Mark Magazine Feb Mar 2014

Aarhus, Copenhagen and Helsingr highlights

DENMARK

Location scout in Los AnglesTONI MAIER

Grimm City miniature world

FLEAFOLLYARCHITECTS

Buildings arent empty forever

REM KOOLHAAS

Theres a new future brewingWill.i.am

48FEB | MAR2014Europe 19.95

UK 14

Switzerland CHF30

Canada $29.50

USA $19.95

Japan 3.990

Korea 40.000 WON

ANOTHER ARCHITECTURE

Out Now

Think DutchConceptual Architecture and Design in The Netherlands

Think Dutch showcases over 450 architectural projects and product designs devised by the nations most creative minds. Co-published with Daab, this 496-page tome is an inspiring survey of cutting-edge thinking by Dutch studios in recent years, with a focus on how the economic crisis has fuelled creativity.

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A Building Block of Dutch Ingenuity

breC ns made of glassbre reinforced concrete

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| Length up to 3.60 m - various colors, shapes and surfaces

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Product innovation 2014 | Concrete louvers for facades

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More news, more eventsThe brand new frameweb.com is a one-stop shop for interior design, architecture and art news. As the online home to Frame, Mark and Elephant magazines, the site has the newest projects, hottest photography and special oers on books and more. Plus, discover whats happening in your city with a new agenda the biggest online calendar of public design events. frameweb.com

Onlinenow!

Three magazines,one site

003Mark 48 Feb | Mar 2014

010 Notice Board

Cross Section022 B720 Barcelona

024 A21 Studio Thuan An026 Andy Nicholson

028 Staab Ahrenshoop030 William Pugh | Davey Wreden

032 Hascher Jehle Stuttgart034 Ryue Nishizawa Shodo Island

036 Powerhouse Company Rotterdam038 Suppose Design Office | Ohno Japan Hiroshima

040 Trahan Natchitoches042 CASArchitects Brakkeput

044 Theo Deutinger World Map046 Craig Steely San Francisco

048 Eduardo Souto de Moura Viana do Castelo050 Studio Velocity Toyokawa

052 Studio Frank Havermans | RAAAF Soesterberg054 Kunihide Oshinomi | Kajima Design Tokyo

056 O&O Baukunst Duisburg058 Amano Tokyo

060 Max Rieder | Erich Wagner Salzburg062 UN Studio Singapore

Perspective: Denmark

066 Introduction

068 Aarhus DocklandsAarhuss former container port is converted into a new city district.

076 Henning Larsen ArchitectsHenning Larsens archaeology museum rises from the landscape

just outside Aarhus.

084 BIGThe Danish National Maritime Museum in Helsingr is an

unlikely landmark, situated entirely underground.

094 3XNA star-shaped plan and a sculptural staircase are two striking

elements of UN City, a new building in Copenhagen.

100 COBEYoung Danish firm COBE realizes one cultural building after another.

Plan

A21 StudioHouse in Thun AnPhoto Hiroyuki Oki

3XNOffice Building in Copenhagen

Photo Adam Mrk

Kunihide Oshinomi | Kajima DesignMusic School in Tokyo

Photo Nacsa & Partners

024

054

094

004 Mark 48 Feb | Mar 2014

Will.i.am and Ben MorPhoto Sam McGuire

Jakob + MacFarlaneArt Centre in OrlansPhoto Roland Halbe

Joo Paulo LoureiroHouse in Mono

Photo Jose Campos

Tacoa ArquiteturaHousing in So Paulo

Photo Leonardo Finotti

Long Section

110 OMA RotterdamOMAs De Rotterdam may be a controversial project,

but it is of great importance to the city.

118 Will.i.am | Ben Mor Los AngelesLifelong friends Will.i.am and Ben Mor take on architecture, Japan and Los Angeles for

music video That Power.

126 Langarita-Navarro MadridWith bright colours and a surprising use of materials, Mara Langarita and Victor Navarro realize buildings

with a feel-good factor.

140 Reconstruction GermanyThe German desire for the restoration of an idealized

past is leading to poor architecture.

146 Jakob + MacFarlane OrlansFor the FRAC Centre in Orlans, Jakob + MacFarlane

goes against its own philosophy, demolishing a structure before adding something new.

154 Toni Maier Los AngelesToni Maier is a Los Angeles-based location scout

specializing in architectural homes.

158 FleaFollyArchitects LondonArt installation Grimm City is a take on the folk tales

of the German Brothers Grimm.

166 Tacoa Arquitetura So PauloTacoas elevated apartments form a new building type.

174 Joo Paulo Loureiro MonoJoo Paulo Loureiro stretches the limits of concrete

spans with a double house in Portugal.

182 Lola Sheppard TorontoLola Sheppard talks about the margins of architecture

and her attraction to Canadas North.

186 Tools

192 Exit

118

174

146

166

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16 20 February 2014Dsseldorf Germany www.euroshop.de

006 Control Room Feb | Mar 2014

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Contributors to this issueSilvia Albertini, Sofia Borges, Stefano Corbo, Theo Deutinger, Davide Tommaso Ferrando, Rafael Gomez-Moriana, Michael Hierner, Bjrn Hoffmann, Hans Ibelings, Ana Martins, Pulane Mpotokwane, Terri Peters, Pedro Rey Antn, Anna Sansom, Jane Szita, Masaaki Takahashi, Oliver Zeller

008 Mark 48

010 Notice Board

Domino Culture Factory New York | NY | USA HAO (Holm Architecture Office)

Alternative proposal for converting the Domino Sugar Factory in Brooklyn into a cultural destination rather than into housing and offices. Sponsor is local community group Williamsburg Independent PeopleProposalholmarchitectureoffice.com

Landenberghaus Greifensee Greifensee | Switzerland Jonathan Tuckey Design

A cultural and community hallCompetition entryjonathantuckey.comRenderings by Forbes Massie

Sadovy Rayon Towers Cheboksary | Russia Orange Architects

Housing towers in combination with public functionsExpected completion 2015orangearchitects.nl

011

The Couch Amsterdam | Netherlands MVRDV

Clubhouse for Tennis Club IJburg in Amsterdam, including terraced seating for 200 spectatorsExpected completion 2014mvrdv.com

University of Manitoba Campus Winnipeg | MB | Canada IAD

Master plan for the restructuring and expansion of the University of Manitoba campus, including 4,200 housing units and 21,000 m2 dedicated to businesses and facilitiesInternational competition entry, one of four winnersgroupiad.com

Cit du Corps Humain Montpellier | France BIG

Museum of the Human Body: a feature of the newly developed extension to Parc Marianne, the complex had been designed to merge park and cityExpected completion 2018big.dk

012 Notice Board

Al Bahr Towers Abu Dhabi | UAE AedasTwin towers with a crystalline honeycombed construction, to be occupied by the Abu Dhabi Investment CouncilExpected completion undisclosedaedas.com

Qianhai Integrated Transportation Hub

Shenzhen | China Von Gerkan, Marg and PartnersTransportation hub in a purpose-planned business zone composed of five underground railway stations, a border-control point and numerous commercial areasCompetition entry, first prizegmp-architekten.de

Rathausstrae 1 Vienna | Austria AllesWirdGut The architects cut the volume of a six-storey building from the 1970s in half and stacked the two halves, one atop the otherCompetition entryalleswirdgut.cc

013

Austrian Pavilion Naturally Yours Milan | Italy Alexander Daxbck and PendaAustrian pavilion for Milan Expo 2015 (expo theme: Feeding the Planet), with a structural grid on which visitors can seed plantsCompetition entrybehance.net/alexanderdaxboeckhome-of-penda.com

CAIER Almaty | Kazakhstan Arrow Central Asian Institute for Ecological Research, on a site not far from Almatys financial district Construction to start late 2014arrowarchitects.com

Harbour Landmark Aarhus | Denmark Dorte Mandrup ArkitekterWhite steel tower resembling a sharp origami fold, with a spacious staircase that doubles as seatingCompetition entry, first prize, expected completion summer 2014dortemandrup.dk

014 Notice Board

Marievik 15 Stockholm | Sweden SeARCH Urban renewal plan for the Stockholm suburb of Marievik, including an adaptable winter gardenInternational competition entry, first prizesearch.nlRenderings by Laura lvarez

Chausseestrasse 43 Berlin | Germany Studio Daniel Libeskind Complex with 73 one- to four-bedroom apartments, as well as retail facilities, underground parking, and a common outdoor area Expected completion 2015daniel-libeskind.comRendering by PX2

Xihongmen Mixed-Use Development

Beijing | China Aedas (Andrew Bromberg)Mixed-use development in southeast Beijing, comprising 150,000 m2 of retail space, 180,000 m2 of office space and 35,000 m2 of hotel spaceExpected completion undisclosedaedas.com

