This week Counterspace's Serpentine Pavilion opened in London
This week on Dezeen, this year's coronavirus-delayed Serpentine Pavilion, a carbon-negative structure made from abstracted fragments of London, opened its doors.
Designed by South African studio Counterspace, the pink and grey structure in London's Kensington Gardens is the latest pavilion built as part of the prestigious annual commission.
Serpentine Pavilion celebrates "places with a history significant to migration" says Sumayya Vally
In an exclusive video interview, Counterspace founder Sumayya Vally explained how the pavilion was designed to reference the architecture of London's migrant communities.
"I became really interested in places with a history significant to migration – small spaces that birthed community and that have held forms of cultural production over time," Vally explained in the video.
Ini Archibong creates Pavilion of the African Diaspora "for the black voices leading us into the future"
Also in the UK capital, the London Design Biennale continued with designer Ini Archibong explaining the meaning behind the Pavilion of the African Diaspora.
Speaking to Dezeen, the designer said the structure was intended as a place where people of African descent can come together.
"This is meant to be a platform for the people in the diaspora to have a conversation," he said. "This isn't a platform for Ini to express his views on race. It was never intended to be that and it won't become that."
Eight spectacular transparent pools with see-through walls and floors
Following the opening of a fully transparent swimming pool in London, we rounded up eight spectacular pools with see-through walls and floors from around the world.
Watch a swimmer in London's fully transparent Sky Pool
Euro 2020 kits feature hand-painted details and renaissance-informed patterns
With Euro 2020 kicking off yesterday, we took a look at the kits that all 24 teams will be playing in at the tournament.
Also to mark the tournament, twenty graphic designers reinterpreted iconic moments from the championship on a series of beer mats that are being sold for charity.
Seven clever co-living projects featured in All Together Now book
Also this week, Dezeen editor-at-large Amy Frearson picked seven clever co-living projects from the All Together Now book she wrote in collaboration with interior designer Naomi Cleaver.
"Co-living offers very real solutions to problems that many of us face today, from rising property prices to chronic loneliness," said Frearson.
Adam Richards Architects tops floating Cheese Barge with patinated aluminium roof
Popular projects this week included a floating cheese restaurant designed by Adam Richards Architects, a minimalist Tuscan farmhouse and a colour-blocked burger joint in Turin.
Our lookbook this week focused on projects where kitchens and dining rooms have been combined.
This week on Dezeen is our regular roundup of the week's top news stories. Subscribe to our newsletters to be sure you don't miss anything.
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Schemata Architects completes South Korean hotel where all furniture is for sale
Tokyo studio Schemata Architects has converted an industrial building in Jeju, South Korea, into a new location for retailer D&Department, featuring a store, restaurant, gallery and hotel in which all of the furniture and even the plants are for sale.
D&Department is a lifestyle brand founded by designer Kenmei Nagaoka, which focuses on sourcing and retailing objects with a long lifespan, as well as repairing and reselling used objects and furniture.
Top: the studio used an exposed concrete material palette. Above: it is located beside the Arario Museum
The company's goal is to sell good-quality and locally sourced clothing, food, furniture and everyday items. Currently it operates eight stores in Japan, along with two in South Korea and one in China.
Jo Nagasaka's office Schemata Architects designed the D&Department Jeju by Arario to adjoin the Arario Museum in the downtown area of Tap-dong.
It comprises retail spaces, a gallery, a hotel and dining spaces
The museum of contemporary art is housed in the former Tap-dong Cinema and is part of a project aimed at revitalising the former port district.
The three-storey D&Department building nestles alongside the distinctive red-painted museum and incorporates a restaurant on the ground floor that is intended to entice visitors from the main street.
It has artists studios on its ground floor
Also included on the ground floor is the D News workshop for visiting artists. Accommodation including bedrooms and a lounge for the artists is situated above the gallery space.
A pair of voids that open onto a side street contain the main entrance and provide space for a sheltered outdoor sales area used by plant retailer Padosikmul. The architects also erected scaffolding in the gap between the two buildings to display plants across several levels.
The hotel spaces have a minimal look
The majority of the first floor is used to accommodate the D&Department store, along with a lounge area, changing rooms and an office space.
Items in the store are displayed on units fabricated from plastic palettes, plywood and industrial metal components.
Throughout the interior, Schemata Architects retained the original brick walls and worn concrete structure, which are complemented by rough, poured cement floors and ceilings with exposed services.
New interventions including staircases, balustrades and the cafe counter are made from white-painted steel or plywood to complement the industrial palette.
Display cases have an industrial look
The second floor contains the D Room hotel. Rooms are arranged around the building's perimeter so they each have a window to the outside.
The placement of the windows means that every room is a different shape. Each space also contains a skylight that brings light into the otherwise dark central areas.
Exposed concrete covers the walls
"All things in the common area and private rooms, including furniture, plants, and miscellaneous goods, are actually goods for sale," the architects explained.
"This allows guests to enjoy the shopping experience as well as looking at the goods and understand the concept of 'long life design' during the stay."
An open kitchen has a concrete finish
Due to the turnover of the second-hand items used to furnish the spaces, the rooms are constantly changing and will appear different to guests the next time they visit.
Jo Nagasaka established Schemata Architects after graduating from Tokyo University of the Arts in 1998. The studio is based in Tokyo's Aoyama district and works on projects ranging from hotels and offices, to furniture and pop-up retail spaces.
A roofgarden houses wire planters on crates
Schemata Architects was responsible for Japan's exhibition at the 2021 Venice Architecture Biennale, which demonstrates the potential for material reuse by reassembling the remains of a 65-year-old house.
The studio's previous projects include a tiny confectionery store in Tokyo designed to revive a quiet shopping street, and a cafe in Seoul featuring steel and brick surfaces intended to reference the city's architecture.
Photography is by Ju Yeon Lee.
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12 architecture and design projects from the Savannah College of Art and Design students
From a New York hub that aims to help people live more sustainably, to addressing the decline of water-based travel in Mumbai, the Savannah College of Art and Design presents 12 student projects in our latest school show.
The undergraduate and graduate projects also include an analysis of the tourist industry's impact on the Galapagos Isabela Island's mangrove forests and a project proposing the repurposing of Oregon Pacific Railway's defunct trains for immersive storytelling shows.
Savannah College of Art and Design
School: Savannah College of Art and Design
Courses: Master of Architecture, BFA Architecture, MFA Furniture Design, BFA Furniture Design, MFA Interior Design, BFA Interior Design, BFA Preservation Design, Master of Urban Design
Tutors: School of Building Arts Faculty Members
"The Savannah College of Art and Design (SCAD) is the preeminent source of knowledge in the building arts. With preservation design and interior design programme as two of the university's original eight programmes, SCAD has prepared talented students for professional careers in this multibillion-dollar market for more than 40 years.
"SCAD enrols upwards of 1,200 building arts students across six disciplines focused on architecture, interior design, furniture design and other building arts-related industries. It is the only art and design university in the United States to offer a Master of Urban Design degree and the first and only university to offer an MFA in Architectural History."
Transfora: Your tool to becoming a sustainable New Yorker by Chloe Arenzana Du Boys
"Leading a sustainable lifestyle in metropolitan cities has become much harder to accomplish because of inconvenience, social constructs and difficulty in changing hard-wired habits. Transfora is a sustainability hub in New York City that provides its users with tools that help provide the essentials to live more sustainably in the city.
"Through a personalised immersive learning experience and a sustainable indoor market, users can learn and engage in eco-conscious actions that they can then easily implement into their lifestyles. It creates a community of 'green citizens' that support, motivate and help each other in their journey towards a sustainable lifestyle."
Student: Chloe Arenzana Du Boys
Course: BFA Interior Design with minor in Design for Sustainability
In'terminal: Reunion District by James K. Jung
"In'terminal is a multi-modal transit hub that embodies the transformative power of architecture in the creation and evolution of the built environment. The project aims to redefine the streets not only as spaces in-between but as places to promote social interaction and refuge. It seeks to promote a sustainable urban lifestyle by transforming an abandoned parking garage into social infrastructure.
"By reconciling mobility as the public realm prioritising social capital, In'terminal adopts placemaking strategies layered in rich shared spaces where a community becomes the domain of many – a common network – woven with empathy to unify social identity and a sense of belonging."
Student: James K. Jung
Course: Master of Architecture
Rising With the Seas by Jillian Nadolski
"This project came as the result of a quarter-long design project for PRES 480 Studio VIII: Innovative Adaptation Collaborative Practicum with Professor CT Nguyen. My design solution was developed to prompt communities to start embracing climate change. It uses the industrial port of Porto Marghera, Italy, as a catalyst.
"The project is built around the idea of 'living with water'. It asks the question: what if we can rise with the seas instead of fighting it? This radical, integrative redevelopment plan hopes to put to rest the longstanding conflict of humans vs nature."
Student: Jillian Nadolski
Course: BFA Preservation Design
Fleeting Moments by Kathryn Luu
"Situated in scenic Portland (OR), on the Oregon Pacific Railway (OPR), the proposed Caper Express provides an opportunity for adults to re-experience their childlike wonderment for the Polar Express anew through live 'theatrical dinner' mysteries. By repurposing OPR's defunct trains, adults can take part in immersive storytelling shows tailored to them. It's these fleeting moments that will linger as lifelong memories while the rest fade to grey."
Student: Kathryn Luu
Course: BFA Preservation Design
Exploring the emerging Potentials Of Urban Infrastructure - The Hyperloop Urban Hub by Pranav A Ghadashi
"The future is bright, uncompromising and unstoppable! Technology is progressing at accelerating rates. Cities are experiencing a resurgence in population growth, which in turn is pushing transport systems to expand and improve.
"The thesis intends to design a portal that will introduce a new paradigm of transport, reconfigure the urban infrastructure and the mental mapping of a city and thus reshape our habitual understanding of distance and proximity.
"It proposes a hyperloop station that reconfigures the concept of 'regional becoming the new local'. It embraces the potential of transport and explores innovative sustainable strategies integrating the natural environment and urban functions."
Student: Pranav A Ghadashi
Course: Master Of Architecture
The Nodal Connector, Incubator for the FinTech industry by Preethi Chitharanjan
"Nodal Connector is an incubator for the financial technology industry. It is a space dedicated to the development of the industry driven by diverse users and technology. The incubator is designed in the fast-growing city of Atlanta, Georgia.
"The nodal connector acts as a catalyst for research and workspaces, with the core idea to connect, collaborate and conserve through primary, secondary and tertiary interactions that influence spatial planning.
