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nº 3 Creative Commons of Architectes and Award World Architecture Festival 2011
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cREACTIVISTAS Diciembre 2011 PREMIOS WAF 2011 World Housing Building of the Year 8 House | Copenhagen DICIEMBRE 2011 Architecture Magazine CREACTIVISTAS 3 creative commons for architects
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La licencia de Creative Commons para arquitectos puede ser una herramienta eficaz para enriquecer los proyectos de arquitectura o el diseño de ciudades. El exceso de localismo y de la protección de los mismos ha originado un enfoque repetitivo que empobrece la enorme riqueza diversa de creatividad, innovación e investigación a los que se someten estudios de todo el mundo. En el presente numero nos adentramos en la parte conceptual y traemos ejemplos de como el futuro puede ser compartido. Traemos un extenso reportaje con los premios de la World Architecture Festival celebrado de Barcelona el pasado mes de Noviembre del 2011.
Transcript of nº 3 Creative Commons of Architectes and Award World Architecture Festival 2011
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PREMIOS WAF 2011
World Housing Building of the Year
8 House | Copenhagen
DICIEMBRE 2011
Architecture Magazine CREACTIVISTAS 3
creative commons for architects
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creative commons for architects La licencia de Copyright en Creative Commons adquiere una naturaleza de potencialidad ilimitada transferida
a un sistema tan protegido como la arquitectura. Nos referimos a ello en su dimensión técnica de reproducir
proyectos con todos sus contenidos o partes de él.
El diseño, la moda, marcas, ideas o conceptos son habitualmente copiados hasta la saciedad. La arquitectura
no podía substraerse a esa capacidad innata del ser humano de plagiar. La humanidad a través de la utilidad
ha dado pie a elementos y esquemas que daban el poder a unos pocos en beneficio de contar con una tecno-
logía segura y útil. Estas se han trasladado al ámbito de la organización social, el pensamiento y la religión
como valores doctrinarios y han perdurado en algunos casos por los siglos. En otros, las tendencias han
marcado mercados como la moda, edades o las propias celebraciones de navidad. También la moralidad y la
fé frente a sucesos trascendentes supone un gran negocio, lo que implica que todavía seguimos anclados en
una sociedad devocional y que no presta atención a aspectos sutiles de la tecnología ya ampliamente demos-
tradas por la psicología moderna. Recordemos que las primeras prendas de vestir cumplían una función
higiénica y de protección frente al frio, no la de tapar nuestras vergüenzas.
La arquitectura comienza a ser foco de atención en el momento en que la eficacia y gustos de determinados
segmentos de mercado se inclinan a demandar productos iguales, podríamos decir que un caso similar en
gustos sería el mercado de automóviles donde las personas se inclinan a determinadas marcas o modelos una
vez lo han visto en funcionamiento. Se trata –salvando las distancias- de vivir la experiencia de la arquitec-
tura para en función del gusto demandar un determinado prototipo. Es habitual ir a casa de un amigo y querer
una casa del mismo arquitecto o hacer fotos para inspirarse en cosas que nos gustaron de determinados di-
seños. Cuando no documentarse a través de revistas o libros. La revolución digital de un mundo global hará
el resto que nos queda por recorrer.
Los sistemas monopolísticos y restrictivos que provienen de la época medieval en muchos países como Es-
paña o Italia donde determinados cánones aun conservan el bigote de sus ancestros, si bien será arrancado
de cuajo en un tirón a golpe de esparadrapo por la propia imposición de las generaciones nuevas. Todo esto
es porque la tecnología digital de prestación de servicios está superando a la artesanal y lo que el Cad signi-
ficó en su día hoy es ya un hecho con nuevos retoques de operatividad del mercado digital de prestación de
servicios.
Editor
Jmmag & Partners
www.jmmag.com
www.creactivistas.com
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OS interesa abrir un debate sobre CC, es lo que
por defecto ocurrirá mas pronto que tarde. No por
propia vanidad ya que existen fervorosos defensores de
proyectos en licencia abiertas con fuerza y evidencia
contrastada. Sino por las variables que pudieran
extenderse en un sector tan singular. Sobre todo por la
orientación que debería darse para impulsar el mercado
tan competitivo y en algunos casos quebrado en el que se
ha convertido el mundo inmobiliario. No se trata por
tanto de restar sino de potenciar lo que hasta hace poco
era cómodo para muchos y cuando copiar -bien- es
cuanto menos oportuno. Creative Commons comenzó a ofrecer licencias para compartir
contenidos abiertamente hace solo una década. En la actualidad más
de 400 millones de obras con licencias CC se encuentran disponibles
en internet, desde música y fotografías, hasta resultados de
investigación y cursos universitarios completos. Creative Commons
creó la infraestructura técnica y legal que permite el intercambio
e_caz de conocimiento, arte y datos por parte de individuos,
organizaciones y gobiernos. Y lo que es más importante, millones de
creadores han aprovechado esa infraestructura para compartir obras
que enriquecen el procomún mundial de la humanidad.
La idea del acceso universal a la investigación, la
educación y la cultura es posible gracias a Internet, pero
nuestros sistemas legales y sociales no siempre permiten
que esa idea pueda hacerse realidad. El copyright fue
creado mucho antes de la aparición de Internet, y puede
hacer que sea muy difícil llevar a cabo legalmente
acciones que damos por sentadas en la Red: copiar,
pegar, editar la fuente y publicar en la Web.
La configuración por defecto de la ley de derechos de
autor requiere que todas estas acciones cuenten con
autorización expresa, otorgada de antemano, si eres un
artista, maestro, científico, bibliotecario, un responsable
de la administración, o simplemente un usuario normal.
Para lograr la visión de acceso universal, alguien tenía
que proporcionar una infraestructura pública, gratuita y
estandarizada que creara un equilibrio entre la realidad
de Internet y la realidad de las leyes de copyright. Ese
alguien es Creative Commons”.
N SOBRE CREATIVE COMMONS
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Link Download free book
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En lugar de permitir que los diseñadores decidan el aspecto de su próximo prototipo de automóvil, la empresa Fiat abrió una convocatoria pública de
ideas. En poco más de un año, más de dos millones de personas provenientes de 160 países visitaron la web de diseño del Mio y aportaron 10.000
ideas únicas sobre aspectos clave como la propulsión, la seguridad, el diseño, los materiales y el entretenimiento. Todas las ideas fueron publicadas y
puestas a disposición del resto del mundo bajo licencias Creative Commons.
“Estamos llevando la interacción a su máximo nivel y revolucionando nuestra forma de pensar sobre proyectos futuros para poder comprender sus
necesidades y cambiar el modo tradicional de pensar de la industria automovilística”, dice João Batista Ciaco, director de publicidad y marketing
relacional de la empresa Fiat.
El resultado de esta apertura y cooperación es un prototipo de coche único. El Mio es un vehículo del tamaño de un coche inteligente, con ruedas que
giran 90 grados, parabrisas que se adaptan a distintas condiciones climáticas y sistema de recuperación de energía cinética, eólica y solar. Dado que
el prototipo tiene una licencia Creative Commons, cualquiera puede incorporar estas ideas en su trabajo futuro, desde artistas plásticos y diseñadores
hasta compañías automovilísticas de la competencia. Al igual que la mayoría de los prototipos de automóvil, el Mio posiblemente nunca entre en
producción, pero es probable que se incorporen las innovaciones y el rumbo sugerido en los próximos diseños de Fiat. Además, gracias a la licencia
CC, estas buenas ideas pueden extenderse libremente por toda la industria automovilística.
MÁS INFO http://www.fiatmio.cc
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El premiado cineasta Vincent Moon es una especie de nómada. No tiene hogar ni demasiadas posesiones: tan solo algo de ropa, libros, unos pocos
discos duros, equipo de grabación y un viejo ordenador portátil. Pero Moon posee un talento incomparable para realizar películas musicales
de ensueño. Todas las obras originales de Moon se estrenan bajo una licencia BY-NC-SA de Creative Commons, de modo que cualquier persona
puede compartirlas o remezclarlas siempre y cuando se otorgue el debido reconocimiento y no se use para nes comerciales. “Es como si viviera mi
vida bajo una licencia Creative Commons”, comenta, poniendo énfasis en su participación activa en la economía de compartir que CC contribuye a
hacer posible. “Hago películas a cambio de un lugar donde quedarme y algo de comida. Mis películas son un pretexto para conocer personas, viajar y
aprender; la cámara es mi herramienta social”. Desde que comenzó con este estilo de vida hace dos años, la vida de este hombre de 31 años tomó la
dirección contraria al romance fallido que inicialmente le llevó a emprender el camino. Su película La Faute Des Fleurs del año 2009 ganó el Premio
de Sonido y Visión en el Festival Internacional de Documentales de Copenhague y su serie Take Away Show, en la que documenta abiertamente a
músicos de todo el mundo, tiene un éxito enorme en YouTube.
En la actualidad, Moon se encuentra desarrollando un nuevo proyecto denominado Petite Planetes que recopila grabaciones audiovisuales de sus
viajes. “Estoy en una búsqueda alrededor del mundo para intentar redenir la posición del ‘creador’ en nuestra generación. La licencia CC es una
parte muy importante de todo esto”.
MÁS INFO http://www.vincentmoon.com
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After training as an architect, Cameron Sinclair (then age 24) joined Kate Stohr to found Architecture for Humanity, a nonprofit that helps architects
apply their skills to humanitarian efforts. Starting with just $700 and a simple web site in 1999, AFH has grown into an international hub for
humanitarian design, offering innovative solutions to housing problems in all corners of the globe.
Whether rebuilding earthquake-ravaged Bam in Iran, designing a soccer field doubling as an HIV/AIDS clinic in Africa, housing refugees on the
Afghan border, or helping Katrina victims rebuild, Architecture for Humanity works by Sinclair's mantra: "Design like you give a damn." (Sinclair and
Stohr cowrote a book by the same name, released in 2006.)
A regular contributor to the sustainability blog Worldchanging.com, Sinclair is now working on the Open Architecture Network, born from the wish he
made when he accepted the 2006 TED Prize: to build a global, open-source network where architects, governments and NGOs can share and
implement design plans to house the world.