015

Pertamina Jakarta | Indonesia Skidmore, Owings &

Merrill (SOM)A 500-m-tall office tower, including a performing-arts and exhibition pavilion, a mosque, and a central energy plantExpected completion 2020som.com

Shapeshifter Reno | NV | USA Ogrydziak Prillinger

Architects (OPA)House in a desert area on the outskirts of RenoExpected completion 2015oparch.net

Bridge Gothenburg | Sweden Dissing+Weitling, ELU,

Ljusarkitektur, and Leonhardt Andr und Partner

Bridge over the Gta lv River in GothenburgExpected completion 2020International competition entry, first prizedw.dkelu.seljusarkitektur.comlap-consult.comRendering by Tenjin Visual

016 Notice Board

MelA sloping base, dubbed the hill, has a landscaped park laid out on its roof. Pavilions accommodate galleries for the display of the centres permanent collection and temporary exhibitions, an educational and media centre, a caf club, and rooms for artists in residencemelspace.ru

Heneghan Peng ArchitectsExhibition spaces in Heneghan Pengs proposal are designed as a series of stacked galleries that allow visitors to enter a specific gallery of interest or to browse through the entire collection First prizehparc.com

Nieto Sobejano Arquitectos Evoking images of unrealized visionary architecture of the Russian avant-garde, this proposal refers to powerful industrial structures, as well as to the contemporary art factory typologynietosobejano.com

NCCAIn December, Russias National Centre for Con-temporary Arts (NCCA) announced the names of three finalists in a design competition for its new building in Moscow. Heneghan Peng Archi-tects (Ireland), Mel (Russia) and Nieto Sobejano Arquitectos (Spain) were chosen from a list of ten offices that had survived the first elimina-tion round of NCCAs open competition. At the end of the same month, Heneghan Peng was announced winner of the competition by the NCCA Board of Trustees, which is chaired by the mayor of Moscow. The new building part of the redevelopment of the former Khodynskoe Pole Airport will house a permanent collection and host exhibitions.

017

Sports and Administration Centre

Skanderborg | Denmark Schmidt Hammer Lassen

ArchitectsAn 18,000-m2 multifunctional complex with administrative and sports facilities for the Danish municipality of SkanderborgCompetition entry, first prize, expected completion autumn 2016shl.dk

Far Rockaway New York | NY | USA Seeding Office, Biber Architects,

Arup, Robert Silman Associates, YR&G and Code

Oceanfront development on the Rockaway Peninsula, an area at high risk of floodingCompetition entry, finalistseedingoffice.com

Out Now: Frame #96Frame 96 looks at the art of staging fashion, with imaginative set designs, jaw-dropping catwalks and the latest boutiques for top luxury labels. AMO reveals what drives its longstanding collaboration with Prada and denim brand G-Star tells us what retail means now.

frameweb.com/frame

The Sti Neck Chamber was the title of Henrik Vibskovs Fall/Winter 2013 collection; bird shapes reappeared later that year in Neck Plus Ultra, his rst solo exhibition.Photo Alastair Philip Wiper

eBooks by Frame Publishers

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This book explores 30 narrative spaces by exhibition architecture rm Kossmann.dejong, interspersed with how-to articles and essays.

A beautifully illustrated book on mimicking nature to create sustainable designs, enriched with examples of well-executed projects and interviews.

Also available at Zinio

020 Mark 48

Cross Section022 B720

024 A21

026 Andy Nicholson

028 Staab

030 William Pugh | Davey Wreden

032 Hascher Jehle

034 Ryue Nishizawa

036 Powerhouse Company

038 Suppose Design | Ohno Japan

040 Trahan

042 CASArchitects

044 Theo Deutinger

046 Craig Steely

048 Eduardo Souto de Moura

050 Studio Velocity

052 Studio Frank Havermans | RAAAF

054 Kunihide Oshinomi | Kajima Design

056 O&O Baukunst

058 Amano

060 Max Rieder | Erich Wagner

062 UN Studio

Cross Section 021

Text Rafael Gmez-MorianaPhotos Iigo Bujedo Aguirre

With its beginnings dating back to the 14th cen-tury, Barcelonas flea market, La Fira de Bellcaire (also known as Els Encants), is one of the older, more tradition-steeped of the citys 43 markets. Recently, this institution moved from the collec-tion of ramshackle sheds it had occupied over several decades to a flamboyantly expressive piece of purpose-built infrastructure. In fact, La Fira de Bellcaires new accommodation is the result of an architecture competition, possibly the first in history to be held for a flea market. The challenge faced by B720 was to design a facility double the area of the old mar-ket, but on a sloping site only half its size. The outcome is a ramp gently spiralling upward around a sunken courtyard. The best way to

B720 corners the flea market

address a slope is with a ramp. But we had to convince the city that a ramp would not pose a functional problem, which we did by measuring the gradient of street markets all over Europe, says Fermn Vzquez of B720. Every morning, trucks crammed with sur-plus merchandise and castoffs pull into the cen-tral courtyard, where their loads are auctioned off a ritual that is as old as the market itself. On the street-like ramp, vendors hawk their wares to throngs of shoppers. Highly reflective stainless-steel panels cladding the underside of a spacious canopy create a kaleidoscopic mirrored ceiling that, says Vzquez, reflects the city in the market and the market in the city.

b720.com

022 Cross Section B720

023Flea Market Barcelona | Spain

A21 Studio brings the outside in

Long Section

024 Cross Section A21 Studio

furniture decorates the interior. These second-hand items and brightly painted fixtures lend the building a sense of serenity and a vintage ambience. Working within a modest budget, the architects opted for a lightweight steel skeleton clad in corrugated, white-painted, metal sheets of different sizes and degrees of trans-parency, forming a playful tapestry infiltrated by vines. At places where this patchwork folds open, colourful tiles seem to spill out, even reaching the public pavement in a gesture of hospitality. Locally made, the mesmerizing tiles create a dazzling underlay of pattern and colour that extends across the ground floor, through the kitchen and into the garden at the rear. The use of salvaged tiles not only reduces costs, says Nghiem, but also transforms the useless into something meaningful.

a21studio.com.vn

Text Sofia BorgesPhotos Hiroyuki Oki

A striking steel house catches the eye in a suburban area of Thun An, a Vietnamese town just north of Ho Chi Minh City. Designed for a middle-aged architecture journalist, the inviting residence possesses a unique identity. In accordance with the clients wishes, A21 Studio found a contextually sensitive solu-tion in harmony with nature. This two-storey home, nested within a protective cage of wire mesh, welcomes surrounding greenery without sacri-ficing comfort. The house has two private bedrooms upstairs, an open kitchen and living room below, and a lush garden framed by trees, which architect Toan Nghiem describes as a way to keep the noisy streets separate from the private activi-ties taking place within. The design offers the occupant an indoor/outdoor lifestyle and the opportunity to experience nature inside his own home, where no barriers, doors or win-dows interrupt his connection with the outdoors. Reclaimed

025House Thun An | Vietnam

Text Oliver ZellerImages Warner Bros.

From its opening 17-minute continuous take, Gravity another masterpiece by director Alfonso Cuarn thrusts us into orbit with two astronauts played by San-dra Bullock and George Clooney. During a spacewalk to upgrade the Hubble Tel-escope, the destruction of a satellite results in the Kessler effect: a catastrophic chain reaction that whips debris around the earth, destroying everything in orbit. Unconventionally filmed, Gravity relies predominantly on digital envi-ronments. With the exception of certain interiors, everything was fully CG, says production designer Andy Nicholson. Much of the action takes place inside a 3-m-wide, 6-m-high light box consisting of 196 panels, each containing 4,096 LED lights. Occasionally, robotic arms reorient the faades of the box. The LEDs not only emit light but also project images of the surrounding virtual space at any speed. Bullock says the box made me feel so alone. The astronauts eventually make their way to the International Space Station (ISS), whose interior capsule sets were developed as 3D models by Nicholsons art department. Although the design of the ISS suggests the work of engineers, it involved numerous architects who represent the burgeoning field of space architecture. In 1967 architect Danforth W. Toan recognized the advantages of archi-tecture in low gravity, as space expands in proportion to how much of it you can use, almost as if you had increased its size. His firm, Warner, Burns, Toan & Lunde, worked as consultants for the Grumman Corporations bid to con-struct a space station. Architectural involvement in space was cemented in 1968 when archi-tects and industrial designers from Raymond Loewy/William Snaith, Inc. pro-vided input for the interior of Skylab: input that led against engineers objec-tions to the inclusion of an observation window. In discussing the benefits of the window, Loewy said that its recreational value alone would be worth its cost on a long mission. Loewy/Snaith team member, designer John Frassanito, would also work on the ISS, along with several architects, among whom Constance Adams, A. Scott Howe, Kriss J. Kennedy, Future Systems cofounder David Nixon, and Gar-rett Finney. In 2002 in the Architectural Record, Finney compared the work to getting into architecture 4,000 years ago starting from the beginning again and re-learning how people really interact with space. In a later issue that year, architect A. Scott Howe, whose focus is on self-assembling structures, references Foster + Partners 1983 Renault Dis-tribution Centre, calling it a brilliant example of a joint-based/panel-based hybrid that inspired the design of the ISS. Ninety minutes in a darkened cinema with Gravity take us on a nascent exploration of a new era in architecture.

