences it otherwise would not. The Booth is a modern interpretation of the Roman amphitheater. The effect of a floating red theater is achieved by resting a pre-fabricated red amphitheater on a structure made entirely out of glass. The 27 steps, which will seat more than 1,000 people, are made of triple-laminated glass panels, 3.81 cm thick, 0.60 meters deep and 13.71 meters wide at the top, tapering to 9.75 meters. The triple-laminated, heat-strengthened glass treads are illuminated by red LED lights, and panels under the steps supply heat, to melt snow, and cooling for the LEDs. The visually striking color was chosen to match the identity of the Theater Development Fund and allude to the symbol of opening-night glamour: the red carpet. Visitors are invited to participate in life as it happens each day in Times Square and create their own bit of Broadway magic. AFHAREL MMHG, WHORL HE ATER, KASS, STE CARER ETHALE. RESIN KEENE SMPDROMCCER, TERR LRM NCKEMER, ANT RIOR. RAE MA OTR, THO] Sa. APR MTOHLEOHTNM, KERMA BUOKE, EMRE RAHCRTARAARASNGHE, AHLLAARTNEMAOURE “CE” RECOLSSINR SERNA, ERB HEELLUMA City WED RE AIIRG Location ‘Mobile building traveling around the world. Recent locations: Alicante (Spain), Boston (MA, USA) Irchitect: Ada Tolfa & Guiseppe Lignano (principals), Koki Hashunoto & Keisuke Nibe (Project Architects) /LOT-EK Photography ©Danny Bright PUNA City is a transportable retail and event building that has been travelling around the world with the 21-meter long PUMA sailing boat, Il Mostro, for the 2008 Volvo Ocean Race (Alicante, Spain). The fully dismountable building made of twenty-four retrofitted shipping containers travels on a cargo ship along with sail boats and is assembled and disassembled a number of times when it reaches different international harbours, ‘The building is composed of three levels of stack containers (12-meter long shipping containers), which are shifted to create internal outdoor spaces, large overhangs and terraces. The stack is branded with the athletic company's red and white graphic logo, which is fragmented as a result of the stack shift. Existing container connectors are use to join and secure the containers both horizontally and vertically. A system of structural covering panels fully seals all of the large openings, so that each module can be shipped as a conventional cargo container. PUMA City comprises two full retail spaces on the lower levels, and offices, the press area and storage on the second level. A bar, lounge and event space with a large open terrace are situated at the top. The building takes ful advantage of the global shipping network already in place and the design responds to all the architectural challenge of a building of this kind, as well as international building code, climate changes, plug-in electrical and HVAC systems and the ease of assembly and operations. With 1,021.93 sq.m of space, this is the first container building of its scale to be truly mobile. igs “20085 HU RITMALOT-EKSA SEMANAS OfEHs “Bata PI TACAOEERE MostioS, ROBERN) BS, Bt ha RRO, THOEME CANE, HAR TAMETA ‘Bans L2KKHRAAALATEAM, OLABTO. SARS, RABLMAMERMRA, MUR STE (OR. CHAS. WEARS RR RS. MARS. DA, ATR. UN, A LTT RS, AIRE game RRR “BME” BRAN OPI, R-REAREND, SO RRNOR, LATER, OF, MIRAE ASELATKON. “Bae ALUEAEATSRRROACES, RAL MOMERATOM, HARM TERROR MOI, OE. MERE | 2, SEOF Lom BM a! aEa s shment. Santa: Caterina Vlarket #* bia Latta Barcolona, Spain mareare Irchitect. Photography: Alex Gautior Originally opened in 1848, the Santa Caterina market s situated in Barcelona’s Old City, near the Catalan Capital's Cathedral. The refurbishment of the old market is part of an urban renewal plan by EMBT to bring life into what we once one of the city’s worst areas. The concept behind this refurbishment was to blend and mix with the original neo-classical market structure. The most distinctive feature of the new design is the new colorful undulating roof. The roof is a lively and colorful mosaic of 325,000 hexagonal ties, which form a greatly pixellated stil life of the produce sold within. Three arched metal trusses, which traverse the span of the building, provide support for the roof. A system of contoured metallic tubes and wooden beams provide additional structural support. The architects retained the white-painted masonry walls on three sides of the original mid-nineteenth century market structure ar selected granite pavers used on the city’s streets for