"Cameron Sinclair is doing his best to save the world, one emergency shelter and mobile AIDS clinic at a time."
Washington Post
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http://os-house.org/english/os-house/Home
Sustainable Affordable Housing
Open Source House aims to create sustainable and affordable
housing for all with locally embedded design using natural
materials. Including the wishes and needs of the end user and an
assessment of the local current housing industry. The solutions
are generated in the design competitions, are open source and
are encouraged to be used by anyone to improve housing
anywhere in any situation.
OS House Activites
Start-up local companies to provide affordable/sustainable
housing
Organise competitions for new locations
Stimulate local parties to use designs and adapt them to the
local conditions
Realise 100,000 OS-Houses before the year 2020!
Current Issues
OS House works from the top down and the bottom up, as an
issue driven organisation. Rapid urbanisation, wastage of
resources, global warming, inefficient construction methods and
unshared ideas are all part of the underlying problem. Generating
choice is a priority, and the platform is a place where knowledge
and creativity come together to address these issues.
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CREATIVE COMMONS EN LA ARQUITECTURA
Nuevas terminologías referentes a los derechos que corresponden por ser autor de un proyecto circularan por la red como Copylef, Creative Commons,
Licencia de Autor Libre de Derechos, Open Source, Se Permite Copiar (SPC) y otros muchos.
En el caso español son los propios Colegios Profesionales los que se encargan de esta labor sin perjuicio de la defensa ante los propios Tribunales de
los derechos inherentes al autor del proyecto y que este no se pueda copiar.
La protección de derechos comienza a ser -no solo innecesaria- porque realmente se copia en abundancia en un sector ampliamente consentido,
donde los estilos, la “savia” de los proyectos se trasladan de uno en otro proyecto cuando no se definen módulos preconfigurados en una simple
repetición de secuencias. Se copia, se plagia y sobre todo lo más abundante es que se repite hasta la saciedad. Hecho que es ampliamente demostrable
con los denominados “pitufos” de nuestro nuevo paisaje urbanístico. Por no decir las repetitivas estructuras de edificios con ligeras variantes.
El mercado, la progresión especuladora, el aumento constante de los costes ha hecho llegar a un hartazgo de los consumidores en la configuración de
forma y habitad de vida. Perdurará por siglos venideros en este mismo diseño para lo cual no solo no se ha generado el suficiente debate sino que
existen serios desequilibrios de calidad entre proyectos muy pensados y otros que han sido improvisados, cuanto menos. Posiblemente los
componentes de este diseño pudieron mejorarse con un adecuado sistema de contenidos de otros estudios que idearon una mejor solución a estas
metódicas filas de casas adosadas sin más interés que las figuras geométricas que forman a vista de pájaro.
Nuestra propuesta utilizada ya por algunos estudios como algo novedoso puede provocar un cambio de un rango revolucionario en el ámbito de la
arquitectura unido a la era digital y las comunicaciones.
Cameron Sinclair ideó un proyecto de casas para un mundo en desarrollo a través de este concepto y ha sido ampliamente seguido por muchos apoyos
para llevar soluciones para un mundo en constate necesidad de ideas frescas. Sobre todo en las zonas donde el desarrollo consiste en tener unas
condiciones mínimas de habitabilidad.
Pero no se trata solo de frecuentar estas figuras en licencia libre en proyectos de desarrollo sino en la mas variadas formulas de ingeniería para casas
de baja emisión, mobiliarios urbanos o determinados detalles de ejecución. Algunos dirán que son las propias marcas las que desde hace mucho tiempo
están prestando su apoyo técnico a la elaboración del proyecto a modo de detalles o la propia imposición en la memoria del proyecto. No queremos
alarmar pero esto va mucho mas allá. Pronto veremos como se podrá comprar un proyecto -en Prêt-à-porter- de casa Ghery o Foster con un simple
download y a bajo precio. Es solo un detalle de lo que supone la revolución.
La complejidad que comienzan a tener los más simples proyectos distan mucho de aquellos dibujos en dos laminas en las que los más insignes
arquitectos de principios de XX firmaban sus proyectos de ejecución. Las llamadas extensas “tripas” del proyecto comienza a ser una demanda de
interés para el presupuesto de ejecución y en la mayoría de los casos intervienen ingenieros, sociólogos, artistas, artesanos, abogados, psicólogos y en
general personas que pueden contribuir a un mejoramiento del mismo. Caso más singular cuando se trata de un proyecto de urbanización. Sin con ello
menoscabar el papel del arquitecto que se convierte en un “Director de Proyecto” como diseñador del mismo y coordinador de las partes
especializadas.
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El resultado serian proyectos híbridos donde todo el mundo se beneficiaria de las nuevas tecnologías más avanzadas en viviendas sostenibles, diseños
ecoeficientes o simplemente reproducir un proyecto en cualquier parte del mundo con la firma de un arquitecto local como responsable de la ejecución
de éste en licencia CC. Con las condiciones que permite este tipo de licencia. Las ideas sobre este tipo de liberación podría hacer revolucionar la
arquitectura en beneficio de todos y también implicaría una mejor y eficaz atención a la ejecución del proyecto. Algunas opiniones al respecto:
-Domenico de Ecosistema Urbanos:
En arquitectura se copia….. y mucho. Entonces porque no hacerlo de manera útil y organizada?
Copiar hoy en día sigue teniendo una connotación negativa, sin embargo no tiene porque ser así. Copiar puede ser extremamente positivo, si se hace de
manera inteligente y organizada. En otros campos se copia y se permite copiar constantemente. Por ejemplo al mundo del software y de internet, no es
raro encontrar códigos de programas bajo una licencia (open source) que permite su libre uso (se permite copiar). Esto permite crear una red de
desarrolladores que trabajan para mejorar el programa e incluso cambiarlo para adaptarlo a diferentes usos. De esta manera los trabajos de todos se
suman y no se ponen en competición.
http://ecosistemaurbano.org/ecosistema-urbano/licencias-creative-commons-aplicadas-a-nuestros-proyectos/
-JOSÉ FARIÑA TOJO, Catedrático de Urbanismo y Ordenación del Territorio. Univ. Politécnica de Madrid
Hace años me preocupa un fenómeno que se viene agudizando de forma muy notable últimamente y que, entiendo, está relacionado con el significado
del término cultura. Se trata de la progresiva apropiación del conocimiento humano en beneficio de unos pocos. Algunos lo llaman de derechos de autor.
http://elblogdefarina.blogspot.com/2008/10/arquitectura-imagen-y-derechos-de-autor.html
-El proyecto de Cameron Sinclair de recursos abiertos de arquitectura. Cuanto tenia 24 años, Kate Stohr y él fundaron una organización para que
arquitectos y diseñadores se involucraran en el trabajo humanitario. No sólo para responder a desastres naturales, pero también para involucrarse en
problemas sistémicos. Creían que dónde los recursos y la experiencia son escasos, la innovación y diseño sostenible pueden cambiar la vida de las
personas.
http://openarchitecturenetwork.org/
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-“LA PROPIEDAD INTELECTUAL DE LOS ARQUITECTOS” por Arasa & De Miguel Abogados
Hace unos meses un cliente me pedía consejo legal al ser contratado como arquitecto para proyectar un edificio con vocación de obtener la categoría
de emblemático. Las dudas y las inquietudes que justificaban la solicitud de asesoramiento tenían su origen más en el aspecto creativo y de autor, que
no en las connotaciones económicas del contrato. La faceta que más inquietaba al facultativo no era asegurarse el cobro del precio de su proyecto,
sino garantizar la paternidad de su obra, lo que se reflejaba en unas preguntas muy concretas: ¿ La legislación española sobre Propiedad Intelectual
protege el proyecto del arquitecto y/o la obra finalmente resultante? ¿La protección incluye la facultad del arquitecto de oponerse a futuras
modificaciones sobre la obra finalizada que puedan desnaturalizar la misma, por lo menos según su criterio de autor?
http://www.aradem.com/node/422
+Link Online
Accede a los Videos y la traducción Online
Post Online with Videos and traslation
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Award World Architecture Festival 2011 ‘super-jury’
Michael Sorkin, Principal of the Michael Sorkin Studio, New York;
Jo Noero, Principal of Noero Wolff Architects, Cape Town;
Odile Decq, Principal of ODBC, Paris;
Professor Kongjian Yu, Principal of Turenscape, Beijing, a double category winner in previous WAF awards
MEDIA PARTNERS World Architecture Festival 2011
www.creactivistas.com
www.jmmag.com
World Architecture Festival is the world's largest,
live, truly inclusive and interactive global
architectural awards programme. It is a unique
meeting point for architects, suppliers and clients,
attracting hundreds of entries and visitors from all
over the world.
http://www.worldarchitecturefestival.com/
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Client / Developer
St. Frederikslund
Denmark
Environmental Engineer
Moe & Brødsgaard
Denmark
Landscape Architect
KLAR
Denmark
Structural Engineer
Moe & Brødsgaard
Denmark
Award World Architecture Festival 2011—Housing
8 House Location Copenhagen, Denmark
Bjarke Ingels Group
Denmark
With spectacular views towards the Copenhagen
Canal and over Kalvebod Fælled’s protected open
spaces, 8 House will not only be offering residences
to people in all of life’s stages as well as office
spaces to the city’s business and trade - it will also
serve as a house that allows people to cycle all the
way from the ground floor to the top, moving
alongside townhouses with gardens winding through
an urban perimeter block.
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Can you imagine cycling up to
your penthouse loft? With spectacular views towards the Copenhagen Canal and over Kalve-
bod Fælled’s protected, open spaces, 8 House will not only be offering
residences to people in all of life’s stages as well as office spaces to the
city’s business and trade - it will also serve as a house that allows peo-
ple to bike all the way from the ground floor to the top, moving alongside
townhouses with gardens winding through an urban perimeter block.