Andy Nicholson explores space architecture

Many of the scenes in Gravity were shot with an Iris robotic camera rig in a 3-x-3-x-6-m light box equipped with more than 800,000 LED lights.

026 Andy Nicholson Production Design

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Staab connects to

tradition

028 Cross Section Staab Architekten

Long Section

Plan

Text Florian HeilmeyerPhotos Stefan Mller

If it wasnt for all the tourists, Ahrenshoop would be a quiet place. A small village in northern Germany with only 600 inhab-itants, it is well known for its beautiful landscape and proxim-ity to the Baltic coast, which explains the salty air and wind-swept streets. And ever since a handful of artists settled here at the end of the 19th century, the town is also recognized as a rich source of paintings and sculptures featuring the regions weather-beaten landscapes and gruff natives. Over the years, Ahrenshoops fishermen were replaced by a steadily rising number of tourists. Looking to buy local art, they had to pass through the low doorways of cottages tucked into the dunes as protection from wind and water. While these sheltered old dwellings, with their thickly thatched roofs, do have stories to tell about the history of the peninsula, they have their disadvantages when it comes to the display of art. Ahrenshoop needed a decent museum. The museum designed by Berlin-based architect Volker Staab is cleverly connected to local building traditions. To keep things on a modest scale, while providing the museum with the spacious premises required, he realized five small pavilion-like structures, each of which houses one gallery. They give the appearance of separate units, but a central roofed space connects all five. Staab based the design on neighbouring cot-tages whose chimneys he interpreted as skylights, which allow natural light to illuminate the all-white interiors. The museum can be seen as an austere sculpture that references the village. Highlighting the overall impression is brass cladding, which gives the pavilions a golden glow for the time being, that is, until the brass begins to weather, taking on a greenish-grey patina and a more unassuming presence, much as the thatched-roofed cottages do, but in a calmly con-temporary way.

staab-architekten.com

029Museum Ahrenshoop | Germany

Text Oliver ZellerImages Galactic Cafe

The Stanley Parable is the story of a man named Stanley. As employee num-ber 427, Stanley sits at a desk and pushes buttons, as indicated to him on a monitor. He relishes his job until something very peculiar happens. Orders cease. No one else shows up. Where is everybody? So begins the players existential and absurdist journey as Stanley, a role of exploration into all the nooks and crannies of an office building, accompanied only by narration from a manipulative, disembodied voice. This narrator, whose voice is that of actor Kevan Brighting, foreshadows every action taken, though players are free to subvert any and all directions to his considerable consternation. Investigation leads to a sinister discovery: a massive subterranean panopticon with hundreds of screens, each surveying an employee. The panopticon, a late 18th-century architectural concept ascribed to philoso-pher and social theorist Jeremy Bentham, allows a watchman to observe all inmates of an institution surreptitiously. As research associate and media analyst Thomas Allmer notes: The panopticon is an ideal architectural fig-ure of modern disciplinary power. And, in a 2003 article in the journal Sur-veillance & Society, Hille Koskela, professor of human and urban geography, writes: Space is crucial to the exercise of power, but power also creates a

William Pugh and Davey Wreden invent an omniscient architect

particular kind of space. Through surveillance cameras the panoptic tech-nology of power is electronically extended. What these experts describe is architecture as a construct of surveillance and control, with the means to manipulate how we perceive our environment. Its a theme that architects Diller Scofidio + Renfro have explored in architecture installations such as Jump Cuts, ARoS Sky Space and Facsim-ile. For Facsimile, the architects fixed a live video camera to a vertically sus-pended armature behind a mobile screen (about 8 m wide and 4.5 m high) on the faade of San Franciscos Moscone Convention Center. The screen slowly scans the building to reveal live views that are in fact, pre-recorded fictional programs displayed by this instrument of deception. In The Stanley Parable, level designer/co-creator William Pugh and designer/original creator Davey Wreden consistently manipulate the perception of space. They rearrange and shift rooms and hallways to craft an architecture that defies all logic even before reality disintegrates, leaving the spaces askew. One route leads stealthily to a spot above the room where Stanley is about to make a decision, imbuing the player with a sense of omniscience a reminder of the power of architecture and its capacity to orientate and influence its users.

030 William Pugh | Davey Wreden Game Design

ANOTHER ARCHITECTURE

I never ur uuuuse thse thse thse thse thse thse the the the ththhse thse thse ths e e we we we wowore eeeee d truth in tn tttteachieachieachieachieachieachiachiachachachachhihieachieachiee ngngngngngngnnn

?The competition is open to all interested parties: architects, graphic designers and other creative people. The winning design will be used for the cover of Mark #50, and the win-ners name will be featured in the colophon. The jury report will appear in the same issue. The following website with everything you need to get started on your winning entry will be open for business on 3 February 2014: frameweb.com/design-contest. Material available on the website will include cover photography, cover template, masthead and the Mark logo. The masthead and logo must be included in the cover design. Cover photography and template may be used as desired. For exam-ple, you may edit, enhance or omit photos altogether, or use photographic images as inspiration for another type of design. Typographic design and illustrations are also permitted. The font used on the cover of Mark is Linetos Akkurat. This font will not be provided on the website; its use is optional.

Design the Cover of Mark #50!

The fiftieth issue of Mark magazine will be out on 1 June 2014. To celebrate the occasion, Mark is organizing

a design competition for the cover of Mark #50.

Mark is printed in four-colour offset. You may also select one of these three options to create your design: Fifth colour (including PMS) Foil printing Spot UV printingOther cover styles, such as those with die-cut or fold-out designs, will not be accepted. The deadline for submitting designs is 3 March 2014. Please send your entry to this address: [email protected] jury will consist of the editors and designers of Mark magazine.

Additional terms and conditions: Mark reserves the right to

print submitted designs free of copyright restrictions.

Mark reserves the right to adapt or modify the winning design for purposes pertaining to content, graphics or printing.

Entries may be submitted anonymously, if the entrant so desires, using, for example, an email address that cannot be traced. In that case, the entrant should make sure that the editors of Mark can contact him/her at the same email address.

031Competition

Text Pulane MpotokwanePhotos Roland Halbe

Berlin-based Hascher Jehle Architektur recently completed an enclosure for gorillas and bonobos at the Wilhelma Zoo in Stuttgart, Germany. Landscape design weaves into built form in this project, which comprises outdoor hold-ing areas and two indoor enclosures: a complex that flanks both sides of the main visitor route. Indoor enclosures are bathed in daylight. Floor-to-ceiling bulletproof glass allows visitors and apes to stand face to face. From the outside, indoor enclosures appear as a single, monolithic construction, contrasting strongly with the leafy, permeable outdoor pens. The outdoor cages are covered with lightweight stainless-steel cables that form tensile net structures over the bonobo enclosures. Supported by a for-est of thin steel columns, the sturdy metal mesh shapes an irregular roof-scape of peaks and troughs. In the outdoor holding areas, visitors experi-ence the sounds and smells of the animals in close proximity. Bonobos swing through an artificial rainforest replete with fabricated vines, hammocks and sleeping nests. A wooded enclosure landscaped with streams, marshes and a moat approximates the natural habitat of gorillas living in sub-tropical for-ests in Africa. The apes are divided into their natural social units. In the case of go-rillas, silverbacks are separated from family groups, which are in turn isolat-ed from young adults. These divisions along with well-considered habitat creation is part of Hascher Jehles attempt to keep the enclosures as close to the animals natural environments as possible. Terraces with seating and information systems structure visitor routes and allow people time and space to look at and learn about the apes at their own pace.