"These ideas are the macro, micro and nano-scale networking that happen with diverse users while also attracting the local neighbourhood. The project facilitates a collaborative approach in education, community-driven, professionals and corporate employees while prioritising creators."
Student: Preethi Chitharanjan
Course: Master of Architecture
The Portal - Redefining the water transit of the city by stitching the land to the water by Sanjana Sanjay Vadhavkar
"This thesis aims to observe the decline in water-based travel in Mumbai and design a solution to the problem. To revitalise the essential industry for Mumbai, creating a water transit hub would reduce the load on other modes of transportation and transform the water-based industry in the city, bringing a new mode of transportation to Mumbai.
"To bring back the missing identity of a port city, the city plans to redevelop Mumbai's eastern waterfront. In addition to the proposal, this thesis seeks to bring about a change through architecture by resolving the current problems and proposing a terminal that will cope with the city's increasing population demands and give the region a renewed identity. It will be an epitome and a means for the city's potential water transport."
Student: Sanjana Sanjay Vadhavkar
Course: Master of Architecture
Area 10: The Last Nuclear Bomb Memorial by Sophie Ribeiro
"As part of the Nevada Testing Site, Yucca Flat was the host for over 900 bomb tests. As a result, a crater on the site – Sedan Crater – is 300 feet deep and 1,150 in diameter. Sedan is the proposed site for the Area Ten Interpretation + Research Centre.
"Area Ten will inform people of nuclear war and the consequences of it on humanity and nature through learning spaces that use exhibitions, viewing points and atomic gardening – the study of plants that can grow from the radioactivity of the land.
"The goal is for visitors to leave with an understanding of the site's history and an awareness of the importance of peace."
Student: Sophie Ribeiro
Course: BFA Architecture
+ by Tasha Akemah
"Almost a century ago, we thought that nuclear weapons were the solution for world peace, but history tells us otherwise. The detonation that ended world war two set humanity for a new course that would determine the future; our present.
"Currently, humanity is facing a similar war, except this time we have to fight it together. This project asks for repent against the crime that society has done to itself by offering hope. The architecture is composed of a series of experiences divided between the structure and the memorial.
"While the structure serves as a church that would house the procession, the memorial offers salvation. The main structure offers a diving facility, and the memorial will restore endangered coral reefs in the area. The war that we were fighting a hundred years ago may have different causes, but both were fighting for the same objective: humanity."
Student: Tasha Akemah
Course: BFA Architecture and BFA Architectural History
Hiraeth by Teddy Breedlove
"Hiraeth is a collection of furniture designed for the high-end luxury market. The pandemic has made the home the centre of our lives again. It has become a place for personal expression and function.
"As a result, trends have begun to change from a minimalistic approach towards a more ostentatious design language. Hiraeth is contemporary in design language featuring soft curves, ribbing and a neutral colour palette. It brings a breath of fresh air into the home while keeping your soul at peace."
Student: Teddy Breedlove
Course: BFA Furniture Design
Interwoven by Tingxin (TX) Zheng
"Under the business strategy of fast-fashion brands, disposable clothing is part of a trend toward fast fashion. Consumers start throwing away the old items they owned and moving on to the next trend quickly.
"Interwoven is a multi-functional space for exhibition, experience, retail, communication that connects to people's memories and clothes. It aims to bring the diluted awareness of cherishing clothing back to the people to drive the rebirth of old garments, promote sustainable fashion and inform the community about the increasingly negative effects of fast fashion."
Student: Tingxin (TX) Zheng
Course: BFA Interior Design
Isabela Island: Infrastructure for Tourism and Conservation by Zhiying Deng
"The proposal is based on the analysis of the Galapagos Isabela Island's mangrove forests and the status of tourism on the island. It aims to provide tourists with a better chance to experience the island's natural resources while not disturbing its species.
"Paths and boat routes are designed within the mangrove forests to allow visitors to experience different mangrove zones and watch species within the habitat while other mangroves are conserved. The design also responds to the climate change and sea-level rise."
Student: Zhiying Deng
Course: Master of Urban Design
This school show is a partnership between Dezeen and Savannah College of Art and Design. Find out more about Dezeen partnership content here.
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Archi-Tectonics envelops Manhattan townhouse in "climate skin"
New York City studio Archi-Tectonics has added three storeys and a skin of folding slats to a home in SoHo.
The 512GW Townhouse was doubled in size with the extension by Archi-Tectonics, which built on the narrow structure's original four storeys to create eight levels for a family to occupy.
Archi-Tectonics added four storeys to this building in SoHo. Photo by Evan Joseph
To unify the original building and the addition, the team created a three-dimensional envelope that they describe as a "climate skin".
This facade system comprises a lattice of lightweight steel, and Trespa panels made from resin and reinforcing wood fibres that are manufactured under high pressure and at high temperatures.
A facade of folding, slatted panels wraps over its front and roof. Photo by Archi-Tectonics
When the panels are closed, they form a continuous surface across the street-facing exterior that is oriented south. But when opened, they fold and unfurl like "feathers of a bird wing" to adjust ventilation, light, shade, and temperature.
The skin also wraps over the building's multi-level roof, forming private outdoor spaces used for dining and entertaining.
The panels concertina to help change the climatic conditions inside. Photo by Archi-Tectonics
"Like an intricate lacework dress, the sheathing changes character and appearance at different times of the day and view angles, and serves as both filter and amplifier between the privacy of the house and the public streetscape," said Archi-Tectonics.
Environmental benefits of the cladding include reducing interior radiation and lowering the need for air-conditioning during summer, and the opposite through the colder months, according to the firm.
Interiors retain elements like original brickwork. Photo by Evan Joseph
Inside, elements of the building's former industrial past are retained, such as the restored exposed brickwork.
Also borrowing from the original structure, black steel is used throughout – most prominently for the staircase that doglegs up the building to connect all of its floors, which are also accessible by elevator.
A black steel staircases rises the full height of the building. Photo by Evan Joseph
A skylight above the stair flights allows light to filter down through the open treads and onto the landings at the back of the building, where all the circulation is located.
Habitable spaces are positioned at the front, starting with a cellar for storage. The entrance to the home is at street level, where a reception space welcomes guests and an opening brings natural light down to the basement.
Exposed beams and light grey finishes continue the industrial aesthetic. Photo by Federica Carlet
Kitchen, living and dining areas are split over levels two and three, where exposed wooden ceiling beams, brickwork and pale grey surface emphasise the industrial aesthetic.
The upper three floors are occupied by a bedroom on each, with ancillary spaces like dressing rooms, bathrooms and office areas complete the plans.
"To enhance the building's small floorplates spatially, each floor contains a program connected through double-height voids, such as between the kitchen and dining area, and between the study and master bedroom," said Archi-Tectonics.
"These allow for spatial interlacing and long views throughout."
Bedrooms occupy the upper floors. Photo by Evan Joseph
Finally, the shaded roof terrace is equipped with a BBQ, a sink and food preparation counters.
Built-in wooden benches form a lounging nook and a dining area with matching tables, all surrounded by planting.
Bedroom floors are completed with spaces like this study. Photo by Evan Joseph
"This Urban townhouse represents an innovative approach to densification in a city challenged by housing shortages and skyrocketing prices," the firm added.
"The conversion not only provides residents with a diversity of elegant living, working spaces and generous outdoor areas, but also respects the existing characteristics of the city and poses a potential future for urban living."
The covered roof terraces provides a space for private outdoor dining. Photo by Evan Joseph
Based in NYC's Financial District, Archi-Tectonics was founded in 1994 by Winka Dubbeldam, who is included on Dezeen's list of women architects and designers you should know published in 2021.
Principal in charge: Winka Dubbeldam
Partner in charge: Justin Korhammer
Archi-Tectonics team: Hanxing Zu, Sarah Laulan, Filomena Nigro, Avra Tomara, Royd Zhang, Zhe Wen, Kristina Kroell, Elena Sarigelinoglu, Hsiang Wei Chen, Adin Rimland, Boden Davies, Nariman Kiazand, Robin Zhang, Thiebaud Nell
Main contractor: Galcon Construction
Consultant structural engineers: WSP Group
Mechanical engineers: 2LS Consulting Engineering
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Ma Yansong creates lantern-like artwork in rural Chinese tea field
MAD architecture studio-founder Ma Yansong's Light artwork stands in a rural tea field. In this interview, he tells Dezeen his thoughts about the connection between art and architecture.
Yansong's latest work, Light, is on a smaller scale than the ambitious architecture projects that his studio is well-known for.
Top image: Ma Yansong has created the Light installation. Above: it stands in a tea field on top of a hill
The installation is an undulating lightweight steel structure clad in translucent fabric that shields a small copse of trees on top of a hill in a tea field near Hanxi Village.
The architect was inspired by the surrounding nature when he created the sculptural artwork, which is part of the Art at Fuliang 2021 festival.
"We looked at those mountains and the villages and we chose this spot on the hilltop of this tea field," Yansong told Dezeen.
"And then we proposed our piece, Light – of the earth actually, because it's connected to the whole tea-field mountain."
A translucent fabric shields the trees
During the daytime, the see-through fabric creates a sculptural encasing for the trees in the field, while at night the artwork is lit up like a lantern.
"There are several tea fields around the villages and I thought they were half-nature, half-manmade," Yansong said.
"You see those ambulating contour lines around the mountain and they were so beautiful. There were a couple of trees on the hilltop and they felt like a sculpture themselves."
"What we did was to propose this fabric around those trees so they look like they're floating," he added. "We basically turned the whole hill into a light installation."
The piece turned the hill into a light installation
The installation is functional as well as decorative – it also works as a pavilion where people who visit the rural art festival can sit in the shade of the trees.
Yansong explained an artwork felt like a more appropriate addition to the village than a piece of modern architecture would have.
"There are many architecture activities around those villages too and we were actually more hesitant to do architecture there than art," he said.
"I think sometimes the most beautiful villages are beautiful because there is also some traditional architecture to form this overall image."
Light is both an installation and a pavilion
The piece is set to remain in the village after the end of the festival, which Yansong believes will help form a bridge between the traditional village architecture and contemporary forms.
"The art is an interesting way to create this dialogue between the contemporary and the past," he said.
"When you create art in the natural environment, it's very similar to doing architecture, because you do something artificial but you have to deal with the natural environment – you have to build up a dialogue between the man-made and nature."
"Together with nature, the artificial language can bring something new, dramatic or spiritual to its location," he continued.
"I think architecture can also do that sometimes – bring emotion or quality to a certain place."