8 House’ 50,000 m2 accommodates 540 residential units. The base con-
sists of 10,000 m2 businesses, spread out at street level alongside the
surrounding main streets, and at the Northern court yard that houses an
office building. 8 House is partly for rent housing and partly residential
property varying from 65 to 144 m2.
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cREACTIVISTAS Diciembre 2011 15
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cREACTIVISTAS Diciembre 2011 16
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Two sloping green roofs tota-
ling 1,700 m2 are strategically
placed to reduce the urban heat
island effect as well as provi-
ding the visual identity to the
project and tying it back to the
adjacent farmlands towards the
south; 8 house is literally hois-
ted up in the Northeast corner
and pushed down at the South-
west corner, allowing light and
air to enter the southern court-
yard – optimizing the daylight
and natural heating for all in-
habitants and users of the buil-
ding and providing natural ven-
tilation.
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8 House is where you will find the attention to detail embedded in a larger
context. Here, closeness thrives in the 60,000 m2 building. This is where the
tranquillity of suburban life goes hand in hand with the energy of a big city,
where business and housing co-exist. 8 House is where common areas and
facilities merge with personal life, and where you can reach for the stars at
the top of the building’s green areas. The building’s housing program offers
three kinds of accommodation: apartments of varied sizes, penthouses and
townhouses. With a mix of suburban tranquillity and urban energy, the town-
house and its open housing is ideal for the modern family, while singles and
couples may find the apartments more attractive. And for those who live life
to the fullest, the penthouses function as a playground with fantastic views
over the canal and Southern Copenhagen. The different housing typologies
are united by the exterior dimensions which provide inspiration for adventu-
res, inspiring communities. Partly inspired by classic townhouses as well as
the open, democratic nature of functionalistic architecture.
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cREACTIVISTAS Diciembre 2011 21
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The architects have designed a long, coherent house with im-
mense differences in height, creating a strong inflow of light
and a unique local community with small gardens and path-
ways that channel your thoughts into mountains in Southern
Europe and memories of a childhood home. The bow-shaped
building creates two distinct spaces, separated by the centre
of the bow which hosts the communal facilities of 500 m2. At
the very same spot, the building is penetrated by a 9 meter
wide passage that connects the two surrounding city spaces:
the park area to the west and the channel area to the east.
Instead of dividing the different functions of the building - for
both habitation and trades - into separate blocks, the various
functions have been spread out horizontally. The apartments
are placed at the top while the commercial programme unfolds
at the base of the building. As a result, the different horizontal
layers have achieved a quality of their own: the apartments
benefit from the view, sunlight and fresh air, while the office
leases merge with life on the street.
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ARCHITECTURAL ALCHEMY
+Link Online
Accede a los Videos y la traducción Online
Post Online with Videos and traslation
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Award World Architecture Festival 2011—World Shopping Building of the Year
Decameron Location São Paulo, Brazil
Mr Marcio Kogan
studio mk27
Brazil
The showroom of the Decameron furniture store is located
on a rented site in the furniture commercial alley in São
Paulo. To make the quick and economic construction
viable, the architect, worked with the premise of a light
occupation combined with industrial elements, which could
easily be assembled.
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Architect
Mr Marcio Kogan
studio mk27
Brazil
Architect
Mrs Mariana Simas
studio mk27
Brazil
Client / Developer
Mr Marcus Ferreira
Decameron Design
Brazil
Environmental Engineer
studio mk27
Brazil
Interior Designer
Mrs Diana Radomysler
studio mk27
Brazil
Landscape Architect
Renata Tilli
Brazil
Structural Engineer
Poughet
Brazil
glass window frames
vitrocsa
Switzerland
polycarbonate window frames
kiko esquadrias
Brazil
sanitery faucets
interbagno
Brazil
Photograph byPedro Vannucchi
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The showroom of the Decameron furniture store is located on a rented site
in the furniture commercial alley in São Paulo. To make the quick and eco-
nomic construction viable, the project worked with the premise of a light
occupation of the lot, basically done with industrial elements, which could
easily be assembled.
The space was constructed through a mixed solution, with maritime trans-
port containers and a specifically designed structure. Despite the spatial
limitation imposed by the pre-determined dimension of the containers, the
piece has impressive structural attributes that makes piling them possible.
Two stories of containers form tunnels where products are displayed side
by side.
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The ample span, necessary to show furniture in rela-
tion with each other, is constructed by a metallic struc-
ture. This space is closed, in front and in back, by dou-
ble-height metal casements with alveolar polycarbona-
te. At the back of the lot, there is a patio filled with
trees and a pebbled-ground. When both doors are si-
multaneously opened, the whole store becomes inte-
grated with its urban context. At rush stressful hours,
by opening only the back doors, the store becomes self
-absorbed, ruled by the presence of the inner-garden.
On the back of the site is the office, closed by a glass
wall that enables the designers to take part on the sa-
les life. Two edges of the design process in contact
through the inner patio as other opposing strengths al-
so meet at this small project: The intensity of the urban
life and a small nature retreat, the power of the contai-
ners and the lightness of the metallic structure and fi-
nally, the linearity of the tunnels and the cubic volume.
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Award World Architecture Festival 2011 — World Display Building of the Year
Norwegian Wild Reindeer Center Pavilion
Location Hjerkinn, Norway
Architect Snøhetta
The Norwegian Wild Reindeer Centre Pavilion is
located at Hjerkinn on the outskirts of Dovrefjell
National Park, which rises 1200 metres above sea
level and is home to Europe’s last wild reindeer
herds and is the natural habitat for many rare plants
and animals. The 90m² building, which features a rigid
outer shell and an organic inner core is open to the
public and serves as an observation pavilion for the
Wild Reindeer Foundation educational programmes.
Architect
Mr Erik Brett
Jacobsen Snøhetta Norway
Architect
Mr Martin Brünner
Snøhetta
Norway
Architect
Mr Rune Grasdal
Snøhetta
Norway
Photograph by Klaas Van Ommeren, Knut Bjørgum and Jan Olav Storli
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Architect
Mr Kjetil T. Thorsen
Snøhetta
Norway
+4791368953
Architect
Mrs Margit Tidemand Ruud
Snøhetta
Norway
+4790094733
Client / Developer
Mr Jo Skorem
Norsk villreinsenter Nord
Norway
+4795054755
Contractor wood
Mr Lars Djupvaag
Djupvaag boat builders
Norway
Environmental Engineer
Mr Knut Bjørgum
Snøhetta
Norway
Main Contractor
Prebygg AS
Norway
Project Manager
Mr Knut Bjørgum
Snøhetta
Norway
+4790924564
Structural Engineer
Mr Trond Gundersen
Dr.Techn. Kristoffer Apeland AS
Norway
Sub contractor glass facade
Mr Erik Stening
Skandinaviske glass system
Sweden
Sub contractor steel
Mr Bjørn Lonbakken
Lonbakken as
Norway
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The Norwegian Wild Reindeer Centre Pavilion is
located at Hjerkinn on the outskirts of Dovrefjell
National Park, overlooking the Snøhetta mountain
massif.
The 90m2 building is open to the public and ser-
ves as an observation pavilion for the Wild Rein-
deer Foundation educational programmes. A
1,5km nature path brings visitors to this specta-
cular site, 1200 meters above sea level.
Dovrefjell is a mountain range that forms a barrier
between the norther and southern parts of Nor-
way. It is home to Europe’s last wild reindeer
herds and is the natural habitat for many rare
plants and animals. Among the unique wildlife at
Dovrefjell, the Musk Oxen herds are probably the
main attractions for visitors. A long history filled
with travellers, hunting traditions, mining, and mi-
litary activities has left its mark on this land. In
addition to the natural and cultural landscape, the
Dovre mountain range also holds significant im-
portance in the Norwegian consciousness. Natio-
nal legends, myths, poetry (Ibsen), music (Grieg),
and pilgrimages celebrate the mystic and eternal
qualities of this powerful place. The founding fat-
hers of the Norwegian constitution are ”agreed
and faithful, until the fall of Dovre!”
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This unique natural, cultural and mythical landscape has for-
med the basis of the architectural idea. The building design is
based on a rigid outer shell and an organic inner core. Remi-
niscent of rock or ice eroded by wind and running water, the
south facing exterior wall and the interior create a protected
and warm gathering place, while still preserving the visitor’s
view of the spectacular natural panorama.
Considerable emphasis is put on the quality and durability of
the materials to withstand the harsh climate. The rectangular
frame is made in raw steel resembling the iron ore found in
the local bedrock. Over time the rusted colour blends with the
natural colours in the sourrounding mountains.
The simple form and use of natural materials reference local
building traditions.
However, advanced technologies have been utilized both in
the design and the fabrication process. Using 3D computer
models to drive the milling machines, Norwegian shipbuilders
in Hardangerfjord have created the organic forms from 10
inch square pine beams. The wood was then assembled in a
traditional way using only wood pegs as fasteners. The exte-
rior wall was then treated with pine tar while the interior wo-
od has been oiled.
The pavilion is a robust yet nuanced building that gives visi-
tors an opportunity to reflect and contemplate this vast and
rich landscape.
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Award World Architecture Festival 2011 — World Health Building of the Year
Rehabilitation centre Groot Klimmendaal Photograph by Rob t Hart - Rob het Hart Fotography
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Location Arnhem, Netherlands
Architect Architectenbureau K van Velsen BV,
Hilversum, Netherlands
Award World Architecture Festival 2011 — World Health Building of the Year
In the undulating forest landscape around Arnhem in the eastern part of the
Netherlands, revalidation centre ‘Groot Klimmendaal’ can be found standing as a
quiet deer in between trees. From a small footprint, the building gradually fans out
towards the top and cantilevers out over the surrounding terrain. The care concept is
based on the idea that a positive and stimulating environment increases the well-
being of patients and has a beneficial effect on their revalidation process. The design
ambition was not to create a centre with the appearance of a health building but a
building as a part of its surroundings and the community.