hascherjehle.de

Hascher Jehle monkeys around

Plan

032 Cross Section Hascher Jehle Architektur

033Ape Enclosure Stuttgart | Germany

Ryue Nishizawa

034 Cross Section Ryue Nishizawa

Text Franois-Luc GiraldeauPhoto Iwan Baan

The Setouchi International Art Festival, a leading celebration of Asian creativity, is held on different islands located in Japans fabled Seto Inland Sea. The event features regional artists and architects whose work significantly transcends the tradi-tional boundaries between disciplines. As part of the 2013 edition, Ryue Nishizawa contributed to the conversion of a former school into a cultural centre. It hosts a collaborative platform commit-ted to promoting progressive Asian art in a con-text of cultural globalization. The centre overlooks a subtle but no less fascinating intervention by the same architect. Nishizawas Fukita Pavilion its pristine sim-plicity belying the challenging material limita-tions involved takes full advantage of Shodo Islands idyllic, densely forested environment, even though it is in a residential area of Kagawa. The structure consists of two sandy-beige steel sheets whose delicately bent edges enfold an intriguing and unexpected space. As always, Nishizawa delivers a project in which architec-ture and nature are not only complementary but also mutually dependent. Here on Shodo Island, a pavilion finds its meaning, form and structure solely in the landscape. Nishizawas structure lacks any sense of hierarchy, as it allows exploration from all direc-tions and does not suggest a specific circula-tion path. By trimming proportions to a human scale, the architect honed in on sensory qualities that can be experienced collectively. The Fukita Pavilion provides insight into Nishizawas unique approach to design, which incorporates politi-cal expression and poetic imagery. Although this ethereal intervention is intended as a multipur-pose space for human activity, it deliberately cre-ates a high level of abstraction and ambiguity. Behind the apparent and rather discon-certing simplicity of the pavilion is an enigmatic desire, it seems, to see whether and how the space can adapt and evolve beyond the archi-tects initial wish to realize a shared, interactive environment.

ryuenishizawa.com

encompasses curves and folds

Pavilion Shodo Island | Japan 035

Text Jane SzitaPhotos Christian van der Kooy

After a series of sophisticated villas and a sleek luxury yacht, Powerhouse Company has unveiled its first contribution to public space, the Eras-mus Pavilion. Designed together with De Zwarte Hond, the building, for the campus of the Erasmus University Rotterdam, is the result of a winning competition entry. The competition called for an icon, a building that would be a pulsating heart, says Powerhouses Nanne de Ru. There were also some paradoxical requirements the pavilion had to be not only sustainable and transparent, but also versatile and energy-efficient. The architects solved the paradoxes with a closed box wrapped in a glass skin. Surrounding the new multipurpose auditorium are a number of spaces that are bathed in natural light during the day. The triple-glazed faade is clad in adjustable sun-control louvres that allow varying amounts of light into the building, responding to both chang-ing programmatic needs and the mercurial Dutch weather. The sweeping, curved lines of the lou-vres correspond to the path of the sun. To make them fit closely to the glass, creating a crisp pro-file, the architects painstakingly customized a Hunter Douglas panel system. We spent a lot of time getting the curves just right, says De Ru. The result is a building that seems to open and close like a lens or a flower (or, indeed, a pulsating heart), making the most of its com-manding position at the centre of the universitys new master plan, where it straddles the two main axes of the campus. The dynamically variable faade, which glows at night thanks to illumi-nated red interior walls, is a welcoming beacon for advanced education.

powerhouse-company.com

Differences in height marking this area of the campus continue inside the new pavilion.Photo Ren de Wit

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Cross Section

036 Cross Section Powerhouse Company

Powerhouse Company

goes public

037Pavilion Rotterdam | Netherlands

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038 Cross Section Suppose Design Office | Ohno Japan

Suppose and Ohno offer incompleteness

Text Cathelijne NuijsinkPhotos Toshiyuki Yano

No, this is not the shell of a building badly dam-aged by the atomic bomb that hit Hiroshima in 1945, but the latest collaborative effort of Sup-pose Design Office and Hirofumi Ohno. Designed to resemble a ruin of exposed concrete, the sin-gle-family house features a large, double-height courtyard with a floor of sandy Japanese masa soil. Complementing this communal space are the kitchen and private spaces for sleeping and bath-ing, which are on the floor above the courtyard. The unfinished structure was planned in total accordance with the client, a DIY enthu-siast who even participated in the design pro-cess. It is this incompleteness that allows for an unlimited variety of activity, says Makoto Tanijiri of Suppose, adding that, thanks to the designs nature-inspired concept, the clients can adapt the interior to their own lifestyle and functional requirements. Commenting on the empty space at ground level, Tanijiri describes it as being out-side and inside at the same time. Its a place for dining, relaxing or engaging in hobbies. Did his clients do anything that surprised Tanijiri after they moved into the house? They placed a bed on the ground floor and use the space for sleeping, he replies. An interesting development that we definitely encourage.

suppose.jpohno-japan.com

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House Hiroshima | Japan 039

Trahan Architects takes us

to the river

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01 Foyer02 Gallery03 Classroom04 Administration

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040 Cross Section Trahan Architects

Text Sofia BorgesPhotos Timothy Hursley

A visionary building housing the Louisiana State Museum and Sports Hall of Fame proves not only stunning, but also culturally and historically sig-nificant. Merging two distinctive collections, the muscular design which overlooks a lake in Natch-itoches, the oldest settlement in the Louisiana Pur-chase is well anchored to its prestigious setting. In the words of architect Trey Trahan, the building mediates the dialogue between sports and history, past and future, container and contained. Referencing early Creole structures, the project is wrapped in a faade of gleaming lou-vres, which delicately introduce the fluid inner space to the street. The boxy, copper-skinned exterior contrasts with a sinuous, futuristic inte-

rior. The louvres, a contemporary interpretation of the cypress shutters of plantation houses, make room for a relatively modest main entrance. Trahans powerful sequence of layers culminates in a grand foyer modelled on courtyards found in the Deep South. The monolithic, organically contoured interior stands as a vernacular homage to the age-old bousillage technique, in which clay, moss and horsehair are used to fill in the framework of a half-timbered building. A weighty mass com-posed of panels made from cool white stone lining floors, walls and ceilings winds its way through the complex. Like a river that carves the shape of the bank, the digitally milled panels

virtually sculpt the space around them. Reach-ing into the galleries, the meandering surfaces double as screens for films and display. Strips of light give the interior a sense of rhythm and direc-tionality, and intersecting paths lead to a veranda with a view of the town square. The projects com-mitment to both environmental stewardship and local design traditions reflects the goals of the practice and its contemporary aesthetic. In a state that as Trahan claims loses a football field of coastline every minute, the command-ing building raises awareness of the role played by water in shaping landscape, local culture and agrarian life.

trahanarchitects.com

041Museum Natchitoches | LA | USA

042 Cross Section CASArchitects

Text Franois-Luc GiraldeauPhotos Jeroen Musch

At 76, Curaaon-Dutch architect Carlos Weeber a.k.a. Carel Weeber recently completed a project that doesnt seem to be shaking up the con-temporary cultural landscape as much as his earlier designs did. In the late 1970s, Weebers neo-rationalist-inspired approach to the development of programmatic strategies, along with his relentless opposition to the small-scale models of structuralism, earned him a reputation as the enfant ter-rible of Dutch architecture. Apparently having toned down his provocative rhetoric on the rationalization of mass housing, the architect returned to his native Dutch Caribbean island to carry out the construction of private resi-dences with his new office, CASArchitects. That said, Villa Goede proves that Weeber still sees architecture as a critical exercise. In line with his ensuing shift to a more socially engag-ing architectural expression stemming from a higher degree of user par-ticipation the house strives to recover from a loss of identity as it remains informed by its specific geographical and cultural context. Traditionally, buildings in Curaao called upon free renewable sources of energy to improve indoor comfort. As this custom is no longer prevalent, the use of mechanical heating and cooling devices became widespread. Concerned with the absurdity of this practice, Weeber formu-lated his own set of architectural principles, which fit the realities of the Caribbean climate. His guidelines set forth the need to stretch the building along the east-west axis; to paint faades in light colours; to regulate the size of openings and to refrain from using glass for the sake of natural air-flow through the building; to cut down on hallway circulation space; and to favour optimum roof insulation, complemented by a reflective surface. Villa Goede does all that. It relies largely on environmentally friendly low-tech solutions and a strategy of passive climate control that maximizes the buildings energy efficiency.