Yansong also created the installation design for Forma Fantasia
Yansong created smaller, more art-like objects when he first started work as an architect and has previously collaborated with Olafur Eliasson on an exhibition.
He can still see an artistic quality in architecture. "I think architecture is art with certain functions," he said.
"Sometimes, when you create architecture you can't avoid that architecture brings more than just function to people," Yansong added.
"It's not enough to only talk about functions; technical things; materials, because that's not something that everyone understands."
Artworks are shown in a dark room lit by a ray of light
While Yansong believes that architecture can be seen as intimidating because people can feel they have to understand it, he said creating an art piece reaches the public on a more emotional level. This is something that he also strives for in his work as an architect.
"When people feel it, you don't have to talk much, and sometimes they don't feel much – and that means the architecture failed," he said.
"I think that's also the reason I'm interested in public art; it's a little more risky than when you do architecture."
Forma Fantasia artworks look "like floating planets"
Yansong has also recently completed another art project, the exhibition design for artist Liu Wei's Forma Fantasia as part of the Nine-Tiered Pagoda exhibition at The Pingshan Art Museum in Shenzhen.
This saw the architect design a dark room for the gleaming metallic artworks, illuminated only by a thin ray of light.
"When I looked at those objects I wanted to only design the light, because the form of those objects was very powerful already, very pure," Yansong said.
"I didn't want to create more forms and I didn't want to place the objects in different positions. Basically, I threw those objects into the space without any order and I found they looked like floating planets in the universe," he added.
"I wanted to introduce this horizontal ray of light to give this feeling of an infinite universe to this boxy-shaped space."
Yansong wanted to create an "infinite universe" for the installation
The connection between art and architecture in Yansong's work is also evident in an upcoming project by his studio MAD. It is currently working on the Quzhou Sports Campus in China, which is shaped like "green volcanoes," an architecture project that Yansong compares to land art.
"It's a really large urban infrastructure with parks and a sports centre but there are no buildings – you don't see the architecture facades because they're all covered in green," he said.
"I think this will become a space for daily activities but with a little artistic feeling because those volcanoes are not natural, they become really large artistic land," he added.
"So it's become something more like art objects with functions in them."
The studio recently completed Cloudscape of Haikou, a sinuous library on Hainan, and unveiled its design for a three-venue civic centre in Jiaxing.
Photographs of Light and of Ma Yansong are by Tian Fang Fang. Forma Fantasia images courtesy of Pingshan Art Museum.
Light was shown at Art in Fuliang 2021 from 1 May - 1 June. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.
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Pritzker Architecture Prize-winning architect Gottfried Böhm dies aged 101
German architect Gottfried Böhm, designer of the brutalist Church of the Pilgrimage, has passed away aged 101.
Böhm, who was the eighth winner of the prestigious Pritzker Architecture Prize, was widely known for his concrete churches that were largely built in Germany.
Top image: Gottfried Böhm. Above: the Church of the Pilgrimage in Neviges is Böhm's best-known work. Photo by Seier+Seier
The colossal concrete Church of the Pilgrimage in the German town of Neviges, also known as Neviges Mariendom, is widely considered to be his greatest work.
Other key projects by the architect include the brutalist Bensberger City Hall, Museum of the Diocese in Paderborn and St Kolumba church in Cologne.
Böhm also designed the brutalist Bensberger City Hall. Photo by Uwe Aranas
The son of a church architect, Böhm studied architecture at the Technische Hochschule in Munich and sculpture at the Munich Academy of Fine Arts.
After his graduation, he worked at his father's studio in Cologne, which he took over in 1955 after his death.
Like his father, he designed numerous churches along with town halls, museums, office buildings and housing, predominantly in Germany.
One of his last projects was the Cologne Central Mosque, which opened in 2015 and was designed with his architect son Paul.
Cologne Central Mosque, designed with his son Paul, was one of his last works. Photo by Raimond Spekking
In recognition of his work, Böhm was awarded the Pritzker Architecture Prize in 1985.
"In the course of a career of over forty years, he has taken care to see that the elements in his work which suggest the past also bear witness to his ready acceptance, whether in the design of churches, town halls, public housing, or office buildings, of the latest and best in our contemporary technology," said the jury's citation at the time.
"His highly evocative handiwork combines much that we have inherited from our ancestors with much that we have but newly acquired – an uncanny and exhilarating marriage, to which the Pritzker Architecture Prize is happy to pay honor."
Böhm's death follows that of fellow Pritzker Architecture Prize-winner Brazilian architect Paulo Mendes da Rocha, who passed away last month at the age of 92.
Main photo is by Elke Wetzig.
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Sino Land's Grand Central Complex immerses residents in greenery
Dezeen promotion: led by property developer Sino Land, the Grand Central Complex in Hong Kong is designed to "showcase biodiversity".
The project, developed by Sino Land, is part of an urban redevelopment project in the Kwun Tong district undergoing rejuvenation.
The complex is made up of a shopping centre home to Hong Kong's first air-conditioned public transport interchange with a garden atop; four residential towers called Grand Central; and a clubhouse for residents called Grand Garden.
The complex is part of an urban redevelopment project in Kwun Tong
The complex's residential area offers an imaginative outdoor area called Seven Wonders – a series of "biophilic experiences" to immerse residents in the landscape.
"These 'wonders' include a Green Sanctuary, Country Club, Fun Laboratory, The Study, Garden Of Delight, Orchid Garden and Green Kitchen," said Sino Land.
Across each of the wonders, there are spaces designed for community building – areas for barbecues, herb gardens, children's play areas and outdoor kitchens.
Sino Lands intends Grand Central Complex to become a "new prototype" for parks
The complex's clubhouse was designed by Hirsch Bedner Associates and EM Bespoke, and is made up of an east and west wing of 40,000 square feet (3,716 square metres).
The east wing includes an indoor swimming pool and wellness area, children's play area, motion fitness space and yoga room.
The clubhouse's west wing facilities include an outdoor swimming pool, library and lounge.
The Grand Entrance to the complex
"It was all about functionality, practicality – being clever about the spaces and how they connect," said Emma Maclean, interior designer at EM Bespoke. "So we thought about the energy – how it moves through space."
"The gym and the kid's room are right next to each other; they have a high level of energy – it's loud, it's fun. Then over on the other side of the clubhouse, we have the lounge and the library – these levels of energy are calmer, more tranquil. It was important that we had the balance correct."
The Grand House function room in the Grand Central Clubhouse
The project is designed to encourage people to enjoy outdoor space in Hong Kong, emphasising how it contributes to their health while connecting them to their community and the natural environment.
Across the site, contemporary and pop art sculptures are nestled in the greenery for photo opportunities.
Within the public gardens on the shopping mall's rooftop sits a butterfly garden to attract wildlife and birds to the complex.
"A Butterfly Garden is strategically introduced at the far end which displays approximately 50 plant species in which more than 15 species are specifically planted to attract butterflies," explained the brand.
Sino Land intends the design to become a "new prototype" for parks illustrating the beneficial merge of art, nature and technological innovation.
"There is so much care in this development – a huge amount of detail that has gone into each element," said Maclean.
The landscape features contemporary art sculptures
Sustainability has been a significant consideration of the project, and the landscape features smart technologies to reduce energy consumption, pollution and heat.
This includes wind turbines, an automatic irrigation system – designed to reduce water consumption – and exercise equipment that generates energy and charges phones.
The project is part of Sino Land's Creating Better Lifescape campaign. For more information, visit their website.
This article was written by Dezeen for Sino Land as part of a partnership. Find out more about Dezeen partnership content here.
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Memorial to Sandy Hook shooting set to be "space to celebrate and remember"
SWA Group's design for a permanent memorial to those killed at the Sandy Hook Elementary School shooting in Connecticut has been given the go-ahead to be built.
Named The Clearing, the memorial in Newtown to 26 people killed during a school shooting in December 2012 was designed to be a commemorative garden.
SWA Group's proposal for the Sandy Hook Elementary School shooting memorial is set to be built
"We wanted to celebrate the lives of the victims while honoring memory, love, and grief as living processes rather than endpoints," said Daniel Affleck of SWA Group's San Francisco studio.
"Seasonality, movement, giving, and growth are celebrated in the design and help to foster those processes," he told Dezeen.
The memorial will be a garden with several meandering paths
The memorial will feature a series of paths that lead to a central clearing where visitors to the memorial can gather.
A circular water feature made from granite will stand at the centre of the clearing. It will be engraved with the names of the victims and channel water towards a young tree referred to by the studio as a "Sacred Sycamore".
The tree is intended to signify the growth of the community.
A clearing at the centre of the memorial will feature a granite water feature
"The site was topographically fragmented, which made organizing the site very difficult," explained Ben Waldo of SWA Group's San Francisco studio.
"The circle was a simple solution to make the space cohesive, but as a form with no beginning or end, it became a metaphor for wholeness and community," he told Dezeen.
"The tree felt much more appropriate than any sculptural or representative object," he continued.
"It's dynamic, living, and will grow with the community. As it grows, it will represent the passage of time and the renewal of life."
The water feature will be engraved with the victims' names
Construction of the memorial is due to begin in August with the opening planned for 14 December 14 – the 10th anniversary of the tragedy.
SWA hopes that the memorial becomes a calm space to remember the victims of the shooting, which was the deadliest elementary school shooting in US history.
SWA Group hopes the memorial will become a place to remember the victims
"Every decision we have made along the way was done with great care and empathy for the community of Newtown, especially the families," added Waldo.
"They wanted a space to celebrate and remember their loved ones, not a dramatic statement. This is why we focused on process and participation in the space," he continued.
"We expect visitors will feel a whole range of emotions – it is hard not to acknowledge the terrible truth of the tragedy, but we hope the space brings some sense of joy and optimism as well," added Affleck.
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Vitra launches Club Office as an answer to post-pandemic workplaces
Dezeen promotion: Swiss furniture brand Vitra has created a workspace called the Club Office that aims to reinvent the office as a collaborative environment focused on the emerging needs of post-pandemic work.
Installed at Vitra's headquarters in Birsfelden near Basel, the Club Office was developed for Vitra's research and design team and responds to the unprecedented changes that have unfolded in the world of work in the last fifteen months.
It is an open-plan office alternative divided into public, semi-public and private spaces that offer three different working models that can be viewed and enjoyed by visitors and staff alike. It provides a productive place of belonging, where employees feel they are part of a larger whole.
"Those who choose to go to the office today and in the future do so consciously – to meet colleagues and experience a sense of belonging and appreciation," said Nora Fehlbaum, CEO of Vitra.