Architect
Mr Koen van Velsen
Architectenbureau K van Velsen
BV
Netherlands
Client / Developer
Stichting Arnhems revalidatiecentrum
Groot Klimmendaal
Netherlands
Environmental Engineer
Royal Haskoning RTB van Heugten
Netherlands
Main Contractor
BAM Utiliteitsbouw BV
Netherlands
Project Manager
Brinkgroep
Netherlands
Structural Engineer
DHV Building and Industry BV
Netherlands
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This unique natural, cultural and mythical landscape has formed the
basis of the architectural idea. The building design is based on a rigid
outer shell and an organic inner core. Reminiscent of rock or ice ero-
ded by wind and running water, the south facing exterior wall and the
interior create a protected and warm gathering place, while still pre-
serving the visitor’s view of the spectacular natural panorama.
Considerable emphasis is put on the quality and durability of the mate-
rials to withstand the harsh climate. The rectangular frame is made in
raw steel resembling the iron ore found in the local bedrock. Over time
the rusted colour blends with the natural colours in the sourrounding
mountains.
The simple form and use of natural materials reference local building
traditions.
However, advanced technologies have been utilized both in the design
and the fabrication process. Using 3D computer models to drive the
milling machines, Norwegian shipbuilders in Hardangerfjord have crea-
ted the organic forms from 10 inch square pine beams. The wood was
then assembled in a traditional way using only wood pegs as fasteners.
The exterior wall was then treated with pine tar while the interior wo-
od has been oiled.
The pavilion is a robust yet nuanced building that gives visitors an op-
portunity to reflect and contemplate this vast and rich landscape.
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N o r w e g i a n W i l d R e i n d e e r C e n t r e P a v i l i o n
The Norwegian Wild Reindeer Centre Pavilion is located at
Hjerkinn on the outskirts of Dovrefjell National Park, overloo-
k i n g t h e S n ø h e t t a m o u n t a i n m a s s i f .
The 90m2 building is open to the public and serves as an obser-
vation pavilion for the Wild Reindeer Foundation educational
programmes. A 1,5km nature path brings visitors to this specta-
cu lar s i te , 1200 meters above sea leve l .
Dovrefjell is a mountain range that forms a barrier between the
norther and southern parts of Norway. It is home to Europe’s
last wild reindeer herds and is the natural habitat for many rare
plants and animals. Among the unique wildlife at Dovrefjell, the
Musk Oxen herds are probably the main attractions for visitors.
A long history filled with travellers, hunting traditions, mining,
and military activities has left its mark on this land. In addition
to the natural and cultural landscape, the Dovre mountain range
also holds significant importance in the Norwegian conscious-
ness. National legends, myths, poetry (Ibsen), music (Grieg), and
pilgrimages celebrate the mystic and eternal qualities of this
powerful place. The founding fathers of the Norwegian constitu-
tion are ”agreed and faithful, until the fall of Dovre!”
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In the undulating forest landscape around Arnhem in the eastern part of the Netherlands, revalidation centre
‘Groot Klimmendaal’ can be found standing as a quiet deer in between trees. From a small footprint, the
building gradually fans out towards the top and cantilevers out over the surrounding terrain. Despite its si-
ze, the brown-golden anodised aluminium facade allows the nearly 14.000sqm building to blend in with its
natural surroundings. Full height glazing along the central space connecting the various different internal
elements of the building ensures an almost seamless continuity between interior and exterior. The meande-
ring facade in the restaurant results in a building in between trees and invites the forest inside the building.
The surrounding nature has a strong visual and tangible presence everywhere in the building; it allows the
user to revalidate whilst walking.
‘Groot Klimmendaal’ is part of a masterplan also designed by Koen van Velsen. The masterplan envisages
the area, largely built upon by one and two-storey buildings, to be gradually transformed into a public park
landscape.
The arrangement of the programme is clear. Below are offices, above are the clinical area’s and on the roof
a Ronald McDonald House with its own identity. The double-height ground floor at entrance level facilitates
the special elements of the programme such as a sports facility, fitness, swimming pool, restaurant and
theatre. Not only patients but also family members and members of the local community (schools, theatre
groups etc) use these facilities on a regular basis. As a result, both patient and building are placed at the
centre of the community.
The care concept is based on the idea that a positive and stimulating environment increases the well-being
of patients and has a beneficial effect on their revalidation process. The design ambition was not to create a
centre with the appearance of a health building but a building as a part of its surroundings and the commu-
nity.
Revalidation centre ‘Groot Klimmendaal’ radiates self-confidence and self-control. The welcoming and
open environment offers a natural habitat for care but at the same time allows plenty of opportunity for ot-
her activities. The building is the result of an intensive collaboration between architect Koen van Velsen
and the users of the building. For example, a shallow timber staircase runs the full internal height of the
building and is typical for the new integral way of working. It facilitates a direct route between the different
floors but also enables a variety of alternative routes roaming the building and thus forms an invitation to
undertake physical exercise.
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A combination of large and small voids and light wells ensure a spatial connection between
different levels and allow natural daylight deep in the heart of the 30metres wide building. In-
terplay of striking but subtle colours and direct and indirect (artificial) lighting enlivens the
interior.
The use of energy is amongst others reduced by the compact design of the building and the
design of the mechanical and electrical installations. Most notably the thermal storage (heat
and cold storage) contributes to the reduction of energy consumption. The choice of selecting
sustainable building materials and materials requiring little maintenance for floor finishes, cei-
lings and facade cladding result in a building which can be easily maintained and with a long
lifespan. The building has been custom made for its users but the design offers at the same
time opportunities for different ways of using the building and the inevitable transformations
of different departments within the client ’s organization.
Revalidation centre “Groot Klimmendaal’ is a coming together of both complexity and simpli-
city with attention for physical, practical and social details. Transparency, continuity, layering,
diversity, the play of light and shadow and the experience of nature are all ingredients of this
stimulating environment.
Architectenbureau Koen van Velsen BV
Hilversum, 27 June 2011
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Wadi Rum Resort
Award World Architecture Festival 2011 — Future Project of the Year – Commercial
Location: Jordan - Architect Oppenheim Architectrure + Design. Miami, USA
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Environmental Engineer Sherwood Engineers United States of America
Landscape Architect Roberto Rovira Azimuth Studio United States of America 707.319.6149 [email protected]
Structural Engineer Omnispan Corp United States of America 626.449.6412
Sustainability Consultant Savida AGSchneidergasse Switzerland
Botanical and Biological Water Filtration
System
Living Machine System
Worrell Water Technologies
United States of America
Wadi Rum Welcome / Photograph by Eric de
Broche des Combes - Luxigon
A unique luxury accommodation where desert sand meets desert
stone, engaging with the landscape with nominal impact and primal
elegance. The boundaries between man-made and nature, interior and
exterior are deliberately blurred to establish maximum impact.
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Through our winning international design competition entry for this most unique
of hospitality concepts, we have been engaged in an opportunity to set forth a
new benchmark for design, construction, quality and sustainability in the natural
environment. Having enlisted some of the best consultants globally, our proposal
attempts to reinterpret the way we have dealt with the earth. Here, where de-
sert sand meets desert stone, we see a singular opportunity to devise a new
contract between man and nature.
Earnest and timeless, the architecture is simultaneously powerful, yet comforta-
ble; primitive, yet innovative; casual, yet elegant; raw, yet refined. The project
merges silently with its wondrous setting, exploiting and enhancing the natural
beauty of Jordan to establish luxury lodge accommodations – that are uniquely
beautiful and luxurious. The resulting experience is sensual and sensitive, inten-
tionally reduced to what is essential – romantically establishing a primitive con-
nection with the universe through bold, elemental forms, sincere materiality/
detailing, and the florid use of Jordan’s bountiful natural resources both physical
and ethereal.
The conceptual point of departure has its roots in the tectonic and geological
histories of the region. Through an engagement of the existing natural faults and
fissures, the architecture is inserted in the landscape with nominal impact and
primal elegance – synchronizing with the topography. The boundaries between
man-made and nature, interior and exterior are deliberately blurred establishing
maximum impact with minimum effort. Dramatically situated; yet, the lodges are
nestled across the landscape – where architecture heightens rather than dis-
torts ones awareness of the context. The lodges and villas in their various in-
carnations; rock lodge, spa lodge, tent lodge and reserve villa are all about spa-
ce, not status; about connection, not dislocation with the awe-inspiring planet
we inhabit. Their architectonic form responds directly to the rich regional cues:
an evolutionary process that has established, over millennia, a clear and appro-
priate type that is in resonance with nature.
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Sustainability is imbued throughout the project ’s life cycle – where intelligent plan-
ning provides innovative opportunities for energy and resource conservation, up-
cycling (as opposed to re-cycling), waste, and healthy building initiatives – where
ecology and sustainability set forth even greater guilt-free luxury, not self denial.
The project will synergize with the environment – harvesting the power of earth,
wind, and sun in a discrete; yet highly efficient manner. Passive means of cross ven-
tilation, the natural cooling effect of the rocks, and proper siting allow the project to
minimize energy consumption and maximize comfortable healthy living. Great care
has been given to utilizing local materials as well as various water conservation
measures for both human and site irrigation (beyond super efficient fixtures--dual
flush toilets, low flow showers, etc.) – establishing a relatively closed system of
harvesting rain water in subterranean cisterns and re-harvesting grey/black water
though a living machine of botanical and biological nature. All systems and services
will be completely integral to the design.
“We have trained and heightened our senses to see, smell, taste, hear, and touch the
mystical beauty of Wadi Rum. To uncover opportunities within the magical landscape
to merge viscerally and emotionally with place by minimum effort and maximum ef-
fect. To uncover the inherent power of the desert through primal and instinctual de-
sign moves informed by the forces, rhythms and patterns of nature — past, present,
and future. To reconsider our relationship to nature and to each other. To listen to
our needs and fulfill our desires. To follow our hearts in order to find the soul of the
project. To feel, to connect, to create the essence of Wadi Rum.
--- Chad Oppenheim, AIA, LEED AP”
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Client / Developer
Women For Women International
United States of America
Environmental Engineer
Eric Rothstein
United States of America
Women's Opportunity Center
Kayonza, Rwanda
Architect Sharon Davis Design
Award World Architecture Festival 2011 — Future Projects Education
Structural Engineer
Arun Rimal
United States of America
On a two-hectare site in Rwanda, the most densely
populated country in Africa, the Women’s Opportunity
Center is a change-making campus that empowers one
small community and, in turn, reframes the way we as
architects engage the world.