casarchitects.org

CASArchitects turns to tropical regionalism

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043House Brakkeput | Curaao

Squares Text and graphics Theo Deutinger and Pedro Rey Antn

City squares often achieve name and fame through the protests and revolts that happen there, a phe-nomenon as true today as it was in the past. Tripolis rebels changed the name of Green Square to Martyrs Square, in honour of those who lost their lives in the fight against Gaddafi. Kievs Maidan Nezalezhnosti (Independence Square) will remain Euromaidan (Euro Square) in the minds of people worldwide who viewed or read about the pro-EU integration protests that filled the site in November 2013. New York Citys Zuc-cotti Park will be known forever as the birthplace of the Occupy Wall Street movement. The still fairly young 21st century is reeling from an unprecedented series of uprisings. Since the begin-ning of the century, the ex-Soviet countries of Europe and Asia have been shaken by so-called colour revo-lutions against corrupt post-Soviet leadership. Arab nations are still caught in the web of Arab Spring, which began in December 2010. The Western world has been experiencing its most widespread protest the Indig-nados/Occupy Movement since 2011. Though media coverage is waning, all three are still ongoing and alive. Despite the differences among these move-ments, a common thread is their culmination in a public square, which becomes the proverbial centre stage for collective action, while surrounding streets are largely avoided. Demonstrations, which used to be marches through the city to proclaim protestors grievances or causes, have turned into operative strategies of space occupation. The desired permanence of such protests through the erection of fixed encampments aims to cel-ebrate and institutionalize the use of public squares as sites of civic dissent. The aforementioned movements chose their squares wisely, close to political power structures in order to reduce the gap between ruler and ruled, have and have not, rich and poor. Sometimes the simulta-neous enactment of citizenship in both center and peripheral urban spaces is all that is needed to call attention to these gaps at the level of the city, and to set the engines of change in motion.1 The digital square provided by social-media platforms works hand in hand with the physical urban space. Even if the influence of the digital realm was overrated in the case of the Arab Spring, the sheer presence and lingering power of social-media plat-forms generated extra leverage for use against oppres-sors. As a mobilization device, the relatively new mobile phone lives up to its name as well. The Arab Spring and certainly the Indignados/Occupy Movement is but a preview of widespread global rebellions to come, and recent protests in the Ukraine underline this force on a more regional scale. At the climax of these massive simultaneous gather-ings on public squares all around the world, a global society comes into the picture. If it is not peace and happiness that brings people together, then it is anger against injustice and corruption.

Sources:- theguardian.com/news/datablog/2011/oct/17/occupy-protests-world-list-map- en.wikipedia.org

Public squares with the largest number of protesters per country (>1.000 people)

Number of protesters

Indignados / Occupy Movement

Arab Spring

Colour Revolution(post Soviet)

1 Diane E. Davis, Prassanna Raman, The physicality of citizenship: the built environmental foundations of insurgent urbanism in cities

around the globe, in: CRIOS: Critica degli Ordinamenti Spaziali, January 2012, pages 27-44

044 Cross Section

045Infographic

Text Franois-Luc GiraldeauPhotos Bruce Damonte

After local architect Craig Steely was asked to dream up a house for a site in San Francisco, he began by working with his clients, Peter and Jan industrial designer and mechanical engineer, respectively on the layout for an all-encompassing design. The idea was to redefine the way in which an evocative piece of contemporary architecture could be integrated into a traditional urban setting. Neatly tucked away in the hilly neighbourhood of Dolores Heights, the meticulously crafted project is distinguished by daring lines and the clarity of its empowering composition, a sharp contrast with the areas Victorian and Edwardian residen-tial signature, harking back to the 19th century. Located on a steep incline overlooking central San Francisco, the 200-m2 house solves the inherent structural and design-related difficulties of the site with a vertically dis-tributed programme comprising a four-level stack of versatile open-plan spaces. Facing north and rising over a recessed custom-made garage door featuring wooden slats, the fully glazed street-side

Craig Steely stacks a house

faade is punctuated with small, adjustable portholes that ensure a comfortable, naturally ventilated indoor environment. An outdoor stairway that leads to the deck and main living areas is used frequently by a handful of pedestrians as an alternative route that shortcuts the neighbourhoods wind-ing roads. The architect dealt with privacy concerns with rows of salvaged cypress boards, which run the length of one exte-rior wall and partly extend into a fence, creating a clear thresh-old between the house and the public domain. Peters House shows a keen eye for detail, a commend-able sense of scale, and an astute respect for the character of the neighbourhood. The house is not only a technical accom-plishment but also a coherent constituent of the existing urban fabric. It represents a sustained collaborative process that emerged from the participation of the architect, his cli-ents, community members and local authorities.

craigsteely.com

046 Cross Section Craig Steely Architecture

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against a hill

047House San Francisco | CA | USA

Section

048 Cross Section Eduardo Souto de Moura

Souto de Moura sets the table

Text Ana MartinsPhotos Joo Morgado

Viana do Castelo, a city fronted by the Lima River and the Atlan-tic Ocean, recently inaugurated its newest architectural gem, a three-storey multipurpose pavilion by Portuguese architect Eduardo Souto de Moura, winner of the 2011 Pritzker Prize. The Porto-based architect drew inspiration from naval architecture for the design of the sculptural, 8,706-m2 pavilion, thus establishing a connection between the new-build project and the Gil Eannes, a 58-year-old hospital ship that returned to the port of Viana do Castelo after 18 years of service and is now a museum and youth hostel. According to the architect, his concept for the design was a table, with on its surface an aluminium box holding eve-rything needed for the various activities inside the building. With this concept in mind, he realized a structure that echoes the modest heights of surrounding retail and service buildings by Fernando Tvora, as well as the municipal library by lvaro Siza. Top-to-bottom glazing covers nearly the entire ground-floor faade of Souto de Mouras building, lending it a sense of transparency that reinforces the table imagery while also opening the spacious interior to views of both city and river. What may appear to be a fusion between a sober Mie-sian architecture and the chaotic radicalism of Renzo Piano and Richard Rogers Centre Pompidou is far more than a com-bination of older styles. This pavilion is a fine example of a modern Portuguese architecture that shows Souto de Mouras unique ability to apply superb aesthetic solutions to functional problems of every scale and complexity. Having been in the planning since 1999 and under con-struction for a total of five years, Souto de Mouras pavilion finally opened its doors last summer. Its function as a space for sports, cultural and leisure events is transcended in that the pavilion, a highlight of Adalberto Diass urban-develop-ment scheme for the riverfront, puts Viana do Castelo on the map as a new European capital of architecture.

049Multipurpose Pavilion Viana do Castelo | Portugal

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Text Cathelijne NuijsinkPhotos Kentaro Kurihara

How did you manage to design and build such an un-conventional house?HIDEKAZU KISHI (Studio Velocity): The regulations were

generous for a Japanese site and for the building volume required: 62 per cent building coverage and a 200 per cent floor-area ratio. Knowing that, we realized we could design practically any form. But if we had opted for a shape similar to that of neighbouring houses, we wouldn't have been able to provide the residents with privacy, because the space between houses is so narrow and windows would have directly faced those of the house next door. We eliminated such problems by rotating the plan and inserting spacious gardens at all four corners of the site.

What do the residents like best about their house?We named the project Forest House in the City. The

concept of a forest allows the residents to maintain a comfort-able distance from the neighbourhood while also enjoying a lifestyle that includes private time spent outdoors. Our clients also own the beauty salon on the ground floor of this house. They used to operate a salon that was separate from their living quarters, but the new house makes their work and their family life a continuous whole. Each garden has its own role: one as an approach to the house, one as an approach to the salon, one as a garden for the house, and one as a garden for the salon. The residents are glad that the position of the house, with its gardens, divides public from private space.

The design of this house benefits both our clients and the neighbourhood, as the attractiveness of any dwellings inte-rior spaces depends on the relationship between indoors and outdoors. Lighting, ventilation, views and privacy are all experi-enced in correlation with adjacent structures. The four gardens are pleasant elements for everyone involved: clients, neighbours and passers-by. In a couple of years, when the trees have grown, the green environment we envisioned at the outset will be even more evident.

studiovelocity.jp

050 Cross Section Studio Velocity

Studio Velocity creates distance

051House Toyokawa | Japan

Photo Michiel de Cleene

Text Franois-Luc Giraldeau

Dutch artist Frank Havermans and Amsterdam-based mul-tidisciplinary studio RAAAF recently brought to the publics attention their obscure Secret Operation 610, an alienesque art installation whose terrifying silhouette would most defi-nitely leave most observers confused yet fascinated. The mobile structure embraces its mechanical legibil-ity and takes the military aesthetic to a whole new level. The project remained informed, throughout its conceptual design phase, by explicit references to the Cold War and its associ-ated weaponry and aircraft. As if leading an oddly lethargic cortege, the 5-m-high creature, propelled by caterpillar tracks, moves at a dramatically sluggish pace along a deserted runway that once served Soester-berg Air Force Base (closed since 2008), not far from Utrecht, the Netherlands. Crawling along the paved strip, the installation engulfs the viewer in a startling post-apocalyptic scene. Havermans says his work shows an awareness of its context and is highly expressive, regardless of its purpose. Secret Operation 610 backs the artists words with its men-acing appearance, charged with conspicuous references to