"The office must be more than just a place of work, today, an office needs to provide added value."
"If an office has no character and colleagues hide from one another, it's better to spare the commute and stay at home."
Vitra's Club Office aims to reinvent the workplace and provides an incentive for people to return as restrictions are progressively lifted
The Club Office's public area is a welcoming space for informal meetings, discussion, collaboration, debate and mutual learning.
Comfortable and inviting designs from Edward Barber and Jay Osgerby, including Soft Work, a modular sofa system with ergonomic functions, sit next to Vitra's newly launched Alcove Plus sofa, characterised by its side panels and extra-high back and designed by Ronan & Erwan Bouroullec.
"In post-Covid offices, the extended and versatile Alcove family has become even more relevant, offering infinite possibilities to structure open plans and to create flexible room-like spaces without the need for permanent installations," said Christian Grosen, chief design officer at Vitra.
The new Alcove Plus is a microarchitecture system with new partition elements enabling many configuration options
The semi-public area is used for project work. Members come together on a planned basis in spaces that can be reserved and used often over a period of days and weeks. Here, furniture is chosen for its flexibility so that space can be quickly reconfigured and adapt to group activities.
The room is made up of Dancing Walls, Vitra's flexible partitions designed by Stephan Hürlemann; Stool-Tool, a stackable stool by Konstantin Grcic; and Tip Ton, an Edward Barber and Jay Osgerby chair designed to improve the user's posture.
The semi-public area is designed for workshops and productive teamwork, allowing Club Office members to build their own surroundings. Photo is by Vitra and Dejan Jovanovic
The Club Office's private zone is made up of individual workspaces that "extends into the home office, which has proven particularly suitable for concentrated individual tasks".
Ergonomic seating was essential to the private zone's design. This includes Vitra's ID Chair Concept range, which now offers one hundred per cent recyclable configurations and a highly breathable PU-foam-free seat (manufactured from recyclable polyester fibres), and the new ID Cloud Chair designed in collaboration with Italian architect and furniture designer Antonio Citterio.
The ID cloud has a backrest that "enables a novel floating sensation for the sitter with exceptional freedom of movement," according to Vitra.
All the products chosen for Club Office are designed to have a useful function
The Club Office aims to meet the needs of the post-pandemic workforce and opens in Vitra's head office in Basel on 10 June.
"It combines as many different options for collaboration and interaction as possible and presents a powerful signal that the world of work has changed, and so have we," said Nora.
Vitra is now developing a number of Club Offices for clients including the Merantix AI Campus in Berlin. Learn more in Vitra’s latest E-Paper which can be downloaded here.
More information about Vitra's Club Office can be found on Vitra's website.
Photography is by Vitra and Eduardo Perez unless otherwise stated.
This article was written by Dezeen for Vitra as part of a partnership. Find out more about Dezeen partnership content here.
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Adam Richards Architects tops floating Cheese Barge with patinated aluminium roof
London architecture studio Adam Richards Architects has designed a boat informed by architect James Stirling's Venice bookshop for a floating cheese-focused restaurant in London.
Permanently moored in Paddington, the barge was commissioned by British Land as the home for The Cheese Bar restaurant.
Top: The floating Cheese Bar restaurant is moored in Paddington. Above: the design was informed by a James Stirling-designed bookshop
The Cheese Barge was built by Adam Richards Architects after a competition was held by the developer.
Its design takes cues from the area's local heritage, surrounding traditional canal boats and was directly informed by James Stirling's boat-informed Electa bookshop pavilion in Venice.
A green aluminium cowl wraps around the barge
"There was something really nice about designing a boat that was based on a building that was based on a boat," Adam Richards told Dezeen.
"The barge creates a festive and sophisticated environment, whilst drawing on the heritage of narrow-boat design and local social history."
The restaurant's roof references tarpaulin
The restaurant was built within a 20-metre-long boat and has a rooftop deck above it.
Attached to the rear of the restaurant is a buoy-like structure that houses the kitchen, which is linked to the restaurant by an external bridge.
The exterior of the barge is characterised by its patinated aluminium-clad roof that wraps around the boat, referencing blue tarpaulin covers that are typically used to conceal goods on working canal boats.
Its roof terrace is enveloped within a steel balustrade that is fitted to a section of the patinated roof. When needed this element can be de-mounted allowing the boat to pass under bridges and through tunnels.
It has a terrace space on its roof
"We were interested in canal boats, which were typically open barges that used tarpaulin to protect what is on there," Richards explained. "The green cowl is a formalisation of the tarpaulin."
"A zigzag runs around the roof, which partly came from a building designed by Otto Wagner on the Danube canal that used ornament to speak of the function of the building. It's a visual cue to do with waves a water."
The restaurant has large glass windows
Inside, the boat's industrial look is continued. Interior design studio Raven Collective used light woods with natural finishes combined with recycled plastics and stone across tabletops and surfaces.
Nautical motifs were used throughout the Cheese Bar's interior, with reclaimed ship wall lights, boat cleats and nautical table lamps adorning the space.
The Cheese Bar restaurant's dining space has a nautical look
From within the restaurant, the underside of the patinated roof is visible and provides a warm copper hue to the interior.
Glazed panels encase the restaurant allowing diners to see out to the canal and towpath, while also providing passers-by with glimpses of the interior.
It used recycled and reclaimed materials and objects
"The fact that it was British-made by real craftsmen and designed by some of the best British architects appealed to our continued efforts to support British industry," said The Cheese Bar founder Matthew Carver.
"We've always set out to create fun restaurant experiences, and what could be more fun than eating the best of British cheese on the Grand Union Canal."
Adam Richards Architects was founded in 2002 and recently completed an education centre on the grounds of a 16th-century castle in Kent. Richards modelled his own home on the ruins of a Roman villa.
Photography is by Brotherton Lock.
Architect: Adam Richards Architects
Project architects: Adam Richards, Michael Vale
Project manager: CPC Project Services
Internal fit-out: Raven Collective
Naval architect: CP Heath Marine
Fabricator: Darren Gervis, Marine Fabrications
M&E engineer: CP Heath Marine
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Manchester School of Architecture spotlights seven undergraduate architecture studios
In our latest school show, undergraduate studios at the Manchester School of Architecture explore how feminist architectural theory can be used as a tool to design a fairer society.
Other studios examined the university's campus and its relationship to its wider urban environment; how emerging designers use design methods to engage citizens in the city; and how illustration is used in the design process.
Manchester School of Architecture
School: Manchester School of Architecture at the Manchester Metropolitan University and The University of Manchester
Course: BA Architecture
Programme Leader: Daniel Dubowitz
"Despite the unusual circumstances we have been working in, it has been an exciting year at the school, with future plans being sown for new programmes, a new staffing structure, prestigious international links, enhanced links with practices, and a continuation of our impressive research trajectory to mention just a few.
"The BA Architecture at Manchester School of Architecture launches with an immersive and energetic programme that integrates studio, humanities and technologies. This is to ensure that our students can find out for themselves what becoming an architect might mean for them.
"After establishing their skillset in year one, second-year students begin practising independently, learning how to develop and articulate their positions and shape their trajectory.
"This builds momentum towards third-year when students select their own programme. There are nine Humanities electives, and students choose between one of seven flagship Ateliers – vertical studios – working alongside postgraduate students from MArch for the year with a team of four research-active staff and four external practitioners.
"What sets the Manchester School of Architecture undergraduate programme apart from other schools of architecture is a citizen pedagogy that engages students in live projects and real-world challenges – from mitigating climate change to constructing a more inclusive public realm.
"Throughout the three-year BA programme, our students are supported in identifying their own matters of concern and care, both as citizens and emerging professionals. Our teaching centres on research through speculative design, and our staff mobilise their research-practice to develop immersive briefs that engage and challenge."
De-alienating Through Architecture: New Cultural Centre for East Manchester by Michal Romaniuk
"In &rchitecture, we use design-led research to investigate the potential for architects to affect positive change through inclusive and engaged practices. This year, we questioned how we could reimagine former production sites in the city for a sustainable future, considering ideas such as the anthropocene, capitalocene, degrowth and posthumanism.
"Our site was Manchester Abattoir, designed by Sydney George Besant-Roberts and opened in 1968. It was a council-built complex aiming to bring together the city's network of abattoirs into one 'comprehensive' site for the storing and slaughtering of livestock and the storing and sale of meat.
"The central idea for the design studio is Mikhail Bakhtin's polyphony, which we used to read the site as multi-voiced narratives in constant dialogue, never existing in isolation. This allows us to value different viewpoints and, in doing so, explore the potential for architects to address issues of social, spatial and ecological justice.
"Before we considered this, we examined ourselves as citizens and humans first, then our identities as 'architects'. Our work this year also questioned the hegemony of human position in the design process, and we included non-humans in our investigations."
Student: Michal Romaniuk
Course: Atelier &rchitecture
Performative Morphologies - Street Level Podium View by Irina Coraga
"The atelier is a platform for research and experimentation in architectural design and is concerned with holistic understandings of design and sustainability. Our interest lies in the interaction between technology and people, in the design and delivery of environments that support the needs and activities of contemporary and future society.
"All projects explore contemporary and novel design methods and material performances in tectonic and spatial propositions. Testing of these occurs in application to a specific programmatic brief and this year's themes were 'high-rise' and interpretations of the notion of 'performative morphologies.'
"Projects began with digital and material experimentation at pavilion scale before developing these concepts and design methods, applying understandings of material performance to the high-rise context, in city-centre Manchester. Exploring digital methods in the generative design stages uncovered opportunities and novel approaches to high-rise structures and tectonics.
"The range and quality of interior spaces for a post-coved workplace and ancillary programme were enhanced and, combined with dynamic illumination responsive to user occupation, the architecture of the project engages at the city scale, promoting innovation and advancement."
Student: Irina Coraga
Course: Atelier Advanced Practice
An Integrated Urban Topography, Bradford by William Smith
"Continuity in Architecture explores the cultural heritage of the city, not only in the city as a collection of historical artefacts but also in the way people have and will use these buildings and spaces.
"The Atelier considers buildings not as solitary objects but as integral and related pieces of the city that encourage a convivial coming together. We believe that it is important to understand the intangible and tangible aspects of historic fabric to engage with it in a meaningful and dynamic way.
"This year, the Atelier has continued to work on funded projects examining the future of the historic high street. In his seminal article 'The Closing of the High Street Theatres', John Lloyd stated that these smaller shopping areas "were – and still are – theatres of human interaction".