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On a two-hectare site in Rwanda, the most densely populated country in
Africa, the Women’s Opportunity Center is a change-making campus that
empowers one small community and, in turn, reframes the way we as archi-
tects engage the world.
Created in collaboration with our client, Women for Women International — a
humanitarian organization helping women survivors of wars rebuild their li-
ves — this mini-village in Rwanda transforms unsustainable urban agglome-
ration and subsistence farming with an architectural agenda to create eco-
nomic opportunity, rebuild social infrastructure, and restore cultural herita-
ge.
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Change begins in the project ’s very building blocks. Our design revives a lost Rwandan hou-
sing tradition with rich spatial and social layers. Its circular forms radiate from intimate class-
rooms to a community space, farmer’s market, guest lodging, and the civic realm beyond.
Bricks are made from clay on site by the center’s future users, a process that creates income
opportunities and spurs social solidarity. The innovative program includes a demonstration
farm that helps women produce and market their own goods, manage a business, and fuel the
local economy. Our global network of consultants tapped African entrepreneurs to create water
purification, biogas, and other sustainable systems that can now be produced and maintained
by Rwandans for Rwandans.
Brick by brick, we are building big change. Now under construction, the Women’s Opportunity
Center is a teaching tool that will ultimately empower 300 women annually to transcend a le-
gacy of conflict. In their lives and stories, we have found the locally inspired grounds for a
globally resonant architecture of optimism.
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Glacier Discovery Walk
Location Jasper National Park
Canada
Architect Sturgess Architecture
Calgary, Canada
Client / Developer
Brewster Inc. Inc.
Canada
Electrical Engineering
Stebnicki + Partners
Canada
Environmental Engineer
Golder Associates Ltd.
Canada
Project Manager
PCL Construction Management
Canada
Structural Engineer
Read Jones Christoffersen Ltd.
Canada
Award World Architecture Festival 2011 — Future Project of the Year – Competition Entries
The Glacier Discovery Walk is envisioned as an extension of the fractal landscape that defines the Columbia Icefields in Canada’s Jasper National Park. Located along the edge of this dramatic escarpment, the project weaves a continuous thread of experience through united geometric and material forms. This sinuous experience defines the Discovery Walk not only as a singular destination, but as a catalyst and gateway that empowers guests to immerse themselves in the untouched natural environment.
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Glacier Discovery Walk
The Glacier Discovery Walk is envisioned as an extension
of the fractal landscape that defines the Columbia Icefields
in Canada’s Jasper National Park. Located along the edge
of this dramatic escarpment, the project weaves a conti-
nuous thread of experience through united geometric and
material forms. This sinuous experience defines the Dis-
covery Walk not only as a singular destination, but as a
catalyst and gateway that empowers guests to immerse
themselves in the untouched natural environment.
The site’s complex cultural and physical landscape is the
inspiration for the project ’s design and materiality. The
historical and ecological narrative of Canada’s National
Parks necessitates innovation in materials and a sustaina-
ble approach to building. Weathering steel is used on all
exposed non-horizontal surfaces to match the colouration
of adjacent rock, while providing a maintenance and VOC-
free material. Geologically, the thrust-fault movement in
the area has created a fractal landscape that informs the
larger formal gestures of the architecture. The angular
forms, rusted hues and warm texture of Corten steel finish
relate to the rocky outcroppings of the surrounding moun-
tains, while the glazing mimics the glacial flow.
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The theme of rugged architecture is evident throughout the voyage of
discovery, providing contrast between the subtle gesture and monumen-
tal idea that defines the Glacier Discovery Walk experience. The intent
of the walk is not to be a destination, but a journey. The competition
brief asked that there be no hierarchy of design, to allow a unifying ex-
perience between the Receiving Area, the Discovery Trail and the Dis-
covery Vista. The structures along the Discovery Trail are restrained in
their design and appear as ‘landscape’ objects, deferring to the beauty
and grandeur of their natural surroundings. Articulated as crystalline
interventions, the interpretive stations project from and recess into the
rock face in response to the program and climactic conditions present at
each specific location. This infrastructure is defined by angular forms of
Corten steel plate providing shade and shelter while echoing the forms
of the Receiving Area and the Discovery Vista.
In contrast, the Discovery Vista projects from the shear face of the
mountainside to allow visitors to experience the grandeur and scale of
the glacier below. Architecturally, the broken geometry of the viewing
platform is further accented by the eccentric horizontal suspended cable
structure supporting the glass walkway.
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Client / Developer
Kjellgren Kaminsky Architecture
Sweden
Environmental Engineer
Kjellgren Kaminsky Architecture
Sweden
Structural Engineer
Kjellgren Kaminsky Architecture
Sweden
roof surface
green roof
Veg tech
Sweden
The Tower of Nests
Location Shanghai, China
Architect Kjellgren Kaminsky Architecture AB,
Göteborg, Sweden
Award World Architecture Festival 2011— Future Project of the Year – Experimental
Located in down town Shanghai, it is designed to be co-
inhabited by humans and animals. Its outer skin is
composed of natural materials to allow birds and bees to
inhabit, yet providing a community space.
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Mankind faces a challenge comparable in size with the industrial revolution to build a sustainable society. In order to
succeed, we need to learn how to coexist with nature. We propose a building that aims to become a symbol; not of power
nor wealth, but of a new era of harmony and interplay between nature and mankind.
The development trend of contemporary metropolises is to increase the population density. This leads to developing ci-
ties vertically instead of horizontally. Although increasing the population per unit area of the city may reduce the daily
commutes, it reduces the daily interaction of people with green spaces, animals and insects. This creates a gray, dull city
and may increase stress and depression among the inhabitants. Moreover, the diversity of animals and insects will be
reduced significantly. On the other hand, building parks, as a suitable place for animals, may not be economically feasible
due to the land price. In the era of “Green Architecture”, where building sustainable is becoming commonplace, what if
the collection of green buildings could go a step further and actually become a functional habitat for birds and wildlife?
To address all of these issues, we developed a new high-rise typology which is essentially integrating human and animal
inhabitants in high-rise buildings. The design further elaborates a combination of rational, man-made apartments and na-
tural, organic-formed bird nests on the facade of a skyscraper. Birds and insects are nature’s premier architects, using a
disarranged form to build functional homes in which to live, reproduce and care for their young ones. Recycling sticks,
branches, grass and mud to construct their shelters, they are undoubtedly the first creators of “Green Architecture”.
Down town Shanghai was selected as the site of our proposed skyscraper, due to the fact that it is a suitable representa-
tion of a contemporary dense city. The tower is designed to be inhabited by humans as well as animals and insects, such
as bees, birds and squirrels! It includes parking, commercial and residential areas and green indoor spaces.
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The building provides flexible plans by using a general module for wet zones, allowing the inhabitants to part their apart-
ments to suit their specific needs. The outer skin is composed of a wide range of natural materials such as wicker, straw
clay and stone. They provide good insulation and comfortable habitats for different species.
The cross section of the tower consists of a central core which encloses circulation as well as mechanical equipments.
The skyscraper’s lower levels which are made of stone, mud and straw clay, provide more solid facade for the wild and
birds to inhabit; therefore, it is designed as a multistory parking. Top floors of the parking also provide spaces on the
facade to be inhabited by bees! The next layer of the proposal provides more community oriented activities such as
shopping center and public spaces. This layer has a U-shaped plan to allow birds as well as natural light to enter inside.
Furthermore, it provides a green space for both humans and animals. Higher levels are intended to be residential. The
higher level floor plans are made of sharp-edged apartments, surrounded by a ventilated faced made of wicker. The
wicker facade starts from the commercial area to the top of the tower, allowing a height development for the future.
Wickers are braided (woven) in various ways, forming the nests on the facade, allowing the window openings and ease of
internal ventilation.
The tower would poetically create closer and richer contact between humans and animals while accommodating them
using the same environment. If their activities are done in the same architectural space, the natural environment beco-
mes important to both. This will increase the responsibility in maintaining the environment, which both animals and
humans use.
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Neijiang, China
Architect Miralles Tagliabue EMBT, BARCELONA, Spain
Zhang Da Qian Museum
Award World Architecture Festival 2011— Future Project of the Year – Cultural
On April 2010, Excellence group invited EMBT to design Zhang Da Qian's museum in
Neijang city, a purpose built museum to exhibit the work of the legendary Chinese
painter in his home town. The design philosophy behind the museum would be to
integrate the cultural essence of east and west and to express the past and the future
and relate to the painter’s friendship with Picasso
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Architect
Evangelia Anamourlogluo
Miralles Tagliabue EMBT
Greece
Architect
Maria Ioanna Barka
Miralles Tagliabue EMBT
Greece
Architect
Ana Isabel Fernandes
Miralles Tagliabue EMBT
Spain
Architect
Enrique Franco
Miralles Tagliabue EMBT
Spain
Architect
Davis Gertners
Miralles Tagliabue EMBT
Germany
Architect
Qiwei Hu
Miralles Tagliabue EMBT
China
Architect
Claudia Paola Martinez
Miralles Tagliabue EMBT
Mexico
Architect
Igor Peraza
Miralles Tagliabue EMBT
Venezuela
Architect
David Ricardo Ramírez
Miralles Tagliabue EMBT
Mexico
Architect
Javier Rivero Carnota
Miralles Tagliabue EMBT
Spain
Architect
Gabriele Rotelli
Miralles Tagliabue EMBT
Italy
Architect
Vaiva Simoliunaite
Miralles Tagliabue EMBT
Lithuania
Architect
Pauline Suhr
Miralles Tagliabue EMBT
France
Architect
Fabian Vargas
Miralles Tagliabue EMBT
Spain
Architect
Verena Vogler
Miralles Tagliabue EMBT
Germany
Architect and Director
Benedetta Tagliabue
Miralles Tagliabue EMBT
Spain
Client / Developer
Excellence Real Estate
(Group) Co; Ltd
China
Engineer
PGI
Spain
Environmental Engineer
No
Spain
Project Director
Mr Daniel Rosselló
Miralles Tagliabue EMBT
Spain
Structural Engineer
Julio Martinez Calzón
MC2
Spain
Architect
David Mas
Miralles Tagliabue EMBT
Spain
Architect
Vincenzo Messina
Miralles Tagliabue EMBT
Italy
Architect
Tomas Montis Sastre
Miralles Tagliabue EMBT
Spain
Architect
Mirian Morcillo Matos
Miralles Tagliabue EMBT
Spain
Architect
Francesca Origa
Miralles Tagliabue EMBT
Italy
Architect
Susana Oses
Miralles Tagliabue EMBT
Spain
Architect
Felipe Pecegueiro da a
Curado
Miralles Tagliabue EMBT
Brazil
Award World Architecture Festival 2011— Future Project of the Year – Cultural
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The painter Zhang Da Qian was born in Neijiang. He is known as the most
legendary master of Chinese painting during the 20th century.