Frank Havermans and RAAAF seek inspiration from the Cold War

violent matters. The surprise lies inside, where an angular ten-seat cockpit provides students from Delft University of Technology with a workplace for the development of a research programme at the forefront of sustainable progress in 21st-century aviation. A tactile object that displays the makers careful atten-tion to the often overlooked sensorial dimension of materials, the work lives up to the reputations of both Havermans and RAAAF. Reinforcing the dauntingly heavy, machinery-inspired image to which the design team clung stubbornly is the matte-black rubber coating that was sprayed on the steel-and-wood body. Celebrating applied art at its most practical level, Secret Operation 610 takes an approach to design that can only encourage more of these successful cross-disciplinary collaborations, through which designers, practitioners and researchers work out innovative ways to reach and engage a wider audience.

frankhavermans.wordpress.comraaaf.nl

052 Cross Section Studio Frank Havermans | RAAAF

Photo Ren de Wit

053Installation Soesterberg | Netherlands

Kunihide Oshinomi comes on

strong

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054 Cross Section Kunihide Oshinomi + Kajima Design

Text Masaaki TakahashiPhotos Nacsa & Partners

In creating interiors, Japanese architects tend to avoid the risk involved in the use of unusual col-ours, materials or lighting systems. Exceptions to the rule are two buildings designed for the Sen-zoku Gakuen College of Music Silver Mountain, a free-form rehearsal hall, and Red Cliff, a rec-tangular administration building both of which exhibit well-considered yet strikingly expres-sive interiors and exteriors. Responsible for the project is Kunihide Oshinomi, who recently left Kajima Design to establish K/O Design Studio. Oshinomis portfolio includes everything from large-scale building complexes to apartment interiors. He is particularly interested in architec-ture featuring distinctive interior design. For the music school, he worked with a client who asked for buildings with a timeless appearance buildings that would not grow old quickly. To materialize that concept, Oshinomi chose a style he felt would be uplifting to musi-

cians. Silver Mountain features an organically shaped roof that is not based on perfect circles or ellipses, and a concrete frame clad in aluminium panelling. The result is a happy marriage between algorithmic calculations and fine craftsman-ship. Impressions reflected in the exterior of Sil-ver Mountain relate to weather, time of day and angle of view. Acoustically speaking, the concrete structure resonates sound, precluding the need for additional sound-control products. Oshinomi illuminated the space with boldly artistic indirect lighting totally unconventional by Japanese standards and opted for purpose-designed benches that neatly hide air-conditioning units. He also developed a different colour scheme for each floor. The rehearsal hall is hugely popular among both students and teachers, who use it for informal concerts almost every day.

kodesign.co.jpkajima.com

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055Music School Tokyo | Japan

056 Cross Section O&O Baukunst

Text Florian HeilmeyerPhoto Thomas Mayer

You think Germany is a bureaucratic country? You couldnt ask for better proof of your assumption than a recently completed project in Duisburg: the Landesarchiv NRW or, in English, the archives of the federal state of North Rhine-Westphalia. The new tower contains an almost unbelievable 148 km of shelves, the amount needed to store the states existing files, as well as those to come. Most of these files are publicly accessible. Reading rooms and offices occupy a six-storey building that snakes from this fortress for files in a northwest direction. It is the windowless brick tower, though, that draws all the attention. At 76 m, it is Duisburgs highest building. One could say that Duisburg, a place whose past is marked by the coal and steel industries, is used to tall, windowless buildings: chimneys and smokestacks still loom over many parts of the city. But in its careful design, its materiality and, most of all, its remarkable mass, this tower is clearly anything but a chimney. Responsible for the project is Austrian office O&O Baukunst (previously Ortner & Ortner), which won an open competition for its design in 2007. The firm proposed an archives building with iconic potential, thanks to a plan that did not hide the majority of the facility underground. O&Os vertical extension rises from a 1930s warehouse an impres-sive 50-m-long, eight-storey brick building in the former industrial harbour area. The new tower has such a huge impact on the skyline, however, that it turns the older giant into noth-ing more than a solid base for the colossal stronghold. All existing warehouse windows have been bricked up, and O&Os superstructure has none. The new tower corresponds in a strange way to the materiality, roof form and bulkiness of the warehouse on which it rests. The extension is a sculpture. It is a fortress. It is an almost timeless bastion that says: I will preserve this frag-ile content for you, tiny humans. I am made to last forever. Or, as on-site managing architect Christian Heuchel of O&O puts it: Cultural buildings like the Landesarchiv NRW are a stabi-lizing investment in the next 300 years. In comparison, any short-sighted, speculative investment in architecture would be ridiculous. In times to come, it is in the archives that our past will be written.

ortner.at

O&O erects

a fortress for files

057Archives Duisburg | Germany

Tekst David KeuningPhotos Nacsa & Partners Inc.

The newest building by Amano Design Office in Tokyo evokes contradictory associations. An ini-tial glance at the aluminium faade covering with its abstract geometric pattern of folds and facets makes you think of the dazzle camou-flage used on warships or the angular forms of stealth aircraft. A closer look, however, reveals panels perforated with elegant circles that form a backdrop for star-shaped blossoms. The building is on a street running par-allel to, and one block northwest of, Chuo Dori, Ginzas famed shopping street and the location of flagships belonging to luxury fashion houses. Yoshihiro Amano says the site of the new build-ing is on the kind of empty street that is often seen behind broad boulevards with large build-ings. It was our task to attract as many people into this back street as possible. Around the cor-ner is Ginza Itchome metro station, and crowds of pedestrians cross the narrow street on their way to and from Chuo Dori without giving the second-ary road a second glance. To catch their attention, Amano designed a more or less standard office building with a glass curtain wall, and decorated the main faade with aluminium panels featuring irregular forms and gradients. The contrast between the aggressive, high-tech geometry and the charm-ing floral pattern is intriguing. In this neigh-bourhood of mostly modernist architecture with horizontal and vertical or geometric shapes, the building we designed is exceptional, says Amano. It attracts special attention, which gives it appeal as a commercial building. Tenants of the building barbers and beauty salons with exotic names like Heel, Nouvir and Montblanc will be happy to hear that.

amanod.com

Amano grabs the eyes of passers-by

058 Cross Section Amano Design Office

059Retail Tokyo | Japan

Text and photos Michael Hierner

A new hydroelectric plant in Austria proves that ecology and art are no contradiction in architecture. The Sohlstufe Lehen power station is located in a difficult UNESCO World Herit-age area near the old city centre of Salzburg. Since Septem-ber 2013, it has been producing clean energy for about 23,000 households. There have been mixed responses to the design of the plant. Some see swanlike forms, while others are reminded of fossilized dinosaur bones. Wanting to transform the energy of water and rippling waves into an architectural language, Max Rieder and Erich Wagner came up with a building that is both sculptural and industrial. The power station consists of four dams that create a reservoir in the Salzach River and raise the water level 6.60 m. Thanks to a small existing waterfall, the new situation has not made a strikingly dramatic difference. About 125 m3 of water is propelled through the two Kaplan turbines each second, pro-ducing about 13.7 megawatts of clean energy. The station is more than an isolated industrial building, however. Its bridge connects two parts of the city and creates a public space for various uses. It would be nice if you could also swim around the power station, says Rieder, but that would be dangerous. Construction of the 85 million project began in the summer of 2010 and was completed in September 2013. Part of the operation included the formation of an additional water-way that allows fish to swim upstream without having to pass the deadly turbines.

maxrieder.atarchitektwagner.com

Rieder and

Wagner morph swans

and dinosaurs

060 Cross Section Max Rieder | Erich Wagner

061Power Station Salzburg | Austria

UNStudio designs for rich and poor

Text David KeuningPhoto Iwan Baan

Ardmore Park may be one of Singapores most prestigious residential addresses but its towers are not exactly the most impressive examples of architecture in the city. Of the entire housing stock in the city state, 85 per cent is public hous-ing, which is sometimes more interesting than the residential buildings in the private sector. The latest two towers in Ardmore Park should change all that: Ardmore Residence by UNStudio and Le Nouvel Ardmore by indeed Jean Nouvel. During a visit to the neighbourhood, the latter tower was not yet completely finished, but the building's rectangular faade pattern looked a little dull compared to the voluptuous forms of the UN Studio tower immediately adjacent. Ardmore Residence is intended for ultra-high-net-worth individuals, says Camilla Chiam from developer Pontiac Land Group during a guided tour. That's hardly surprising the rent for a standard apartment of almost 300 m2 is around 20,000 Singapore Dollars (roughly 12,000 euros) per month. For that price, besides one of the 58 apartments, the resident gets a large number of communal amenities on the ground floor includ-ing a swimming pool, gym and club lounge with hotel facilities. Architect Ben van Berkel of UNStudio was guided by the green character of Singapore, a result of the policy implemented by former prime minister Lee Kuan Yew. From the 1960s onwards his aim was to create a Garden City and he was successful. Van Berkel left the bottom seven sto-reys of the tower undeveloped to give as much space as possible to the garden, which is now interrupted only by the lift shafts and some diag-onally placed columns. The most striking component of the design is the elegant floor plan. The two apart-ments per floor, each with four bedrooms and en-suite bathrooms, are positioned relative to each other by means of point reflection. Large glazed areas in the living areas afford both extensive daylight to the residential spaces and panoramic views over the city of Singapore, says Van Berkel. The domestic staff members are less well off: they are accommodated in a bomb-proof, win-dowless room next to the lift shaft, obligatory in every new apartment building in Singapore.

