31

MARK NO 31
APRIL . MAY 11
!./4(%2!2#()4%#452%
EUROPE 19.95 / UK 14 / JAPAN 3.990 / KOREA 40,000 WON / CANADA $ 29.50 / USA $ 19.95 / MARK IS ALSO AVAILABLE IN A DIGITAL FORMAT. TRY MARK DIGITAL AT WWW.MARK-MAGAZINE.COM
AAT + MAKOTO YOKOMIZO TOKYO KBBERLING/KALTWASSER BERLIN UNSTUDIO CHEONAN SUPPOSE HIROSHIMA CARLOS CASANUEVA
PINAR DE CASTELLANOS AIRES MATEUS LEIRIA SUN JIWEI JIADING JULIE D. TAYLOR LOS ANGELES STEFAN FORSTER FRANKFURT MEIXNER
SCHLTER WENDT FRANKFURT EM2N WINTERTHUR JOHN ENGLISH LOS ANGELES LETTER FROM WESTON-SUPER-MARE
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MARK No 31
PLAN
APRIL . MAY 11
PLAN
MARK No 31
APRIL . MAY 11
NOTICE BOARD
6
1
CROSS SECTION
6
2
VIEWPOINT
8
6
C F MLLER FALSTER 016

MANUELLE GAUTRAND ARCHITECTURE OUAGADOUGOU 017
ERICK KRISTANTO NEW YORK 018
DELLEKAMP ARQUITECTOS MEXICO 019
OLGGA ARCHITECTES PARIS 019
DENTON CORKER MARSHALL DUBAI 020
FUTUREPROOF RYGGE 021
FABRIC MADRID 023
WOLFGANG TSCHAPELLER BELGRADE 024
BIG COPENHAGEN 024
MAD HARBIN 024
AMANDA LEVETE ARCHITECTS BANGKOK 025
GO HASEGAWA NAGANO 028

RCR LHOSPITALET DE LLOBREGAT 030
CARSTEN ROTH PTTSCHING 033
KINO ARCHITECTS FUKUSHIMA 038
NAF HIROSHIMA 040
BERNARD TSCHUMI BORDEAUX 044
PEDRO GADANHO TORRES VEDRAS 048
SAMEEP PADORA MUMBAI 052
PLANT BUDAPEST 056
3GATTI SHANGHAI 058
JUAN AGUSTIN SOZA SANTIAGO 060
NIKKEN SEKKEI CHIBA 062
AAT + MAKOTO YOKOMIZO TOKYO 070

MAKOTO YOKOMIZO LOOKS FORWARD TO A FUTURE THAT
WONT FORCE HIM TO JOIN THE THRONGS CURRENTLY
PURSUING FUNCTIONALISM AND EFFICIENCY.
KBBERLING/KALTWASSER BERLIN 086

KBBERLING/KALTWASSER CHALLENGES THE PRESUMPTIONS
OF CONSUMERISM.
$50$1'27(67$
Faculty of Architecture of Genova, Alessandra Parodi for Cersaie
20-24 SEPTEMBER 2011

www.cersaie.it
Organized by EDI.CER. spa
Promoted by CONFINDUSTRIA CERAMICA
In collaboration with
Show Management: PROMOS srl - P.O. Box 37 - 40050 CENTERGROSS BOLOGNA (Italy) - Tel. +39.051.6646000 - Fax +39.051.862514
Press Office: EDI.CER. spa - Viale Monte Santo 40 - 41049 SASSUOLO MO (Italy) - Tel. +39.0536.804585 - Fax +39.0536.806510
MARK No 31
PLAN
PLAN
APRIL . MAY 11
MARK No 31
APRIL . MAY 11
LONG SECTION
UNSTUDIO CHEONAN 100

THE DEPARTMENT STORE UNSTUDIO BUILT IN CHEONAN FIRST LURES
VISITORS INSIDE AND THEN UPWARDS.
8
9
SUPPOSE DESIGN HIROSHIMA 112