The city is promoting it ’s self by emphasizing Zhang Da Qian’s art, the idea
is: “Da Qian home town, Culture in Neijiang.” The project, Zhang Da Qian
museum is the first step. Purpose of the project is to exhibit Zhang Da Qian’
s life, achievements in art, and contribution to Chinese and world art history.
On April 2010, Excellence group invited EMBT to design Zhang Da Qian's
museum in Neijang city, the painter's hometown.
In 1956 Zhang Da Qian and Pablo Picasso met in Paris, where they exchan-
ged ideas on art and initiated their friendship.
Neijiang city would like to continue this friendship between the two artists,
and moreover between the two cities where they were born, Neijing and
Málaga.
The design philosophy behind the museum would be to integrate the cultural
essence of east and west and to built, expressing the past and the future.
The site is located peak of Dong Tong Lu, Yuan mountain, west of Xi Lin
monastery, south of Tuo River. The museum will be the landmark of the city.
The museum will grow from an existing tea-house and will extend its pavi-
lions over and around a garden that moves topographically on different le-
vels, enclosing part of the old trees in its interior.
The motives and gestures extracted from Zhang da Qian's painting will sha-
pe the forms of the laminated bamboo ribs that conform the vertical sec-
tions, while the interpretation that the Chinese painter did of Picasso face
will inform the geometries of the plan. This merging of geometries from Pi-
casso and Zhang Da Qian wants to emphasize their relationship that enhan-
ced the two cities to perpetuate this friendship.
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Award World Architecture Festival 2011— Future Project of the Year – Residential
Wafra Living
Location Kuwait
Architect AGi Architects,
Kuwait
Architect
Mr Nasser Abulhasan
AGi architects
Kuwait
+965 22230109
Architect
Mr Joaquin Perez-Goicoechea
AGi architects
Spain
+34 915919226
Client / Developer
Wafra Real Estate Co.
Kuwait
Environmental Engineer
Gulf Consult
Kuwait
Structural Engineer
Mr Arturo Macusi
Arturo G. Macusi
Kuwait
The design for the “Wafra Living” complex, consists of a high rise
building set back from the street and an L-shaped building defining the
street edge, conceived to maximize privacy within the community, whilst
providing ample natural light and usable indoor and outdoor common
spaces. Cuts have been made in the front building in order to provide
better views for the lower floor apartments in the back tower.
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The design for the “Wafra Living” complex, consists of a high rise
building set back from the street and an L-shaped building defining
the street edge, conceived to maximize privacy within the commu-
nity, whilst providing ample natural light and usable indoor and
outdoor common spaces. Cuts have been made in the front building
in order to provide better views for the lower floor apartments in
the back tower.
The proposal combines at different levels domestic and collective
scales, private and public, within the complex, whilst at the same
time traces the way to merge in the neighborhood by offering part
of the ground floor level (where the pedestrian and car access are)
to community life through the retail facilities included. At level
+6.00 m is created a “High Square”, a community space for the
tenants to enjoy sports or any other leisure activities in a more
private environment. A “veil” is created on the façade as an occu-
piable layer that conceals the various service spaces within the
apartments that do not directly relate to the public. It is a unifying
element throughout the project that is seen as a constructed space,
rather than an aesthetic façade layer, that can be used for various
purposes. It defines the whole compound as it starts on the 6th
floor and grows, like ivy, vertically and horizontally, complemen-
ting the rest of the façade. It also serves to solve the needs for fi
re egress and even as a walking path to the users. Thus this layer
hosts the fi re escape stairs, separated away from the cores to be
placed in this secondary circulation layer that faces the inner
courtyard of the complex.
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Award World Architecture Festival 2011— Project of the Year – Master Planning
West Kowloon Cultural District Conceptual Plan
Location Hong Kong
Architect Rocco Design Architects Ltd, Hong Kong
Photograph by Pak Chung
The proposed Conceptual Plan for the West Kowloon Cultural District
(WKCD) aspires to evoke a social energy conducive to the spirit of
exploration and discovery, hence the essence for long-term sustainable
cultural development for Hong Kong. The programmatic disposition of
the master plan is structured on a 3-layer organization: green terrain
(south), city link (north) and a cultural zone (centre) for the arts.
Overlaid onto its framework is an urban street-grid. The Conceptual
Plane aim is to offer a low carbon sustainable community.
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The proposed Conceptual Plan for the West Kowloon Cultural District
(WKCD) aspires to evoke a social energy conducive to the spirit of explo-
ration and discovery, hence the essence for long-term sustainable cultural
development for Hong Kong. The programmatic disposition of the master
plan is structured on a 3-layer organization:
1) The Green Terrain at the south is a continuous undulating green lawn
by the waterfront filled with leisurely retail and diners;
2) The City Link at the north fuses with the existing neighbourhood and
accommodates spaces for living, working and all the commercial activi-
ties;
3) The Cultural Core in the middle unifies all the visual and performing
arts facilities to promote participation by the locals as well as the overse-
as.
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This planning framework addresses the need for a cultural
ecology to provide education, incubation, commercial supports
and opportunities for production. The master plan concept fo-
cuses on promoting interactivities and synergies between dif-
ferent components of the new District. Overlaid onto the 3-
layer framework is an urban street-grid extended from the ad-
jacent neighbourhoods to confer a social and historic tie with
the surrounding old neighbourhoods. A series of 3 dimensional
public spaces each being strategically paired with a cultural
venue evolve into a social network of diversity, inclusivity and
interactivities to celebrate people’s cultural life prompted by
the architectural settings. The Green Terrain on the south
gently slopes down to fuse with the waterfront promenade on
the south to reflect a 3-dimensional pedestrian traffic and cir-
culation system. A Harbour Park is proposed at the western
end which is a free-for-all outdoor open space with spectacu-
lar panoramic view of the Victoria Harbour. The Conceptual
Plan aims to offer a low carbon sustainable community not just
for artists but for the general inhabitants of the new district.
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Hanimaadhoo International Airport
Award World Architecture Festival 2011— Infrastructure Project of the Year
Location Maldives
Architect Integrated Design Associates Limited
Hong Kong
Client / Developer GMR Airport Developers Ltd India Renderer Crystal Computer Graphics Ltd Hong Kong Structural Engineer Buro Happold Ltd United Kingdom
The new airport, designated as the country’s second international gateway,
is located on an island with very limited land mass for an international
airport of this size. With airfield infrastructure consuming nearly all the
available land our concept of a “floating terminal” has been selected by the
Government for its innovative, exciting and eco-friendly approach. The
proposed terminal is built entirely on stilts over water without reclamation
to preserve the existing environment and the natural coastline. With blue
sea, white sandy beach as backdrop the new airport aims to provide
passengers with a unique and memorable travel experience.
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The new airport, designated as the country’s second international ga-
teway, is located on an island with very limited land mass for an inter-
national airport of this size. With airfield infrastructure consuming ne-
arly all the available land our concept of a “floating terminal” has been
selected by the Government for its innovative, exciting and eco-
friendly approach. The proposed terminal is built entirely on stilts over
water without reclamation to preserve the existing environment and
the natural coastline. With blue sea, white sandy beach as backdrop
the new airport aims to provide passengers with a unique and memo-
rable travel experience. All passengers arrive and leave the airport by
boats. As a single level facility the new terminal is both convenient and
easy to use. The modular terminal structure is designed for flexibility
to grow according to traffic demand. Its north facing shell-form roofs,
made of timber lattice supported on laminated timber arches to evoke
the architectural vernacular of the area, brings in abundance of natural
light. Passengers move through the building via covered bridges span-
ning over water, beaches and wait in lounges nestled amongst palm
trees. The building has 50% of its area outdoor on decking for passen-
gers to witness the rich marine life at sea level. Together with the use
of natural ventilation, effective solar shading and hydro-thermal coo-
ling this strategy greatly reduces the need for full air-conditioning.
The ecologically sensitive design ensures that this will be one of the
most energy efficient and environmentally sustainable terminal buil-
dings in the world.
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Award World Architecture Festival 2011—Future Project of the Year –Health
Binh Chanh Pediatric Hospital Location Ho Chi Minh City, Vietnam
Architects VK, Roeselare, Belgium
2050 A+P, Vietnam
Nhat My, Vietnam
Acoustics Consultant VK Belgium Architect 2050 A+P Vietnam Architect Nhat My Vietnam Architect VK Belgium Client / Developer Ministry of Health Vietnam
Environmental Engineer VK Belgium Interior Designer VK Belgium Structural Engineer VK Belgium
The Centre presents a welcoming and open environment, offering a natural habitat for
care whilst still allowing plenty of opportunity for other activities. The double-height
ground floor at entrance level facilitates the rehabilitation process with a sports and
fitness facility including a swimming pool, and also a restaurant and theatre. As well as
patients, family members and members of the local community (schools, theatre groups
etc) are invited to use these facilities on a regular basis. The meandering facade of the
building allows the forest inside the building.