unstudio.com

062 Cross Section UNStudio

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01 Drive02 Security03 Club Lounge04 Gym05 Pool06 Technical Spaces07 Elevator lobbies

and stairwell08 Apartment

Typical Floor

063Residential tower Singapore

064 Mark 48

Moesgrd MuseumHenning Larsen ArchitectsAarhusPhoto Jens Lindhe

Grundfos Kollegiet DormitoryCEBRAAarhusPhoto Mikkel Frost

The IcebergCEBRA | JDS | Search | Louis PaillardAarhusPhoto Mikkel Frost

Lighthouse3XN | UNStudioAarhus

Danish National Maritime MuseumBIGHelsingrPhoto Rasmus Hjortsh

Nrrebro LibraryCOBE | TransformCopenhagenPhoto Rasmus Hjortsh

UN City3XNCopenhagenPhoto Adam Mrk

Copenhagen

Aarhus Helsingr

066 Perspective

Danish architecture is experiencing an undeniable heyday. How is it that such a small country has such

a high level of architectural success?

Good Things, Small Packages

One important reason is the presence of a design culture. In all aspects of Danish society, design is greatly valued. Good furniture is everywhere, the country has a national architectural policy, and architects are unionized and well paid. Danes have high expectations of the built envi-ronment and a strong sense of national pride. A new building should be excellent. It should be designed to last, and people count on the gov-ernment to refrain from cutting corners in erect-ing cultural institutions, such as museums. Denmark is known for fostering young architects and giving newcomers the opportu-nity to build cultural buildings. A good example is COBE (featured in this issue), a virtually untested outfit involved in the massive Nrreport train station, as well as in the smaller Nordhavn sta-tion. In many other European countries, COBE would not have been considered for such pro-jects, owing to a lack of experience. Long-term planning, as seen in the 50-year master plan for Nordhavn, is a vital part of Denmarks approach to the built environment. Long-term thinking in general seems to permeate all aspects of soci-ety and to underpin the Danes take on sustain-ability. A case in point is the nations bicycle

infrastructure, aimed at a type of transport that requires only human energy. Another factor is an interactive network for the promotion of design. All major Danish companies Realdania, Carlsberg and doz-ens of others set aside funds for sponsoring architecture- and art-related initiatives. Its relatively easy for those in creative professions to procure both financial support and in-house expertise from big business. The Danish Archi-tecture Centre and the Danish Design Centre assist up-and-coming architects and designers through direct funding, but also by supporting festivals, biennales and exhibitions. Denmarks architectural success is also a consequence of the countrys relatively strong economy, as evidenced by the current number of building projects in the works. Nor can the high standards of Danish schools be overlooked. Architecture education is well developed, well funded and free. Both of the nations architec-ture schools, one in Aarhus and one in Copen-hagen, prioritize quality over fashion and view architecture as material culture. The latest results of this mix of favourable influences appear on the following pages.

O

067Denmark

Aarhus

068 Perspective Various Architects

MakeoverAarhus Docklands is a project thats converting a former container port into a new city district.

Photo Mikkel Frost

Text

Arthur Wortmann

069Waterfront Redevelopment Aarhus | Denmark

The waterfront of Aarhus in August 2013.Photo City of Aarhus

Master plan for Aarhus Docklands.

Aarhus, Denmarks second-largest city, is undergoing a meta-morphosis. A large part of the harbour area is transforming from an industrial no-go zone into a fully fledged urban dis-trict. A relocation of the citys expanding port operations has freed a great deal of space for something new. Subsequent urban redevelopment is giving the city a new waterfront and, with it, a new face. Despite the economic crisis, construction activities have done anything but slow down, a phenomenon that Julian Weyer of Aarhus-based C.F. Mller a firm inextricably tied to all local architectural and urban developments ascribes not only to the steady growth of a city that currently numbers 320,000 inhabitants, but also to good timing. When the crisis hit, Aarhus had almost no plans on the table that suddenly had to be put on hold, which is what happened in Copenhagen, says Weyer. In the meantime, the population and the demand for new buildings continued to increase. As a result, the city is experiencing a historic building boom. Bente Lykke Srensen is the area development man-ager of the new Harbourfront City District. In the municipal information centre, she points to a gigantic model of the city. The problem with developments like this is always to make a connection between the existing city and the new city. We needed to eliminate any barriers that might block the way between the two. We did that by introducing a new traffic structure that prevents cars from using the road along the waterfront and directs them towards the ring roads. The road along the waterfront has been narrowed from four to two lanes not a popular decision, but we hope that time will prove us right. In addition, the railway line that ran between the city and the port is making place for a light railway, which is meant to provide easy access to the new district without forming a bar-rier itself. It is scheduled to open in 2016. With the design of a waterfront master plan in place, it was time to begin filling it in. The city sells the building rights to the plots, but when a developer buys them, he has to show the municipality a project, says Srensen. In some cases, the municipality can pick the project it likes best from among sev-eral proposals.

AThree large buildings that include public facilities are being erected in the area that borders the city centre, where the Aarhus River flows into the harbour: Dokk1, a multimedia house designed by Schmidt Hammer Lassen; Navitas, an education and research park designed by Kjaer & Richter + Christensen & Co; and an office building for Danish clothing company Bestseller, designed by C.F. Mller. Under construc-tion for some time now, all three are scheduled for completion in the near future. The remaining part of the former container port will be filled gradually, primarily with housing that will ultimately accommodate about 7,000 people. The city relied on a tried-and-tested strategy to put the residential area on the map, so to speak; it began with the realization of a few high-profile projects that would draw pio-neers. The first project featured student housing: four robust buildings for occupants who dont mind living on a construc-tion site for a couple of years. The most striking of the four is the Grundfos Kollegiet, designed by CEBRA. It houses 159 units for 198 students, spread over 12 floors. From the outside, the building looks like four individual towers that have been bundled together. Inside, student rooms are accessible via bal-conies surrounding an atrium with a medium-sized footprint at ground level. Mirror-clad balustrades create a hallucinatory kaleidoscopic effect. During a tour through the building, Mik-kel Frost of CEBRA explains the underlying idea: Usually, stu-dent flats are accessed by means of a corridor that makes all the units along one hallway a community. This atrium, on the other hand, interconnects all the floors of the building, turning the entire tower into one community. The slice of the budget required for the atrium had to be compensated for elsewhere in the project. The walls are made out of the cheapest possi-ble prefab concrete panels, says Frost, and we opted for very basic finishes. But it still looks chic, thanks to a few minimal details, such as colours, mirrors and the graphic design of room numbers. Not too far from Grundfos Kollegiet is a 208-unit hous-ing project, The Iceberg, which drew considerable attention and won prizes even before its completion. Here, too, CEBRA was one of the participating architects. Frost explains: The


client asked us to make a design together with JDS, while also requesting that we each invite a foreign architect to join us. Thats how Search and Louis Paillard got involved in the project. Instead of designing four separate buildings, the architects decided to join forces and work on a plan together, which turned out to be something entirely different from the perimeter block shown in the master plan. You want all apart-ments to have a view of the water and as much daylight as possible, says Frost. Thats the thinking behind the gradual increase in building height as the distance widens between a tower and the water. Consequently, the units farthest from the water overlook those closer to the harbour. Building regula-tions actually prescribed a maximum height of six storeys, but we got permission for a sort of average: heights now rise from one to twelve storeys. By incorporating peaks and canyons into the higher parts of the project, we made sure that new build-ings behind The Iceberg will still have sightlines to the water. This concept resulted in an unmistakably photogenic and playful ensemble that has drawn international attention. A less successful aspect of the project is the relationship between private and public space. Occupants of the lower volumes are practically living in the street, a situation that is bound to cause annoyance in an urban project with so much touristic and mediagenic appeal. On the northernmost point of the new Harbourfront City District is the Lighthouse, a joint effort between 3XN and UNStudio. The first phase, comprising about 150 units, was

The problem is to make a connection between the existing city and the new city

completed in 2012, followed by a second 125-unit phase at the beginning of this year. The crowning touch was to be the third phase, featuring the foremost eye-catcher of Aarhus and perhaps of the entire country a 142-m-high residential tower: the tallest building in Denmark. Here the crisis did make its mark. After plans for phase three were postponed count-less times, in an announcement on 11 December 2013, the citizens of Aarhus learned that the developer, Havneinvest, would not be building the tower after all. The decision has led to irritation among followers of the project, who criticize the developer for completing the more sellable parts of the plan and then reneging on the main architectural challenge. Archi-tect Torben stergaard of 3XN is less pessimistic: The city still owns the land. Havneinvest simply decided not to take advantage of the current option to acquire the land. The site is still one of the most interesting in the new waterfront area, and neither the objectives nor the opportunities involved have changed in terms of urban planning and the citys vision for the development of the site. The way the project is procured and how the business plan comes together may change, but we believe the project will be completed in the same vein as other ongoing development. We cant tell you the opening date, but you will be invited. Great, give us a call when that happens. If everything goes as planned, another dozen or so projects will have been completed by that time as well.