"In collaboration with Bradford Civic Society and the Bradford Townscape Heritage Scheme, the Atelier have worked in the 'top of town', where students have made theoretical contextual additions to the high street for three live clients including Assembly, who provide co-working spaces; FUSE Art Space, a volunteer-led art gallery; and Bradford Civic Society, an organisation who champion Bradford's heritage."
Student: William Smith
Course: Atelier Continuity in Architecture
Urban Vertical Garden by Alexandra Raper Rumoroso
"Operating as an Atelier for many years at masters level, this is the first year of [CPU]Ai having presence in the third year. Students were introduced to the Atelier through exposure to theoretical approaches and computational tools via initiatives such as [CPU]Breakfast, where staff, students and alumni presented key readings, projects and case studies of their own undertaking to facilitate diverse knowledge exchange and collaboration as a vertical atelier.
"This year's theme was Resilient Urban Futures with all projects based on the university campus, with its relationship to wider urban systems and its possible short, medium and long-term futures.
"All projects relate to food programmatically: fast, technology-enabled and optimised; or slow, grown on-site, local, seasonal; and spatially, growing, selling, sharing, collaborating, researching.
"Domain knowledge within these areas was developed through research and structured engagement with international academics through to local charities. This enabled an understanding of systems and flow within the supply chains in areas such as ethics, climate crisis, traditional vs novel technologies, economics and beyond. This was then used to understand projects at an urban and building scale with regards to materials, construction, environmental and structural strategies."
Student: Alexandra Raper Rumoroso
Course: Complexity, Planning and Urbanism [CPU]ai
Light House: A State of Change for Manchester by Grace McGuire
"The Flux atelier centres on a series of speculative practices which offer practical alternatives to top-down design and a fresh approach to time, slow urbanism; space, urban acupuncture; and engaging people, peripatetic architecture and performance. It aims to equip emerging designers with new methods to engage citizens in the transformation of their city.
"Re-imagining the Mancunian way: how can three kilometres of monolith that divides Manchester in two be repurposed from a 1960s superhighway exclusively for cars to become part of everyday life and reconnect the city?
"Collaborative Urbanism: new methods for making tomorrow's cities: 'object-building' and 'top-down' master planning have characterised the architecture and urbanism of the recent climate emergency era.
"A city without cars: Google earth satellites passed over Manchester this winter, and they documented a Mancunian way without vehicles. What started the year as a hypothetical possibility became a tangible reality due to a national lockdown. Some students had the opportunity to walk up onto the motorway deck and experience the highway as a site for everyday life for a fleeting moment.
"Public realm: the Covid-19 global pandemic laid bare inequalities in society, not least the disparity in access to and poverty of the public realm globally and in Manchester. Each of the manifestos, programmes and design projects were socially and politically engaged, delving deeper into matters of care for a different public realm for society because of the context in which they were conceived. The work in the Atelier is a testament to the agility, resourcefulness and resilience of our students.
"Temporality: in semester one, the Atelier focuses on the city's transformation through temporal and peripatetic architectures. Each student was tasked with devising a series of temporary interventions (two-10 years), urban acupuncture that could transform the Mancunian way as a whole.
"Matter of concern: each student was challenged to identify their own matters of concern and draw up their own brief and programme for the repurposing of the Mancunian Way. In semester two, students then developed a speculative design that could activate a state of change for communities over a longer time frame for one site. These new methods and practices for city making were framed by two questions: Who is the city for? What can a speculative design offer to establish a state of change?"
Student: Grace McGuire
Course: Atelier Flux
M58 Service Station by Yat Kiu Jasper Cheng
"Infrastructure Space uses large territories and novel mapping techniques to explore and reveal latent environmental, social and cultural conditions. Here we approach space with neutrality to form objective views of the ways in which it is produced and used. Expanding on theories of landscape urbanism, we recognise that it is difficult to separate the urban scale from a global scale.
"Infrastructure as a methodological lens enables critical discourse that addresses global exchange, mobility, and justice issues. This year we asked all of our students to consider the following:
"Commons: a shared space that enables a citizen-led agency, sometimes to fill what has been referred to as an 'infrastructural gap'. 'Eco-systems' we deliberately hyphenate this term to accentuate its constituency – ecological / systems, as we are interested in systems that can enable ecological diversity and sustainability.
"Society: society has manifold interpretations. Here we refer to groups of people with common values, territory and cultural expectations and the positive effects of such arrangements.
"The students developed ideas for a future service station and asked to consider carbon reduction, electric vehicles, minimisation of travel, material cultures and social sustainability. In so doing, projects from multimodal transport hubs to power generation centres explored how service stations are pivotal to achieving significant carbon reduction. This revealed that services need to be more than an amenity to humans, but should be considered as part of wider social, sustainable and ecological systems."
Student: Yat Kiu Jasper Cheng
Course: Atelier Infrastructure Space
An Active Archive of Feminist Figures by Eleanor Jones
"Praxxis is a feminist teaching Atelier and research collective in both BA3 and M Arch pursuing pedagogy and research within, and through, feminist architectural theory and practice. We asked students to explore feminist strategies and tactics to move our discipline towards a fairer and more equal society.
"This year we have challenged the students to construct their own agenda and develop forms of practice whose aim is not just a building but a tool to transform the social, political and economic conditions of a place by exploring archives and feminisms.
"In response to a site next to the Pankhurst Centre in Manchester city centre, we have used feminist design tools such as feminist theories, dialogues, interruptions, interventions and participatory tools to enable our students to design an archive to feminisms plus other key feminist agendas.
"Each archive/library was socially motivated and responded to the spatial issues of the four key waves of feminisms. Students were asked to look at the human relationships within their proposals by considering the interconnected list of protected characteristics to enable full exploration of the spatial potential of the complex issues of sharing internal or external archives and learning or social spaces across different groups of people."
Student: Eleanor Jones
Course: Atelier Praxxis
Thinking Through Drawing BA1 by Adriana Sokolova
"At Manchester School of Architecture, we engage in extensive research-based teaching in the architectural humanities. This year saw the introduction of several new units, refreshing our offer to students and addressing the most pressing concerns of our discipline.
"In the first year, students are introduced to the histories of architecture as plural rather than singular. Each lecture is envisaged as a 'survey' in its own right, with experts from across the school speaking about the architectural history of power, education, health and a wide range of other topics.
"Students were then asked to respond to Thinking Through Drawing: a series of explorations of the relationship between architecture’s methods and how they allow us to think. The lectures address Thinking Orthographically, in parallel, perspective and in gesture.
"Year two also saw significant changes in this academic year, with a new course on architecture, climate and society accompanied by writing the city. These two units centre on the responsibilities of the architect: what we bring to the city and how we respond to the climate crisis.
"In the third year, more focused electives are available to students on a range of topics. These help students to develop methods for research and to specialise in in-depth examinations. Each elective has a social and historical aspect to it, covering the following topics: landscapes of infrastructure; environmental histories of architecture; user-centred design; anthropology of home; social and political architectures in South America; global south's global; architecture in the age of acceleration; exploring tropical educational space; and architecture and crisis.
"The drawings by Adriana Sokolova were completed as part of her portfolio for our new BA1 Humanities course 'Thinking Through Drawing'. This course is based on anthropological research by Dr Ray Lucas into architectural drawing and how it constitutes a form of knowledge production.
"It is arranged as a short series of lectures discussing key ideas and drawings from architectural history. Students then engage with orthographic drawings of their breakfast – after Miralles and Prats' exercise to draw cross-sections of a croissant. Here they make copies of classic drawings, analysing their materiality. The aim is to develop their drawing skills and discuss why we draw in particular ways."
Student: Adriana Sokolova
Technologies 1 Design Project - Papermetrics by Siu Man Hei
"The Technologies unit provides students with skills to critically dissect and deconstruct the structural, material and environmental performance of architectural precedents in an operative manner, seeing the built history of architecture as a ‘realisation library’ to draw from. Assignments develop the material realisation skills and understanding of students through increasing levels of sophistication and authorship in their design projects.
"Across the three years, the Technologies Design Project is systematically using a framework of appraisals, analyses and iterative design testing to guide students in identifying key performance parameters for their projects and linking them to the opportunities they offer for creative, integrated, architectural design. Technologies design projects are intentionally distinct from others undertaken on the course, with different starting points, methods and outputs, enriching students’ portfolios and preparing them for scenarios in professional architectural design practice.
"Technologies design projects at MSA explore model-making, modelling and digital design and fabrication methods to explore and test sustainability in technological and environmental design and spatial effects. Projects begin in the first year with triangulated geometries in canopy and pavilion designs. In year two, we move into environmental simulation and testing of a single-volume community hall in the rural British landscape. In year three we work globally in city centre contexts for a multi-storey workplace.
"In year one, existing applications and techniques are examined through a series of lectures and analysis exercises that support a subsequent holistic analysis of small scale – but often structurally or environmentally complex – case studies. Design projects explore digital modelling and fabrication through iterative qualitative testing.
"Papermetrics design project asks students to design a pavilion structure to recognise the significance of technology as a context for exploring architectural design. Students demonstrate how the fabric of buildings modify environmental conditions in various contexts for a variety of uses to generate needs of comfort and pleasure. A discourse of performance and sustainability in contemporary architecture is tackled through a canopy design that must be made of a system of irregular non-repeating triangular facets."
Student: Siu Man Hei
Provocations | Salons | Inspirations by The Provocations
"The Expert Panel activities supplement the core teaching at MSA by offering alternative viewpoints and expertise. It aims to create an ecosystem of events that are attached to MSA's teaching and research agendas, through a series of events addressing equality and diversity in the disciplines of architecture and landscape architecture and covering a broad range of topics.
"The provocations series retained its format of two short, punchy presentations followed by a longer conversation guided by a discussant. The Salons, remotely this year, allowed students access to outside experts with a considerable range of expertise including clients, developers, planners, archaeologists, artists, architects and academics.
"We also ran Pecha Kucha sessions, introducing our editorial board discussing The Project that Got Away and also introducing invited experts who would be leading Salon discussions. We hosted the first Inspirations talk with our new head of school, professor Kevin Singh introducing his (accidentally) curated career and we will expand these lectures in the coming year.
"Moving to online delivery allowed both our guests and audiences to expand beyond Manchester towards a global audience."
Group: The Provocations
Course: Expert Panel
This school show is a partnership between Dezeen and The Manchester School of Architecture. Find out more about Dezeen partnership content here.
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Unemori Architects creates "earthquake-proof" community centre in Fukushima
Architecture studio Unemori Architects has built the Sukagawa Community Center in Fukushima as part of the wider rejuvenation of the city after the 2011 Tōhoku earthquake.