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We aim for a project with strong identity, where chil-
dren feel at home as a patient and a child. We aspire to
create a recognizable and open design, that has the po-
tential of organizing the complex program in a clear
structure. The design offers an abundance of air and
light and an optimal relation between inside and outside.
The healing environment offers to the children, as well
as to their family and staff clearness and quietness,
PUBLIC HOSPITAL
The location of the hospital is almost central in
a new development area and therefore the hos-
pital design will, together with its size, impact
the masterplan development. In our area plan, a
central, public square in front of the hospital ac-
centuates the public function of the building.
The main entrance of the hospital is orientated
to the east side. This is the most convenient so-
lution to avoid the free-way noise and smell po-
llution on the west, where waste collection and
treatment is organized.
Most traffic roads run in the north –south direc-
tion. To enforce an east– west movement for
pedestrians, we create rectangular landscape
features along informal footpaths to obtain
maximum connectivity and communication bet-
ween different healthcare facilities. We aim for a
masterplan with good image quality, with unique
features that give each place its specific identi-
ty.
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SCULPTURAL LANDSCAPE
It's a delicate matter to reconcile a landscape and an
extensive and complex hospital program. In our design,
the landscape prevails as the always returning back-
ground for every perspective and every view. The ar-
tificial landscape is characterized by an organic shaped
slope in the east –west direction, a buffer between the
free-way and the rest of the masterplan. It also crea-
tes additional external areas on the hospital site.
Small-scaled flower-shaped buildings cover the sculp-
tural landscape, partly defining the project's image.
These organic shapes house the inpatient wards, tota-
lling 1.000 beds. The landscape passes underneath the
elliptical buildings, and forms gardens and patios with
green and water features. The wards are lifted to the
level with the most beautiful view.
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VOLUMES
Protected from the direct sunlight and ‘hidden’ in the artificial landscape are all outpatient and paramedical services,
around a central public square, with a capacity for up to 6.000 patients per day. On the first floor are all the operating
theatres and Intensive care units. A protective roof will combine these specific functions and provides shading and covered
outdoor spaces. Sunken gardens and patios provide natural light and offer a certain sense of privacy and safety at the same
time. In between the medical floors and the wards, an open level is dedicated for staff and education. The openness of this
semi-public level creates exciting views over the sculptural landscape through the building.
Special care is given to circulation routes, in the conviction that daylight and exterior views offer the best guarantees for a
clear and simple way-finding. Roof openings provide daylight and air, and increase the orientation of the children, relatives
and staff.
Three vertical circulation shafts form a focal point on the central place. Inside the departments the routes run along patios
and atria. The successive spaces, with different atmospheres, form quiet spaces in the public circulation.
The wards as separate entities stimulate the readability of the building. The patient rooms are organized around an internal
void, creating an oval ground plan with a fantastic view for all the rooms. Daylight penetrates into the building, through the
day rooms and family rooms. A back bone connects all elements like a spine.
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PASSIVE MEASURES
Natural cross ventilation uses the wind pressure and stack effect to ventilate the wards. As
such, the natural ventilation is more stable on days with less or no wind. It is however advisa-
ble to use mechanical ventilation in all medical rooms and also where contamination is to be
avoided.
Solar shading. All medical department are located under a curved overhang that forms an or-
ganic landscape, consisting of structural screening. In this way the solar gains in the patient
rooms will be limited, needing less energy to cool the rooms. As a bonus, this type of solar
shading does not obstruct the visibility to the outside.
Using the thermal mass of concrete walls and floor slabs, night cooling also reduces the ener-
gy consumption for cooling. Walls and slabs absorb the heat built up during the daytime,
through a combination of solar gain, electronic equipment and user occupancy. As the external
temperature drops at night, the building can be cooled by partially opening the vents around
the building.
Solar energy. Solar panels absorb the sun’s heat and store this energy in a reservoir. The so-
lar collectors have an optimal orientation and slope angle. On sunny days, the solar panels
produce 75% of the demand for sanitary hot water. This way, 40% of the heating requirement
for hot water is provided by the sun, in a carbon neutral way. In many cities around the world
it has been recognized that the most significant ecological advantage of roof planting is storm
water management. Roughly 50-60% of rainfall is expected to be retained by an extensive
green roof. Any excess water can be collected and stored in a modern rain management sys-
tem or cistern. As another benefit, the vegetation and substrate layer acting as a water filter;
these layers hold back particles, dust, solute pollutants, and even heavy metals. The excess
rainwater can then be used to irrigate the roof, used as toilet water, or any other available
purposes. The roof can in normal conditions suffer from huge thermal fluctuations on its upper
surface throughout the day and through the year. In extreme cases these can range over 100 °
C. Planting the roof surface dramatically reduces the amount of solar radiation absorbed by the
roof's bare surface. The high daily thermal swings are neutralized and the annual fluctuations
are decreased to between 20 and 25°C.
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Shoreline Walk
Location Beirut, Lebanon
Architect Gustafson Porter
Civil Engineer BECT Lebanon
Client / Developer Solidere / Urban Development Lebanon
Environmental Engineer Not applicable United Kingdom
Landscape Architect Gustafson Porter United Kingdom
Lighting Consultant PSLAB Lebanon
Local Architect Imad Gemayel Architects Lebanon
Project Manager Solidere / Urban Development Lebanon
Structural Engineer BECT Lebanon
Water Features Fountain Workshop United Kingdom
Award World Architecture Festival 2011— Landscape Project of the Year
The ‘Shoreline Walk’ is a sequence of
connected spaces which form part of
the reconstruction of the Beirut city
centre. The project demonstrates
Beirut ’s character and resolve. It
guides and reveals Beirut ’s history and
forms a connective spine to the city. A
continuous white limestone line marks
the ground and a wide pedestrian
promenade. It features four areas to
pause and reflect on pre-war city and
forgotten memories.
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The ‘Shoreline Walk’ is a sequence of connected spaces which form
part of the reconstruction of the Beirut city centre. The area suffe-
red physically and emotionally during the 1975-1991 Civil War. Bei-
rut was once a melting pot of cultures and religions but the war
created the ‘Green Line’ , a physical barrier between the Christian
East and Muslim West. This might have been difficult to erase,
however the rebuilding demonstrates the Beirut ’s character and re-
solve.
The city was once known for its rocky shoreline Cornice, with its
avenues of palms and cafés but during the war a rubbish mountain
grew from daily waste tipped into the Mediterranean Sea. Areas
have been both preserved and demolished by the new master plan,
whilst the remediated landfill is set to become a new district, pro-
jecting out into the sea. Rather than leave the old coastline land-
locked and redundant, it was decided to create a pedestrian route
that straddled the old and new city boundaries. The ‘Shoreline
Walk’ is placed between the natural topography and rationalised
medieval street layout of the old city, and the engineered grid of the
new land-filled area. It is located between memories and aspirations,
between activities that made a connection to an organic coastline
and a new contemporary landscape.
Research revealed the evolution of Beirut ’s coastline. The first
Phoenician settlers arrived in 1220BC, followed by; Romans in
64BC, Mamluks in 1291AD, Ottomans in 1516 and the French in
1918. Successive civilisations adjusted the coastline to create har-
bours that brought wealth to the city.
Within this context, we have suggested a new line which guides and
reveals elements of history and forms a connective spine. A conti-
nuous white limestone line marks the ground and a wide pedestrian
promenade. Organic movement line runs along the length of the
walk, links the four open spaces and re-establishes an East-West
link between places that might not be connected by the new grid.
Physical and visual links extend beyond the spaces to re-establish
memories between key monuments and spaces.
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The promenade is also inspired by the historic ‘Corniche’, a wide
palm-lined walk which followed the coastline from the edge of
the city centre to the public beach, 2km to the west. In a city with
few parks and squares, this is the most popular open space with a
constant flow of walkers, joggers, cyclists, bread sellers and
wedding parties, watched by people in the cafés. The current
‘Corniche’ stops at the edge of the city centre but the Shoreline
Walk will reconnect it.
It will be recognised by the paved and planted landscape, lighting
and water features which combine to enhance its perception wit-
hin an otherwise uniform urban context. To the south of the pro-
menade, light coloured paving and trees signify ‘dry land’, as it
existed before the war. To the north, open areas of dark granite,
boardwalks and timber pergolas mark the sea’s previous position.
The granite’s reflective quality is enhanced by water features or
rainfall, creating the illusion that the sea has returned.
Research into the spaces of the walk revealed the character of
the pre-war city and forgotten memories, which inspired four
areas to pause and reflect. Each ‘memory’ generates an atmosp-
here with facilities and functions alongside required by a contem-
porary city.
All Saints Square will connect with the new Corniche and Marina.
Before the war, the church occupied a headland surrounded by
the Mediterranean Sea. Historic photos revealed a calm space
and a promontory for diving into the sea. These qualities are re-
interpreted in the new square, creating an intimate, self contained
space, lowered to the original ground level adjacent to the
church. Views focus towards the sky, the space is enclosed by
soft green textured walls and sheltered from traffic, creating a
haven of textures infused with the summer aroma of Jasminum
officinale. At street level, a raised route provides direct passage
through the space, connecting the walk with the Corniche whilst
allowing views into the garden below.
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Shoreline Gardens is the site of the historic ‘Avenue des Français’,
Beirut ’s first coastal promenade or ‘Corniche’. During the war ye-
ars, it became deserted and buried under landfill. Our design revives
the ‘Avenue des Français’, to provide a contemporary promenade. A
long linear water feature and pergola unite the space, creating water
movement over an undulating surface and dappled shade to sit below
and relax ? and re-establish this area as a meeting point.
Zeytoune Square is situated to the south of the Shoreline Walk, and
provides a key link to the city. The square will become a celebration
of modern Beirut and a place for cultural events by utilising the in-
formal terraces. The surface extends across the roads to the su-
rrounding buildings, unifying the site to one large space. The bold
paving is inspired by the black and white patterning from traditional
Lebanese architecture and specially designed benches with WiFi are
placed under the shade of Albizia trees.