MAKOTO TANIJIRI KNOWS HOW TO CREATE AN OCEAN OF SPACE
DESPITE A LIMITED SURFACE AREA.
CARLOS CASANUEVA PINAR DE CASTELLANOS 120
CARLOS CASANUEVA CREATED A HOUSE THAT WINKS PLAYFULLY AT THE 1960S.
AIRES MATEUS LEIRIA 130
IN LEIRIA, A HOUSE DESIGNED BY AIRES MATEUS BREAKS THE MOULD.
SUN JIWEI JIADING 142
SUN JIWEI, MAYOR OF SHANGHAIS JIADING DISTRICT, USES HIS
EXPERIENCE AS AN ARCHITECT TO TACKLE THE PROBLEMS OF HIS CITY.
JULIE D. TAYLOR LOS ANGELES 146
JULIE D. TAYLOR MAKES SURE DESIGNERS GET THE CREDIT THEY DESERVE.
STEFAN FORSTER FRANKFURT AM MAIN 150
STEFAN FORSTER CHOPS OFF ENTIRE FLOORS OF SOCIAL-HOUSING BLOCKS IN NEED OF RENOVATION.
MEIXNER SCHLTER WENDT FRANKFURT AM MAIN 160
MEIXNER SCHLTER WENDT OPENS ITS ARMS TO THE REMAINS OF A POST-WAR BUNGALOW.
EM2N WINTERTHUR 170
SWISS PROJECT DEVELOPER DN2M BOUGHT AN EMPTY SUPERMARKET IN WINTERTHUR, AND EM2N
ARCHITECTS CONVERTED THE BUILDING INTO FIVE UNUSUAL APARTMENTS.
JOHN ENGLISH LOS ANGELES 178
PRESERVATIONIST JOHN ENGLISH SELLS PEOPLE ON THE IDEA THAT BUILDINGS ARE WORTH PROTECTING.
LETTER FROM WESTON-SUPER-MARE 182
GRANT GIBSON TRAVELLED TO BRITISH SEASIDE RESORT WESTON-SUPER-MARE.
SERVICE AREA
WILLIAM STOUT SAN FRANCISCO 194
ORAMBRA CHICAGO 200
EXIT 224
2
19
MARK No 31
CONTROL ROOM
CONTROL ROOM
MARK No 31
APRIL . MAY 11
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Euramax supplies painted aluminium to roof- and facade manufacturers worldwide.

Our customers are faade cladding companies such as Hunter Douglas, Kalzip,
Kingspan, Interfalz, Rigidal, Aluform etc.
We strive for more colourful architecture. That is why we support architects
(free of charge) with personal colour development for projects as from 500m.
www.euramax-architectural.eu
Share your ideas with our

Architectural Support and let
us submit a metal colour sample.
T +31 (0)475 370 341
E max@euramax.eu
MARK No 31
PROMOTION
EURAMAX
APPLIES THE POWER

OF COLOUR IN
METAL CDDING
FERRARI WORLD
ABU DHABI / UAE
Euramax Coated Products is an international coil coating specialist that supplies