Created in collaboration with Ishimoto Architectural & Engineering Firm, the community centre was designed to be a space that demonstrates the revitalisation of the city.
"It was important to us to give courage to the disaster-stricken city by showing that the residents of the city have a place here at Sukagawa Community Center to stay, work, learn and meet," Unemori Architects founder Hiroyuki Unemori told Dezeen.
"Our goal was to create a building that would fit seamlessly into the city."
Top: steel panels wrap around the exterior of the building. Above: the building is comprised of a series of stacked floors plates
The five-storey Sukagawa Community Center houses libraries, a museum, a lecture hall, childcare centres and cafes.
It was created as a "public forum" and also has a number of spaces for socialising and studying. Interior and exterior terraces surround the building, which has a total floor area of 13,700 square metres.
The lobby of the building is located beneath a series of voids and layered floors
The community centre was built to help revitalise the city, which was badly hit by the 2011 Tōhoku earthquake, which was the country's most powerful recorder earthquake and destroyed major parts of eastern Japan.
It was designed to be earthquake-proof and will be used for disaster relief activities in the event of future earthquakes.
"This building will be a temporary evacuation facility for the city, and it is not only earthquake-proof, but in the event of a disaster, you can immediately go to the outdoor terrace and evacuate from there via outdoor stairs to the ground," said Unemori.
A ramp leads visitors around the building. Photography is by Kai Nakamura
The exterior of the building takes shape as a collection of stacked floor slabs that are layered and staggered to form a series of canopies and terraces connected by staircases.
Across the exterior, steel sheets wrap around the layered slabs and extend through to the interior, connecting and unifying the spaces.
The interior of The Sukagawa Community Center was designed to be calming. Photography is by Kai Nakamura
Inside, an open floor plan characterises the space and is framed by its steel wrapped floor slabs that appear as if floating within the interior.
The ground floor was built on a sloping level that raises 2.5 metres and includes a waiting area, cafe and events space, all of which are connected to the outdoors.
Ramps and sloped walkways, which were designed to mimic walking around the city, connect and link the floors to lead visitors around the building.
The library has a warm look. Photography is by Kai Nakamura
On the first floor, a children's library with a cheerful orange carpet sits within a double-height space.
Light wood furnishings were used throughout the room, forming bookcases, work stations and display cabinetry and adding warmth to the stark interior material palette.
"We have chosen simple materials that create a calm background for the people who visit here," said Unemori.
"We used natural wood for the furniture, which is pleasant to the touch."
The interior of the megastructure floor plate is viewable from across the building
A large playground with an undulating floor and climbing nets are contained within the corner of the building.
An outdoor playground located on the terrace is connected to the indoor playspace and employs a similar design, with undulating volumes raising from the floor.
Terraces and private workspaces line the edge of the library
The building's lower floors are suspended from a two-floor steel megastructure that stretches across the third and fourth floors.
Designed as part of the building's earthquake resilience, this structure means that columns are reduced on the lower floors and the community centre is protected from possible ground movement.
The megastructure is wrapped in a steel mesh with some sections exposed so visitors can view the steelwork from within the building.
A large indoor play area was built within the building. Photography is by Kai Nakamura
Air conditioning systems, smoke exhaust routes and layers of sound-absorbing material were placed within the floorplate to protect the building and provide a comfortable environment within the library above.
"If you are going to build a building in Japan now, all buildings are required to be earthquake resistant," explained Unemori. "The earthquake resistance and structural planning are important factors when thinking about architecture."
"It is a well-ventilated building, which is important right now in the Covid-19 pandemic," explained Unemori. "The windows on all the terraces can be easily opened and due to the empty space in the middle of the building it is well ventilated as a whole."
The play space extends out onto one of the many terraces
Recently, Unemori Architects created a small corrugated steel house on a 26-square metre plot in Tokyo.
Elsewhere in Fukushima, architecture studio ADX created a sculptural soil mound within a home using excavated soil from its building site.
Photography is by Kawasumi Kobayashi Kenji Photograph Office unless stated otherwise.
Sign planning: Irobe Design Institute, Nippon Design Center
Landscape: Inada Takio Landscape Design Office
Disaster prevention: ATAKA BOSAI SEKKEI
Acoustics: Karasawa Architectural & Acoustic Design
Library consulting: ACADEMIC RESOURCE GUIDE
Civic consulting: Stillwater
Exhibition plan: Tanseisha
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Seven clever co-living projects featured in All Together Now book
"Co-space is here to stay," says Dezeen editor-at-large Amy Frearson, who has co-authored a design guide to shared living spaces called All Together Now. Here she selects seven of the most inventive projects from the book.
All Together Now was written by Frearson in collaboration with interior designer Naomi Cleaver for RIBA Books to document the trend of co-living and co-working spaces.
From multi-generational housing to alternative models of student living, it features detailed case studies of all shapes and sizes, alongside practical tips for designers.
Above: All Together Now is a book about co-living and co-working. Top: among the featured projects is The Student Hotel Florence Lavagnini
Frearson hopes the book will demonstrate how co-living and co-working spaces are "not just for millennials" and that they can offer benefits to people of all ages and backgrounds.
"Co-living offers very real solutions to problems that many of us face today, from rising property prices to chronic loneliness," she explained.
"Sharing our living spaces doesn't have to mean compromising privacy, comfort or possessions; it can actually offer us greater choice and flexibility, allowing us to live more efficiently, healthily and sustainably."
Frearson added that the theme of the book is more pertinent than ever in light of the coronavirus pandemic, which has forced many people to stay at home and work remotely, resulting in a greater demand for physical togetherness.
"I believe that shared spaces have the power to transform the way we live together in the aftermath of the Covid-19 pandemic," she concluded.
"As the definitions of 'home' and 'workplace' become increasingly blurred, there is unprecedented demand for spaces where people can come together to share experiences and resources," Frearson added.
"Co-space is here to stay; now is the time to define how we design for it."
Read on for Frearson's top seven co-living projects from the book:
The Student Hotel Florence Lavagnini by Archea Associati and Rizoma Architetture, Italy
"This is a model for the future of student living. By allowing student housing buildings to double as hotels, The Student Hotel can offer students high-quality living spaces and flexible contracts.
"Not only does it make the model more affordable, it creates vibrant communal spaces where students, tourists and locals come together."
Flatmates by Wilmotte & Associés and Cutwork, France
"This project explores new furniture typologies that are better suited to communal living. Examples include a modular sofa made up of nine different elements, which can be combined in different ways to suit different activities.
"These elements can be arranged like a traditional soda and armchairs, but they can also be organised into islands, to accommodate different activities taking place simultaneously."
Photo is by Nicolas Worley
Italian Building by Stiff + Trevillion and Studio Clement, UK
"This project shows how a co-living community can be built around a particular lifestyle. At the Italian Building, run by co-living operator Mason & Fifth, spaces are designed and programmed around wellness.
"Occupants come together for fitness classes and healthy meals, and their environment is designed with the same ethos."
LifeX Classen by LifeX, Denmark
"LifeX has taken the flat-share to new heights. Residents are able to live in beautifully furnished flats without any of the hassle of buying furniture, finding roommates or signing up to long-term contracts.
"As the company has properties in various cities around Europe, residents can even organise swaps with other residents, allowing them to travel without the stress of organising accommodation."
Photo is by Ossip van Duivenbode
Three-Generation House by BETA, Netherlands
"The multi-generational house doesn't get much more clever than this. This five-storey home is designed in a way that allows it to cleverly change configuration as its occupants needs change over time.
"It is currently divided into two residences – one for a couple and their children, and the other for their parents – but it could easily be turned into a single house, or further subdivided."
Photo is by Sander van Wettum
Humanitas Deventer, Netherlands
"One of the most inspiring examples of multi-generational living, this care home in the Netherlands offers free accommodation to students.
"In exchange, it asks them to spend a dedicated amount of time every week with the elderly residents. This creates a mutually beneficial setup where different generations are able to support one another and learn from each other's experiences."
Photo is by Relja Ivanic
Mokrin House by Autori, Serbia
"Thanks to changes in technology, we can now live and work anywhere, hence the arrival of digital nomad culture. Mokrin House shows how this new culture can inject life into areas that were otherwise in social and economic decline.
"Set up as a live/work retreat, it also offers facilities to locals as well as paying visitors."
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Archipelago conference investigates urgent issues in architecture and design
Dezeen promotion: new approaches to architecture, landscaping and interior design were discussed at the Archipelago: Architectures for the Multiverse conference in Geneva.
The three-day event, which was broadcast online, took place from 6 to 8 May. It was organised by the Geneva School of Art and Design (HEAD) and the Geneva School of Engineering, Architecture and Landscape (HEPIA).
Titled Archipelago: Architectures for the Multiverse, the hybrid conference brought in-person and online participants from the architecture, interior design and landscape design industries together to discuss intersections across the disciplines through performances, film screenings, talks and workshops.
The Archipelago: Architectures for the Multiverse was a digitally-focused design conference. Catherine Ince, Matevz Celik, Marina Otero Verzier and Nicolas Pham took part in a conversation during the first day of the broadcast.
The first day of talks was titled: Do We Need to Build?
The Archipelago advisory board: Sepake Angiama, Marina Otero, Catherine Ince, Natacha Guillaumont, Nicolas Pham, Matevz Celik, Lev Bratishenko, Anton Belov, Javier Fernandez Contreras, discussed current design practice, focusing on newly visible methodologies.
The task challenged the board to question the assumption that architects, landscape designers and interior designers need to produce physical material.
The outdoor activities allowed participants to engage with the city and their surroundings in new ways Here, the intervention by Geneva-based Trojans Collective
The theme for the second day was: Understories – What Remains Hidden in Plain Sight?
It focussed on under-represented systems and knowledge across design disciplines via a series of four key conversations.
The first session, titled Territories of Intervention, invited Daniel Zamarbide, Charlotte Truwant, and Justinien Tribillon to investigate Geneva's urban context and borders. Moderated by Meriem Chabani, it aimed to question "how the city is entangled in larger myths of nationality and place," the organisers said.
The event aimed to question and respond to current design practice
This was followed by a conversation titled Extractive Systems, in which Sofia Pia Belenky, Francesco Sebregondi, Manijeh Verghese "sought to unearth systems and traces – capitalist, imperialist, extractivist – exposing and challenging forms of embedded exploitation".