CEBRAarchitecture.dk3xn.com


The Iceberg CEBRA | JDS | Search | Louis Paillard | 2013

The primary inspiration for The Iceberg was its extraordinary location, which offers spectacular views over Aarhus Bay. The architects faced a seemingly simple task: how to maximize views of the water and to provide each apartment with as much daylight as possible. Instead of following the master plan, which was dominated by perimeter blocks, they gave the project four L-shaped wings separated by streets that open to the water. To create the desired views and daylight conditions, they designed building volumes cut by jagged lines. Giving the volumes different heights enabled them to realize a complex with a wide range of apartment types, from two-storey town houses and affordable small-scale apartments to exclusive penthouses.Photos Mikkel Frost


Balconies surrounding a 12-storey atrium with mirror-clad balustrades lend access to the individual apartments.

Grundfos Kollegiet Dormitory CEBRA | 2012

To reinforce the primary purpose of the building, which is to provide a place for students to live while attending college, the project uses vertical stripes as a metaphor for books. Seen from a distance, the building looks like books on a shelf; on closer inspection, it resembles a condensed micro Manhattan composed of small bundles of mini towers. Each little tower is treated differently, inside and out, and features a diversity of materials and windows. The result is a range of units suitable for singles, couples or roommates. Photos Mikkel Frost


Lighthouse 3XN | UNStudio | 2012 (stage I), 2014 (stage II)

Instead of designing a more conventional block, the architects aimed for a convivial community ambience and safety by combining a high-rise with small groups of terraced housing. The master plan with its afternoon sunlit seaside promenade lined in cafs and shops, and its large square for leisure activities emphasizes interaction among private, semi-public and public areas. An underground car park respects greenery at ground level and ensures quiet walkways between buildings.

Rendering of the Light-house project, including the 142-m-high Lighthouse Tower, which was to be Denmarks tallest building before construction was cancelled in December 2013.

Faades are meant to appear homogeneous and distinctive at the same time. According to the architects, the pattern refers to reflections of light on water.Photo Thomas Mlvig | courtesy of 3XN


Dig

076 Perspective Henning Larsen Architects

ThisHenning Larsen's archaeology museum rises

from the landscape just outside Aarhus.Text

Arthur Wortmann

Photos

Jens Lindhe

077Museum Aarhus | Denmark

JJan Madsen, director of the Moesgrd Museum of archaeol-ogy and ethnography, stands in the foyer of his new building, keenly aware of the singularity of his situation. In Denmark, art museums have had the privilege of creating their own build-ings. Museums like ours, however, are always housed in old structures. They show you an old building and tell you it has an atmosphere that suits your collection. And there you are, stuck in some inflexible monument. Established in 1861, the Moesgrd Museum subse-quently relocated to a site in central Aarhus before moving to a listed manor house just outside the city. The museums new 16,000-m2 building a mere stones throw away from the manor house will open to the public on 10 October. Until then, work is being done on the exhibition design. You can tell visitors

The new museum is a mere stones throw away from the manor house its occupied since the 1960s. In the future, at least part of the former location will be used by students enrolled in the Prehistoric Archaeology Department of Aarhus Univer-sity, which collaborates closely with the Moesgrd Museum.Photo Jrgen Weber

The main entrance is at the centre of the exterior wall facing west

about cultural history in a lot of different ways, most of which are very, very boring, says Madsen. When you want to tell your stories your way, you have to be able to make your own rooms. Accompanying Madsen is Niels Edeltoft of Henning Larsen Architects, winner of a 2005 competition for the design of the museum; others on the prestigious list of invitees were Tadao Ando, Keith Williams, Tod Williams Billie Tsien, Snhetta, Kim Utzon and Cubo. What we did was very simple, says Edel-toft. We cut three slices into the hill and then raised the roof. Thats actually the whole idea. Its not surprising that the architects wanted a build-ing with close ties to the landscape. The location could hardly be more beautiful. It is an unusually well-preserved cultural landscape with numerous prehistoric monuments still visible,


People can hop on their mountain bikes and ride up the roof

says Madsen, including burial sites from different periods of antiquity and field systems dating back to the Iron Age and the Middle Ages. A lot of people come here to picnic and ride their mountain bikes, says Edeltoft, adding that the new museum is meant to further stimulate the use of the landscape for leisure activities. The rectangular roof plane seems to grow out of the landscape. During the summer it will form an area for picnics, barbeques, lectures and traditional Midsummers Eve bonfires. And if Jan allows it he glances hopefully at the museum director people can hop on their mountain bikes, ride up the roof, go down the slide or pass through the slit in the upper part of the building, which connects to the land-scape on the north. Both director and architect emphasize the projects democratic spirit. Not only is the green roof accessible and inviting; other parts of the building itself are also open to the public. Everybody can enter the foyer, pass through the build-ing, use the toilets or get a drink, says Madsen. Its not until you go into the exhibition areas that you have to pay. The pub-licly accessible foyer is to be the living heart of the museum.

A wide staircase doubles as terraced seating, from which you can see other parts of the museum, including the green roof. On the level above are galleries for the display of ethnographic artefacts and a space for the museums special exhibitions. The floor below holds the institutions permanent prehistoric collection. The interior of the building is designed like a varying terraced landscape. We drew inspiration from archaeological excavations, where layers of history are gradually unearthed and lost cities exposed, says Edeltoft. We envisioned visitors moving through a vivid sequence of exhibits and scientific experiments like a traveller in time and space. After exploring the galleries, visitors can stop to rest their eyes on the rolling landscape. Although the exhibition spaces themselves are theatrically illuminated, without daylight, they lead into what might be called antechambers, which do offer a view of the surroundings. There are four of these rooms, one on each side of the building. The masterpiece of the permanent collection is the Grauballe Man. A body dating from the third century BC, he was found in a peat bog near the village of Grauballe, some


A spacious foyer cuts straight through the building and lends access to all museum functions.

Most exhibitions on cultural history are very, very boring

30 km west of Aarhus, in 1952. Madsens plans for the spe-cial exhibition programme are based on drawing visitors to the museum with an annual blockbuster. The opening show is to be The First Emperor: Chinas Terracotta Army. It will feature over 100 artefacts from a mausoleum discovered in 1974 in the Chinese province of Shaanxi. The figures found in the tomb date to 210-209 BC. Madsen looks forward to using the type of facilities hes never had before: I dont think theres a better space for special exhibitions in all of Europe. You can drive in here with a lorry, the security is great, the temperature is ideal, and everything is completely up to date. When you build a new house and get all the logistics right thats just fantastic. Our tour through the vacant rooms of the museum ends, as expected, at the highest point of the building, on the roof, where a panoramic view of the surroundings stretches all the way to Aarhus Bay. Maybe this is what makes the museum feel so friendly and welcoming: its merged with the landscape. More than a potentially iconic building and a destination for

the more culturally inclined, its a publicly accessible spot that wasnt here before. Residential development in the southern part of the municipality of Aarhus is progressing at such a rate, says Madsen, that within the foreseeable future, Moesgrd will no longer be situated outside the city. Instead, it will pro-vide a breathing space in the midst of the urban sprawl. His words express a need for the roof to be appropri-ated by the public, in much the same way that Godsbanen has been. Another exciting new spot in Aarhus, Godsbanen is a cul-tural hub realized in 2012 by 3XN on the site of a former freight yard. Besides a diversity of indoor facilities, Godsbanen has the added value of an enormous folded-concrete roof where daredevil skateboarders can demonstrate madcap moves to their hearts content. With the same sort of flare, the roof of the Moesgrd Museum promises to become an equally popular urban attraction.

henninglarsen.com


The intention is to mow the grass on the roof newly planted here only sporadi-cally, creating a living lawn that resembles nearby fields. Landscape design is the work of Kristine Jensens Tegnestue.

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01 Ethnography | Antiquity | Middle Ages02 Foyer03 Terrace04 Caf05 Special exhibition06 Arab exhibition07 Education centre08 Conference rooms09 Guest residence

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Mark Magazine Feb Mar 2014

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