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Award World Architecture Festival 2011—Category Structural Project
Beekman Tower Location 8 Spruce Street-Beekman Tower,
New York, USA Architect
Gehry Partners, LLP
United States of America
Client / Developer
Forest City Ratner
United States of America
Environmental Engineer
Mueser Rutledge Consulting Engineers
United States of America
Main Contractor
Kreisler Borg Florman
United States of America
Structural Engineer
WSP Cantor Seinuk
United States of America
The 867 ft, 76-story Beekman Tower, designed by renowned architect Frank Gehry, is
New York City’s tallest residential tower. Located in the middle of the block bounded by
Nassau, Beekman, Spruce and Gold Streets, just south of the Brooklyn Bridge, the 1.1
million SF mixed-use building has redefined the skyline of Downtown Manhattan. It is a
reinforced concrete building and the structure is composed of cast-in-place, concrete flat
plate floors supported by reinforced concrete columns and shear walls. The 5 to 6 ft deep
mat foundation is supported on 18” diameter concrete encased steel piles and also various
capacity drilled caissons adjacent to an MTA subway tunnel.
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The 867 ft, 76-story iconic Beekman Tower, designed by
renowned architect Frank Gehry, is New York City’s tallest
residential tower. Located in the middle of the block bounded
by Nassau, Beekman, Spruce and Gold Streets, just south of
the Brooklyn Bridge, the 1.1 million SF mixed-use building
has redefined the skyline of Downtown Manhattan. The tower
offers 903 high-end residential units, luxury amenities and
unobstructed 360 degree panoramic views and sits above a
100 foot tall, 6-story podium that comprises a new 100,000
SF public school as well as a 21,000 SF ambulatory care
center for New York Downtown Hospital.
The building’s main aesthetic is its undulating, asymmetrical
steel curtain wall with curvaceous folds and crinkles remi-
niscent of the folds in a piece of gently draped fabric. The
sculptural façade is comprised of stainless steel and glass
panels and gives the building a sense of movement; however
Mr. Gehry’s “Bernini folds” conceals a multitude of challen-
ges successfully met through the implementation of innovati-
ve structural engineering solutions.
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Beekman Tower is a reinforced concrete building. The structure
is composed of cast-in-place, concrete flat plate floors suppor-
ted by reinforced concrete columns and shear walls. The 5 to 6
ft deep mat foundation is supported on 18” diameter concrete
encased steel piles and also various capacity drilled caissons
adjacent to an MTA subway tunnel.
The lateral wind and seismic resisting system is composed of
reinforced concrete shear walls surrounding the building’s core.
For increased system efficiency, outrigger walls are introduced
at mechanical floor levels 6, 38 and 76. The outrigger walls en-
gage the perimeter columns augmenting the lateral system
substantially. These concrete walls were carefully located to
minimize the impact of the mechanical equipment functions. The
fact that all the shear walls are centralized around the core with
no walls dissecting the typical residential floors, provided the
architect/developer great design opportunities unobstructed by
the structural elements. The outriggers and their associated belt
wall system have a huge effect in reducing the building drift as
well as the base moments due to lateral forces. This helped re-
duce the thickness of the shear walls and ensured an extremely
efficient system. In addition, in order to further provide adequa-
te lateral stiffness and minimize architectural impact, high
strength concrete of over 12,000 psi was specified for the shear
walls and columns whereas the specification for slab concrete
ranged from 5,000 to 8,600 psi.
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The outrigger walls were also used as transfer
structures for the exterior columns. The buil-
ding stacking changes at the outrigger floors
and most of the exterior column pickups are
undertaken by the outriggers to maintain effi-
ciency of internal space.
A further unique challenge of axial shortening
had to be met. Studies were performed and
over pour values were specified for casting the
columns in order to mitigate the effect of diffe-
rential axial shortening between the core walls
and the columns not just for the final construc-
tion condition but also for the construction se-
quencing stages.
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The structural challenge of accommodating the undulating façade, as well as
the differing apartment layouts has been met by ‘walking’ the columns at se-
veral locations and levels. No tower floor plates are alike and slab edges are
in different planes on every floor, however in order to simplify the formwork,
columns were designed and constructed to stay in the same plane for about
every eight to twelve floors. At the ‘change’ levels, the columns broaden or
‘walk’ to encompass the column location above and below. This strategy,
apart from avoiding the use of transfer beams, also avoided sloping the co-
lumns which would have required more complicated and laborious formwork
while also maintaining the construction rhythm. In addition, 3-dimensional
CAD detailing was undertaken to design the formwork for the undulating slab
edges and maintain the sculptured edge detail of the concrete floors.
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Furthermore, all forms were hand-set because the layout
changed so much and because slab edges are segmented and
protrude. Indeed, exact placement of the 14,000 curtain wall
embeds on the segmented slab edges was critical to correc-
tly anchor the façade units and keep the construction on
schedule.
The rectilinear podium is clad in terracotta-colored masonry
and design was coordinated closely with the school archi-
tects (Swanke Hayden Connell) to ensure an optimum layout,
bearing in mind that it is basically supporting 72 stories abo-
ve. Larger clear spans of up to 35 feet with 10” to 12” flat
plate floors were utilized to accommodate the school and
hospital architectural layouts as opposed to the shorter
spans using 8” flat plate floors within the residential spaces
above.
Beekman Tower’s dramatic interior lobby is adorned with
colossal oval-shaped concrete columns. These unique ellip-
tical members were created by using custom-designed, 19
foot tall, fiber-reinforced polymer (FRP) column forms to
create their imposing presence and beautiful aesthetic finish.
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The site is tightly bound on all sides by a hospital, a university, two
landmark historic buildings and a subway tunnel. Construction logis-
tics met these challenges by continuously having two concrete trucks
available in the building’s west plaza (which was designed to carry
their loads) for continuous pouring. The construction team managed
to keep to a 2-day cycle at the highest floors by pumping concrete all
the way to the top of the building. Furthermore, full coordination and
communication was maintained with the appropriate authorities to
successfully meet the challenges of the major upgrading being under-
taken to surrounding streets as well as the proximity of the subway
tunnel.
Foundation work started in October 2006 and work on the supers-
tructure began in April 2008. The building topped out in November
2009 and the project was completed under budget and on schedule in
spite of a 3 month work hiatus related to the recent recession. The
Public School is due to open in September 2011 and residential lea-
sing and occupancy began in February 2011. The fast construction of
this unique and iconic building is testament to the overall team's effi-
cient design and construction planning.
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The project was commissioned by The Consortium of the Zona Franca CZFB
and @22Barcelona, an experimental district in the city. The architects were
extremely interested in the digital city model based on information, communi-
cation and technology, with the idea of a city where what matters is knowled-
ge, added value and patents.
World Building of the Year Award 2011 Office (inc mixed use)
Media-ICT/ 22@ Barcelona, Spain,
Architecte Cloud 9
Enric Ruiz-Geli
Spain
Photograph by Luis Ros
Client / Developer
El Consorci de la Zona
Franca
Spain
Environmental Engineer
Cloud 9
Spain
Instalation Engineers
Mr David Tusset
PGI grup
Spain
Structural Engineer
Mr Agustí Obiol
BOMA
Spain
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The Industrial Revolution and now the Digital Revolution.
Today, in the information age, architecture is a technology platform that
consists of computer system connections and new materials.
This project has been commissioned by The Consortium of the Zona Franca
CZFB and 22 @ of Barcelona.
22@ is an experimental district with a powerful, distributed and accessible,
energy load. Part of the Districlima network, where new business values are
intangible. We were extremely interested in this digital city model based on
ICT (information and communication technology), with the idea of a city
where what matters is knowledge, added value and patents, in short, where
the objective is for your architecture to be in sync with your own values.
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The building volume forms a cube of 44m x 44m x 37.82m high; the site is
3,572.45 m2 in which the basement occupies the entire area, while above
ground the occupation is 54.20%.
In total, the Media-ICT has 16,000 m2 above ground and two floors below
ground (7100 m2) with capacity for 200 parking spaces.
The building is divided so that the upper floors (from eighth to fourth) are
rented for big companies, the second and third floor have small spaces for
emergent companies and the first floor with the Cibernariun and an
auditorium offers a course program oppen to all the city residents.
The ground floor does not have pillars; public space invades the building
with 36m x 40m of free space. The lobby of the building can host
exhibitions, workshops, events...
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Construction is built from the top and moves downwards, becoming transparent, anti-
gravitational, and almost liquid at the bottom. Thus, its impact on the street is
minimal, about 8% mass with respect to the 1500 m2 floor surface area.
Unlike most of the buildings, which consume huge amounts of energy, the Media-ICT
is designed to be a great generator and optimizes energy use.
SIMULATION ENERGY: Thanks to the energy simulation of the building the demands
of heat and cold are adjusted accordingly minimizing the dimensioning of installations.
ENCLOSED BUILDING: The façade, made of inflatable ETFE cushions oriented south,
act as a variable sunscreen, opening in winter to gain solar energy, and closing in
summer to protect and shade. In the south west façade, Nitrogen based fog is
introduced in the cushions, that by increasing its particles greater opacity is
produced, thereby protecting users.
MONITORING: Both the façades and offices have been equipped with multiple
temperature sensors, humidity or pressure that collect exterior information to adjust
the interior conditions.
Media-ICT targets and achieves:
1-20% CO2 reduction due to the
use of District Cooling, clean
energy.
2-10% CO2 reduction due to the
photovoltaic roof.
3-55% CO2 reduction due to the
dynamic ETFE sun filters.
4-10% CO2 reduction due to
energy efficiency related to
smart sensors.
Total 95% CO2 reduction, the
Media-ICT is a NET building
almost a net zero building.
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Editor
Jmmag & Partners
www.jmmag.com
CREDITOS / CREDITS
-Copyright World Buildings Directory –Waf 2011– eMap
-Portada @ Ulrik Jantzen
-Ilustración left page 2: Melisa Holdren
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index.html
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Text and layout © 2011 Creative Commons Corporation; photo credits appear along-
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Cover art © 2011 Naeema Zarif (http://naeemazarif.com). Created as a special com-
mission for this project.
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