The third session, titled Other Stories, was moderated by Ala Tannir and brought together Silvia Franceschini, Cruz Garcia and Nathalie Frankowski from Wai Architecture Think-Tank and Dele Adeyemo, exploring "narratives within architecture, landscape and interior design that are traditionally positioned at the margin".
The final conversation, titled Planetary Narratives, was moderated by Elise Misao Hunchuck and gathered Jane Mah Hutton, Marco Ferrari, and Rania Ghosn. It "considered stories that play out at a global scale, ones that implicate multiple materials' flow across time and space," the organisers said.
A selection of films exploring capitalism, the climate crisis, indigenous knowledge and colonialism, by Dele Adeyemo, Design Earth and Joar Nango were also presented.
The scenography's materials were locally sourced in Geneva and returned to their sites of origin after the event
The theme for the third day was: Interdependency – New Disciplinary Narratives.
The first session, titled Kinship and Advocacy, gathered Adrian Lahoud, Esther Choi, Charlotte Malterre-Barther and Marie-Louise Roberts to question how expectations and boundaries in design and architectural disciplines change when collaboration and kinship are placed at the forefront of the design process.
"Panellists related personal experience to their work and discussed the role that shared ritual plays in fostering kinship," the organisers said.
The events focused on identifying new narratives in interior design and architecture. Pictured are moderators Meriem Chabani and Vera Sacchetti
The second conversation of the day, titled Working With, explored "how practitioners are changing their working ways to offer new possibilities for interdisciplinary exchange." The conversation gathered Céline Baumann, Mathias Echanove from urbz, and members of Geneva-based Collectif Galta.
The third session, titled New Roles, New Practices, "sought to build upon the previous three days of insights to imagine new paths for architects, landscape architects, and interior designers," the organisers said. The conversation was moderated by Ala Tannir and brought together Pooja Agrawal, Ann Lui and Mariana Pestana.
The conference concluded with a roundtable discussion that gathered the event's moderators and students at the organizing schools to explore the creation of new pathways within educational institutions to benefit future designers.
Discussions emphasised the importance of kinship and collaboration in the design process. Pictured is a performance by collective HPO.
The three days of discussions took place alongside custom-built scenography designed and produced from locally sourced wood and stone by faculty and students from HEPIA and HEAD. After the conference, the structures were dismantled and the materials were returned to their original place.
The talks programme was also enhanced with digital workshops for students selected as part of an open call for participants.
"The workshop programme happened online – with sessions exploring the conflated realms of physical and digital realities; the creation of new worldviews through maintenance and repair; and new ways to co-exist and care for each other from the human to the microbial level," the organisers said.
The discussions and workshops identified new pathways for architects and designers
"Archipelago could not have been the intense and fruitful experience it was without the participation of all of the panellists, workshop leaders, filmmakers, and moderators both in-person and virtually," the organisers said.
"It could not have happened without the efforts of the production team, the scenography team, and the facilities staff at the Geneva School of Art and Design."
"The Archipelago Team would also like to thank the students and faculty members who were the foundation of the event since its conception."
For more information on the event, visit The Archipelago: Architectures for the Multiverse's website.
This article was written by Dezeen for HEAD and HEPIA as part of a partnership. Find out more about Dezeen partnership content here.
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Undulating bamboo canopy by LLLab evokes its mountainous surroundings
Chinese architecture studio LLLab used woven bamboo to create a canopy and a group of pod-like pavilions to shelter visitors to a light show set amongst the dramatic limestone mountains of Guilin.
Shanghai-based firm LLLab designed the bamboo canopy and pavilions for the site of the Impression Sanjie Liu light show, which takes place at night on the Li River in Yangshuo, China.
Top: LLLab designed the pavilion to look like a mountain range. Above: it is built along a river
The show, directed by filmmaker Zhang Yimou and first staged in 2004, uses the river and 12 surrounding karst mountains as the backdrop for a performance of songs and special effects inspired by the legend of folk singer Liu Sanjie.
The island site used for the show already contained an entrance pagoda at one end, with the main stage at the other. LLLab's design is intended to activate the previously underused area between the entrance and the main stage.
The site was already largely covered with bamboo groves, so the architects developed a series of interventions that use bamboo as the main building material to complement the natural setting.
LLLab designed bamboo pods for the project
"As a means to coincide with what is already there, the new architecture looked at borrowing the materiality of the bamboo, reconfiguring it to form new space," said LLLab.
"In doing so, this new space means not to contest. Instead it aims to augment, albeit very gently, the surrounding bamboo groves and hills."
The pavilions complement the bamboo canopy
A series of woven bamboo lanterns line a path that guides visitors from the entrance further into the site. The lanterns increase gradually in size until they become pavilions that are so large that it is possible to step inside them.
Each of the larger structures is created using bamboo lengths with a diameter of between 50 and 80 millimetres. These are soaked and then scorched so they can be bent into the shape required for the upright and lateral members.
Woven bamboo forms structural columns
Skilled artisans then weave bamboo strands in a loose and random pattern to create a porous outer layer. An inner layer of clear polythene sheeting provides protection from rain or falling debris from the bamboo roof.
In the daytime, the lanterns appear as solid elements with a natural hue that complements their surroundings. At night, they are illuminated from within and seem to glow as light filters through the woven shell.
The canopy meanders through bamboo clusters
"As a whole, the lantern looks at home under the arching towers of bamboo in its peripheries," the architects added.
"Almost by chance, when looking to the distance the lantern silhouette is echoed by the stone towers of the Yangshuo, Guilin landscape strewn along the immediate horizon."
The second element added to the site is a woven canopy that meanders through the clusters of bamboo, sheltering parts of the walkway from rainfall.
The canopy is supported by angled columns concealed within living bamboo shoots that extend through circular openings in the roof.
Curved roof edges frame the riverbank
Stretching 140 metres along the edge of the island, the canopy is designed to resemble an inverted landscape that dips down and rises up along its length.
In addition to providing shelter from the rain, the canopy acts as a sunshade, with its undulating surface creating different shadow effects as dappled light penetrates the structure from above.
The canopy is 140 metres long and acts as a sunshade
In total, the canopy comprises four modules, with the two elements at either end containing content display points. Two central modules overlap one another, with the tallest section reaching a ceiling height of 4.4 metres.
The canopy also features integrated lighting that illuminates the pathway from above and increases in intensity as visitors move towards the main stage.
The structure has a low height compared to its surroundings
As well as its office in Shanghai, LLLab operates studios in Stuttgart and Porto. The firm works across projects of varying scales within the fields of architecture, design, art, urbanism, research and development.
LLLab has also worked on a hotel on the outskirts of Beijing comprising a village-like complex of brick and slate buildings.
Photography is by Arch-Exist.
Architecture studio: LLLab
Architectural design: Hanxiao Liu, Henry D'Ath, Lexian Hu, Alyssa Tang, Chaoran Fan, Luis Ricardo, David Correa
Project management team: GCPS Interior Decoration Finishing Ltd., Lihua Mi, Dalin Chai, Hao Zhang, Guoyang Wan
Project construction team: Yinghong Shao, Yanru Dong, Yingming Shao
Structural design: LaLu Partners Structure Consulting
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Zaha Hadid Architects set to design Italian Hyperloop system
London studio Zaha Hadid Architects has signed an agreement to develop a Hyperloop high-speed transport system across Italy.
The studio announced that it will be collaborating with Hyperloop Italia to design the "next phase of works" for a planned near-supersonic network in the country.
"We are looking forward to collaborating with Hyperloop Italia; marrying transformative architecture, engineering and urban planning with the most efficient and sustainable transport network to significantly improve accessibility, connectivity, and well-being in our cities," said Zaha Hadid Architects principal Patrik Schumacher.
"We share Hyperloops Italia's multidisciplinary approach which combines innovations in design and operational technologies with advances in ecologically sound materials and construction practices; enabling us to deliver future-resilient projects that are inventive, structurally efficient and environmentally sustainable."
Hyperloop was first proposed in 2012 by SpaceX and Tesla founder Elon Musk. The high-speed transportation system would consist of a series of low-pressure tubes that pods would be propelled through.
Feasibility study into first Italian hyperloop underway
The technology is now being developed by several companies including HyperloopTT, which has licenced its technology to Hyperloop Italia for use in Italy.
Hyperloop Italia is currently carrying out a feasibility study on a proposed route between Milan and the Malpensa Airport, which would reduce travel time from 43 minutes to 10 minutes.
The planned network in Italy would be powered entirely by renewable energy sources and will be capable of producing more energy than it consumes.
"This agreement marks another step forward for Hyperloop Italia and the development of the fourth industrial revolution," explained Hyperloop Italia founder and CEO Bibop Gresta.
"We are committed to building the most accessible, convenient and safest transportation system in the world using the new generation of environmentally friendly materials with a high recycled content."
Hyperloop networks are being developed in numerous countries around the world. In 2019, architecture studio MAD revealed its designs for a solar-powered system for HyperloopTT, while India approved Virgin Hyperloop One's plans to develop a high-speed line between Mumbai and Pune, connecting the cities which are 100 miles apart in just 35 minutes.
More recently, two human passengers travelled in a BIG-designed hyperloop vessel across the Nevada desert.
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Watch a live talk with Serpentine Pavilion architect Sumayya Vally
Dezeen teamed up with the Serpentine Gallery to live stream a conversation between Hans Ulrich Obrist and architect Sumayya Vally of Counterspace about this year's Serpentine Pavilion.
In a live broadcast from the 20th Serpentine Pavilion in London, Vally discussed the process and concepts behind her design with Serpentine Galleries artistic director Obrist.
The 20th Serpentine Pavilion is designed by Sumayya Vally
Vally's Serpentine Pavilion is a circular pink-and-grey structure made from reclaimed cork and steel.
The temporary structure, which is currently located on the lawn outside the Serpentine Gallery, is one of five pavilions dispersed throughout the capital that comprise this year's design.
Sumayya Vally is the director of Counterspace
A further four smaller pieces can be found at sites significant to London's migrant communities, including Deptford, Barking and Dagenham, Finsbury Park and Nottinghill.
Vally gave an exclusive video interview to Dezeen in which she described the pavilion as "like a puzzle of many different elements coming together."
Serpentine Galleries artistic director Hans Ulrich Obrist will moderate the talk
The Serpentine Pavilion is an annual commission established in 2000 by the London gallery. Each year, it is awarded to international architects who have not yet had the opportunity to build in the UK .
Vally is the youngest architect to receive the prestigious commission. The likes of Zaha Hadid, Toyo Ito and Oscar Niemeyer are among the architects to have designed previous pavilions.