the market interior to enhance the feeling of a public space. The new 12,000-square-meter, three {evel complex houses a dense series of market stalls, as well as shops, cafés, restaurants, a supermarket, community services, an underground parking, and an organic waste depository. In addition, two new buildings adjacent to the market provide 59 public housing flats for the elderly. LPHMPRATORIBARRAT, ORT, RARAMTARLEN—HS, HEMBTATER, CRERABNER RRM bi, TRAE, SRLEATH, CEN TSRANS DDS T ROR OOM AAT, ERRNO TRANCE OALMS, THROAT FANROORS, =ASRHSRLERTORN, HEHEREL AP-AAVAMHA, OHATOAMMHASARRETR, RAT RTS RRMT RAUNT SAM, TASS, WRT = MINIMA |2, OOORAN, MIB T AAI, TMI, MUNNTT. RIT, BN, ARE, ATR, SN, ARURNET AMES, RAOTEEAR, —Ose Juterna Honk. Seale SU Location: ‘sl, Norway semi {rehitect: Jarmund/Vigsnaes AS Aveitects Photography: @ lan Brodey This private school, with approximately 500 children from more than 50 different nations, is divided into kindergarten, reception, a primary and secondary school. The main goal of this project was to upgrade the original 1960s" structure and establish new educational areas for specific needs. The project is carried out in three phases | allow the school to function normally during the construction period. The original structure organized the school on one level to aid orientation, provide good natural lighting as well as close contact with the outdoors. Its modular structure makes it flexible to programmatic changes. The new building 4s organized around three new atria for play and recreation of different groups of children. In phase one, the exist atrium is established as a quiet garden with white gravel, benches and greenery. Pavilions containing the science laboratories and library are placed within the atrium. The new areas are framed by the rectilinear structure of the old building, In the second phase, a separate pavilion with ten classrooms and offices is created for the smallest children. The size of the rooms of this pavilion is flexible and can be changed according to the number of chiléren on each level. Daylight from the atrium floods the common areas of this space. The facade is covered with fibre cement boards in ten different colors. The third phase, currently underway, will house new areas for drama, music and physical education and will be partly open at night. NTR REAR, MSOORSME REET Look MR, MRAM. HAS. MARBLED. wate BS MCOLICOT CER, TAPER ARER. ub, CATA ARMOR RSENS, WKAR, STURM, MERRIE BE ( RETR FORMS ) RR. TRH, AVAWPRAS SSL, BRT, METER, TATE RNTR, THAME TA, NE esa RT — RMD, ZRTORLID, HE) —TRIEN, BIOTA (AP RERMIR TET) . NURALONTREAeAPKIEMA, a SHOREN, ROMANUM EDERAL, HMAC, (RAST. THAMES, BITRE. BRT. MER, RELATESi nalhaset NEE resis rested City, Copenhagen, Denmark Architect: Erk Nobel Nobel Arkteter as Photography: © Jens Lindhe, Nobel Ankitoktor Grestad is situated in the Sound region, where Copenhagen meets the southern part of Sweden. Situated between Copenhagen airport and the old city center, the Danish capital has become the hub of this region where Central an Northern Europe meet. It is an attractive area for foreign firms as well as an increasing number of students who chose to study at one of the dozens of university level institutions. Grestad is divided into four quarters. Erik Nobel's Signathuset is located in Orestad City, the most central area in t! Sound region, at the junction of Arne Jacobsens Allé and Edvard Thomsens Ve}. This residential project for young people contains 288 student apartments distributed over nine floors. The plan concept is based on a “four-in-one” principle, where four residents have their own rooms, but share common facilities, such as the kitchen, living roon toilets and showers. These 110 sq.m units can easily be converted into conventional single-family flats. The building is elevated on a number of concrete pillars cast in situ. The facades are composed of an external transparent screen made of a galvanized stretch metal screen, which defines the shape of the exterior. Combined with the external screen, different colored panels on the facade create a lively and varied structure and give the building a sense of presence and identity. Te Mni ORK ( Hahah) TEAM Sa AR Fah $A Ske, REL AAA, se SALA 8. RULES VMAS DFS OR IO. AAETN TASS AA RTAR SOE «AMARA, $OR, OOUEAM, RITTER "MAA" HS, Bl RENHR. ST. BERRI, SHRMBA TOLD, MARNE AHEES, HARBKEN TAG, ERRASRSRASRME, URC. Ih, RERMMSCMEUEA LUMA, ARTRRPRT EA.