pre-coated aluminium to roof and faade manufacturers worldwide. Euramax,
with plants in Roermond (the Netherlands) and Corby (UK), works with many
well-known manufacturers of faade systems, such as Hunter Douglas, Kingspan, Rigidal, Kalzip, Tiger, Interfalz, Euroclad and Aluform. Jorrit Scheepers,
architectural support coordinator within the Euramax team, is the liaison between
the architect and the paint plant: In 2005 we had an interesting conversation
with Benoy architects during the Leading European Architects Forum (LEAF)
in London. In a later meeting at their London ofce we got in contact with Mike
Lewis, associate director at Benoy Middle East and head designer of the Ferrari
World project in Abu Dhabi. Initially Mike had a fabric in mind for the enormous
roof construction. During the meeting we suggested the option of using a
standing-seam type of product for the roof. This would allow him to opt for a nish in high-gloss Ferrari Red.
Ferrari World Abu Dhabi
Benoy Architects designed the Ferrari World roof inspired by the classic body
shell of the Ferrari GT. The curved roof and its high-gloss red nish are unique
style elements that relate to the iconic Ferrari brand. After some extensive
sampling Euramax came up with the right colours and paint conguration, says
Scheepers. 'Our colours got specied and we were nally granted the order in
2008. First we supplied the aluminium for the 202,000-m roof (standing seam
in 1.00 mm from the Interfalz company); at a later stage we were awarded the
order for the complete faade as well (2.00-mm cassettes by Six Construct). In
total we supplied the staggering amount of 359,000 m of pre-painted aluminium
through different customers. All this aluminium came with the same warranty, and
even more importantly, with a uniform colour for all the roof and faade elements
of this skyline landmark, which opened its doors in November 2010.
Harsh Environment
Beyond its striking colour, it is important not to underestimate the qualitative
aspects of a coating system. In case of the Ferrari World project we advised a
four-layer PVDF (polyvinyl diuoride) with a special Lumion clear coat, says
Scheepers. Not only is high-gloss Ferrari Red a very difcult colour, the projects
specic circumstances are among the most challenging one can think of. Sea,
sand and intense solar radiation demand the maximum out of this coating.
Choosing the right paint conguration is of vital importance.
Colour Innovations
In addition to the uni- and metallic colours that were used for Ferrari World,
Euramax also offers a wide range of specialty coatings. The AluNatur range, for
example, highlights the natural beauty of aluminium using a series of transparent
and semi-transparent clear coats. EuraDesign, on the other hand, features precoated designs that may vary from Corten Steel, Patina Copper and Weathered
EURAMAX
COILS.
QUALITY CONTROL.
COATER ROOM.
Zinc to Wood Grain and various other nishes. Just recently we painted a Green
Grass design, but a moon landscape in PVDF could also be an option.
Another interesting product is the EuraMica range, which is tailored to attract
attention. Mica pigments reect their own colour or that of the base coat. This reection and refraction causes fascinating colour variations that change depending on the
viewing angle and incidence of light. Colour effects range from soft to very strong.
Ultimately a project-specic coating or design is not all that much more expensive than a standard colour. Especially not if seen in terms of the whole faade system, when you are often talking about 10% or less. And why would you want to save
on something that is so clearly visible, something that really makes a difference?
Challenge
Euramax offers more when it comes to colour. For instance, for a minimum order of
1500 m of faade panels, we can develop any new colour you wish. For a minimum
order of 500 m, we can suggest any of the thousands of colours and designs in our
current archive. Originally we are a supplier of pre-coated aluminium to the caravan
and motor-home markets, which means small quantities, special requests and a
high level of service. These values are ingrained in our companys DNA. Therefore
it comes as no surprise that Euramax distinguishes itself in the architecture world.
Every request, from 500 m and up, is regarded as a challenge at Euramax!
www.euramax-architectural.eu
REWIND SECTION.
10
MARK No 31
PROMOTION
FOUR EURAMAX
PROJECTS
KLIA International Airport
Kuala Lumpur / Malaysia
EuraDesign Cherry Wood
Fuelled by economic growth and national pride, Malaysia has made its largest
airport, Kuala Lumpur International Airport (KLIA), one of the top three international
hubs in Asia. Japanese architect Kisho Kurokawas vision for the airports form and
materials incorporated inuences from the surrounding cultural and natural environment. KLIAs design represents an example of this concept of symbiosis which
Kurokawa has described as an airport in the forest.
The architect incorporated elements from Malaysias forest environment into his
design. Aluminium strip ceilings in wood design from Hunter Douglas are installed
throughout the 121,000-m2 building, supported by what Architectural Record calls
a grid of trunk-like columns that evokes a Malaysian oil palm plantation. The ceilings connect visitors to their surroundings, with scattered integrated downlights that
resemble a starlit sky.
Kurokawa told a local newspaper that the design of KLIA represents a fusion
between nature and high technology. He illustrated this by siting the state-ofthe-art airport in the middle of a tropical garden, creating a contrast between the
modern steel structure and the surrounding lush growth.
World Expo 2010 Culture Centre

Shanghai / China
EuraMica Pearl White
The Culture Centre is one of four permanent pavilions for Expo 2010. Its oval
shape resembles a ying saucer that seems to have landed from outer space.
Viewed from a boat on Shanghais Huangpu River, it hovers over the waters edge
like a seashell.
The Expo Culture Centre, designed by Shanghai architect Wang Xiaoan, won
rst prize in the Shanghai category of the 2010 Far Eastern Architectural Design
Award, a Taipei-based architecture prize honouring innovation in Shanghai and

Taiwan. China has huge opportunities for architects but many works are designed in
foreign collaboration, said judge Zheng Shiling, director of the Institute of Architecture and Urban Space at Shanghais Tongji University and a consultant to the World
Expo. According to Zheng the building has a stunningly complicated structure.
The Culture Centres cladding consists of nearly 30,000 triangular-shaped
honeycomb panels in XXL size. This extraordinary size could only be achieved
using wide-coil aluminium, 2,000 mm in width. The pearlescent, high-gloss,
EuraMica nish gives the building a crisp, fresh exterior. At night, especially, the
light reection makes the Culture Centre a mystifying landmark.
EURAMAX
11
Facts about Sustainability