The talk took place at 1:00pm London time on 9 June 2021. The Serpentine Pavilion 2021 is open to the public in London from 11 June to 17 October 2021. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.
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Dirk Somers creates fictional city from fifty recently completed Flemish buildings
Dirk Somers, founder of Antwerp studio Bovenbouw Architectuur, created a "fictional, yet recognisable" Flemish city named Composite Presence for the Belgian Pavilion at this year's Venice Architecture Biennale.
Composite Presence was constructed from 50 models of recent projects in Brussels and Flanders – a region in northern Belgium – that were completed by 45 contemporary architecture studios that are displayed at 7:100 scale.
The models have been placed together in miniature neighbourhoods that visitors to the Venice Architecture Biennale can walk amongst to experience the fantasy city.
The exhibition contains models of buildings by 45 studios
"The scenography explores how architecture steps in those places that grew in a more informal and unintentional manner," Bovenbouw Architectuur founder Somers told Dezeen.
"We explore how architecture can compensate in places where urbanism came a bit too late," he added.
"The selection does not display a top 50. Rather we went looking for projects that stem from the informal and highly mixed cities we know in Flanders."
A number of different architectural styles are represented
Some of the projects on display are new buildings while others are refurbishments, but all were chosen to represent visual themes that are common in Flanders.
"We call the model landscape a capriccio, after Canaletto's paintings that took buildings from different cities to compose fictional urban scenes," Somers explained.
The exhibition creates a fictional city
"What you experience is fiction and reality in overlay," he added. "One recognizes visual themes from Belgian cities, but in a way you will never see in reality."
"In Belgium, we struggle with the label 'ugliest country in the world' after a book by modernist Renaat Braem," he continued.
"But in the scenography, we use friction and anomaly to produce a fascinating and pleasurably rich experience."
Fifty wooden models were built
Somers pointed out that the urban design of cities in Flanders has created unique circumstances that in turn have led to innovative designs.
"The weak urban underlay of our cities generate many unusual conditions which these projects use to their benefit," he said.
"We find very narrow, very deep or very shallow plots, we see dramatic scale jumps, kinked building lines, public buildings hidden in the back of a building block, different styles and ideas on architecture next to or on top of each other."
The exhibition was curated by Dirk Somers from Antwerp studio Bovenbouw
As well as providing visitors with an architectural experience, the Belgian Pavilion also wanted to underline the role that competitions and quality tender procedures play in urban design.
Among the buildings on display a public library by OFFICE, a social housing project by Architectenbureau Bart Dehaene and an organ loft by 360 Architecten.
"We also stress the importance of the middle field in the genesis of architectural quality," Somers said.
"Many of the projects came into being through competitions and quality tender procedures," he added. "City architects and quality chambers play an important role in providing the right opportunities which good designers can plug into."
It is on display at the Venice Architecture Biennale
The models were all made by carpenters from processed wood and overseen and completed by Bovenbouw Architectuur between January and June 2020.
"We have used sheet material such as poplar particleboard, spruce plywood and colored MDF," Somers said.
"Materials have been left bare or have been stained, oiled, painted, sanded…to provide a rich experience of textures and colors."
Eventually, the models will be given to the participating studios
The studio attempted to use FSC and PEFC-certified wood as far as possible, but couldn't guarantee that all of the wood used for construction was, as the models were also made from leftover wood and stock from different carpenters.
In 2022, the exhibition will move to the Z33 art museum in Hasselt, Belgium, after which the models will be given to the participating studios.
Composite Presence was commissioned by the Flanders Architecture Institute (VAi).
Photography is by Filip Dujardin.
Composite Presence is on display at the Belgian Pavilion in the Giardini as part of the Venice Architecture Biennale, which takes place from 22 May to 21 November 2021. See Dezeen Events Guide for all the latest information you need to know to attend the event, as well as a list of other architecture and design events taking place around the world.
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Serpentine Pavilion celebrates "places with a history significant to migration" says Sumayya Vally
In this exclusive video produced by Dezeen, Sumayya Vally of Counterspace explains how her design for this year's Serpentine Pavilion references the architecture of London's migrant communities.
She described the pavilion as "a puzzle of many different elements" informed by buildings used by migrant groups across London.
In addition, five architectural "fragments" have been dotted around the city to bring the project directly to local communities.
Vally, director of Johannesburg practice Counterspace, is the 20th and youngest architect to have been commissioned by the Serpentine Gallery for its annual architecture pavilion, which was unveiled this morning in London's Kensington Gardens.
Sumayya Vally's Serpentine Pavilion is located on the lawn in front of the Serpentine Gallery in London
"I became really interested in places with a history significant to migration – small spaces that birthed community and that have held forms of cultural production over time," Vally explained in the video.
Architectures of London's migrant communities
Among the spaces that influenced the design are the Fazl Mosque and East London Mosque, two of the first mosques to be built in London, and the Centerprise Publishing House, a now-closed Hackney bookshop and publisher of queer and black literature.
Other locations included the Four Aces Club in Dalston, a music venue founded in 1966 that was among the first to showcase black musicians, and the Mangrove, a legendary Caribbean restaurant and meeting place for Notting Hill's black community.
The pavilion references the architecture of London's migrant communities
With many of these places no longer in existence, Vally says she hopes her pavilion and the research behind it will help to broaden our understanding of the architectural importance of these spaces, with the aim of protecting them from the threat of urban development in future.
"The challenge with spaces like this is that they sit outside of our architectural lexicon and of what we traditionally understand to be important architectures and important spaces of gathering and community," Vally said.
"When those spaces are under threat from development and gentrification, they are not protected."
"My hope is that the architectural community will read and understand some of the spaces that have brought the pavilion into being and that those spaces are at the forefront of our conversation about architecture going forward," she added.
Reuse and reclaim
The pavilion is made up of abstracted elements and details pulled from the various locations in the architect's research.
"Formally, the pavilion is almost like a puzzle of many different elements coming together," Vally said.
The pavilion is made from cork and cement-treated timber supported by a recycled steel frame
The result is a pink, grey and black structure comprising a series of columns and inbuilt furniture made from a steel frame wrapped in cement-treated timber and black-stained cork panels that cover its exterior.
Aiming to create a design with minimal carbon impact, the architect used repurposed steel from the contractor's previous projects and cork reclaimed from the wine industry.
Like all past iterations, this year's pavilion will be dismantled and relocated to its permanent location at the end of the summer.
Vally has also created five smaller structures from fragments of the main pavilion and dispersed them in different areas of London with a rich history of migration, in order to increase the reach of the project.
Satellite pavilions have been placed at locations such as New Beacon Books in Finsbury Park, The Tabernacle in Notting Hill, the Albany Arts Centre in Deptford and Valence Library in Barking and Dagenham.
The 2021 Serpentine Pavilion includes four satellite pavilions at locations around London. Photo by George Darrell
"I hope that people will take the time to visit the pavilion and all of its five parts and to engage with the programming that will happen across the summer," Vally said.
As always, this year's pavilion will host talks and events including a sound programme called Listening to the City featuring work by artists such as Ain Bailey and Jay Barnard.
Dezeen will live stream a talk between Serpentine Gallery artistic director Hans Ulrich Obrist and Vally at 1:00pm London time tomorrow.
Youngest ever architect to receive the Serpentine Pavilion commission
Vally, who was recently named one of Time magazine's 100 leaders of the future, is the youngest architect to receive the prestigious commission.
Delayed from 2020 due to the coronavirus pandemic, the pavilion will open to the public on 11 June and run until the end of the summer.
Sumayya Vally is director of Counterspace. Portrait by Dezeen
"It's a wonderful gesture from the Serpentine to commission someone from my background and as young as I am to suggest what the future can be and can look like," Vally said.
Founded in 2005, Vally's studio Counterspace is based in Johannesburg, South Africa.
In 2019, the studio designed a large-scale installation made of coloured mirrors that mimic the effect of the light created by the pollution in the city's mine dumps.
Previous Serpentine Pavilions have been built by architects such as Frida Escobedo, Bjarke Ingels and Sou Fujimoto.
Next year's pavilion is set to be designed by American artist Theaster Gates.
Photography is by Iwan Baan unless otherwise stated.
The Serpentine Pavilion 2021 is open to the public in London from 11 June to 17 October 2021. Dezeen is live-streaming a talk with architect Sumayya Vally about the pavilion at 1:00pm London time on 9 June 2021. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.
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Herzog & de Meuron begins San Francisco power plant transformation
Swiss architecture studio Herzog & de Meuron has broken ground on its transformation and extension of a decommissioned power plant on the waterfront of San Francisco, USA.
The adaptive reuse project will convert the brick structure named Station A, which was built in the early 20th-century, into offices and workspaces.
It is being designed by Herzog & de Meuron with local office Adamson Associates Architects as part of a wider 29-acre (11.7-hectares) masterplan called Power Station, which will connect the industrial waterfront site to the Dogpatch neighbourhood.
Above: Herzog & de Meuron has broken ground on a power plant conversion. Top image: it will include a lightweight vertical extension
The masterplan is being overseen by developer Associate Capital and will include 2,600 residential units and 1.6 million square foot (148,600 square metres) of workspace.
Some of these facilities will be housed in two new mixed-use buildings that are being designed by Foster + Partners.
The steel extension will rest on the existing concrete structure
"The reinvention of Power Station will bring new life to a significant building from the city's colorful past and will anchor this area as a destination on the San Francisco waterfront," said Herzog & de Meuron's senior partner Jason Frantzen.
"We are honored to continue our work in the Bay Area and look forward to realizing this important project."
As part of the overhaul, the plant's old turbine hall will be retained and used as a large atrium-like space.
Here, the original platforms that once supported machinery will be used as walkways and lookout points.
The project forms part of a wider masterplan called Power Station
Herzog & de Meuron will also preserve and repurpose the building's large foundations as supports for a new lightweight steel-framed structure above that will contain offices.
Externally, the new structure will be glazed and finished with shading louvres and openings for natural ventilation to reduce the need for artificial cooling.
Alongside homes and offices, the wider Power Station scheme will be complete with shops, restaurants and hotels along with seven acres of parkland.
It is expected that 30 per cent of total housing will be affordable, with 36 units dedicated to a homelessness initiative.
Herzog & de Meuron was founded in Basel in 1978 by Jacques Herzog and Pierre de Meuron. Other adaptive reuse projects by the studio include the Tate Modern in London, the Elbphilharmonie in Hamburg and the CaixaForum Madrid.
Visuals are courtesy of Herzog & de Meuron.
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