Aluminium is 100 percent recyclable, with no loss of quality
Recycling aluminium requires only 5% of the energy it takes to produce
aluminium from primary sources
Thanks to its low melting point and resulting modest energy requirements,
aluminium is a true energy bank
Every kilogram of aluminium added to the recycling process makes aluminium
stronger; this is the main reason aluminium has a great future
Aluminium has a high residual value, which stimulates collection and recycling
The average aluminium recycling rate in construction, manufacturing and
transport is 94% (in the Netherlands)
Aluminium is relatively simple to mould and process, requiring minimal energy
Shipping aluminium goods costs relatively little energy thanks to its favourable
volume-to-weight ratio
Coil coating at Euramax takes place in a strictly controlled process
Cleaning, pre-treating and paint application are fully optimized
Euramaxs production is chrome-free and our paints contain no heavy metals
The paint is applied with roll coaters there is no overspray or other spillage
Solvents released during painting are captured and combusted; the energy
released in this process is recycled in our ovens
Euramax has its own water-treatment plant; the waste water quality is therefore
high enough that a standard sewer connection is sufcient
By investing in high-tech facilities, Euramax is years ahead of EU emission
standards
The painting lines are fully computer-controlled, keeping waste to a minimum
Our products have a long service life, which results in signicant
environmental savings
Retail Park
Roermond / Netherlands
EuraMica Purple Blue
Architect Maurice Nio chose a high-contrast EuraMica shade of purple/blue. The
Roermond Retail Park is situated along one of the main roads to the city centre.
Its special colour attracts a lot of attention. Whether one likes it or not, the colour
formula is a successful one. Meanwhile lots of curious visitors have ensured a third
expansion of the Park. Again the choice of the architect fell on EuraMica.
Maastoren
Rotterdam / Netherlands
EuraBild Gray to White
Its 21 colours allow the Maastoren in Rotterdam, the tallest building in the Netherlands, to blend into its surroundings. A good example of a project in which colour
played a signicant role in the conception of the aluminium faade. Diederik Dam,
the projects architect, wanted to make the Maastoren mesh with its setting by
using a gradual progression of colour for the building. Whereas the base is made
of anthracite-coloured natural stone that connects well with the Maas river, the aluminium faade cladding rising above it had to blend into the sky, he says. The initial
proposal included 64 colours, from which the architect ultimately selected 21. The
result is impressive and the architect is pleased with it: this is not a skyscraper,
says Dam, but a sky-caresser.
L I M I T E D E D I T I ON
Living oors
C A R P E T D O T S DA R K G R E Y M AT E R I A L 1 0 0 % W O O L M A D E I N B E L G I U M
W W W. L E . B E
14
MARK No 30
4
1
NOTICE BOARD
PKMN
OFF
UTWENTYSIX
HUGE
DOME PARTNERS
MANUELLE GAUTRAND
C. F. MLLER
AQUILIALBERG
DELLEKAMP
LTA
VULMARO ZOFFI
ERICK KRISTANTO
OLGGA ARCHITECTES
TED GIVENS ET AL
FUTUREPROOF
WAI THINK TANK
PHILIPP KULENKAMP
INKEN DERLICH
BEVK PEROVI ET AL
YAJ ARCHITECTS
DENTON CORKER
MARSHALL
DATA ARCHITECTES
HAUVETTE & ASSOCIS
R-ARCHITECTURE
BROCHET LAJUS PUEYO
RMDM
NEXITY
ATELIER ZNDEL CRISTEA
KIT
FABRIC
WOLFGANG
TSCHAPELLER
JU-HYUN KIM
BIG
CHEUNGVOGL
MAD
AMANDA LEVETE
KSP JRGEN ENGEL
15
Ntice
bard
WHAT'S
HAPPENING
16
MARK No 31
01 Inopia Up
Guipzcoa, Spain / Centre for industrial and artistic creation, built from 15
containers / PKMN / Design proposal /
www.pkmn.es
02 Centre for Promotion of Science
Belgrade, Serbia / Centre for Promotion of Science / OFF Architecture
/ Design competition entry / www.
offarchitecture.com
03 La Figa 3
Silang, Philippines / House / utwentysix design studio / Expected completion 2011 / www.utwentysix.com
04 Byzance
Istanbul, Turkey / Umraniye master
plan with 300 apartments, shopping
mall and landscaping / Huge (Sinan
Logie, David Tajchman, Amlie Bonnet Villalonga) and Dome Partners
huge-arch.com
05 Tena Tower - Tena Lakes
Ouagadougou, Burkina Faso / Mixeduse complex including residential,
hospitality, sports and ofce functions
/ Manuelle Gautrand Architecture /
Expected completion 2013 / www.
manuelle-gautrand.com / Rendering
by Luxigon
06 New State Prison
Falster, Denmark / State prison for approximately 250 inmates / C. F. Mller
Architects / Design competition entry,
rst prize / Expected completion 2016
/ www.cfmoller.com
07 A1 Toll Station
A1 motorway, northern France / Toll
station / Manuelle Gautrand Architecture / Design competition entry / www.
manuelle-gautrand.com / Rendering
by Luxigon
NOTICE BOARD
17
01
01
03
02
05
04
07
06
18
MARK No 31
NOTICE BOARD
19
01 Public Library
Brixen, Italy / Public Library of Bressanone / AquiliAlberg / Design competition entry / www.aquilialberg.com
01
01
02
03
05
04
06
05
04
02 Imaginary House of Silence

Mexico / House with a close relationship with nature / Dellekamp Arquitectos (Derek Dellekamp) / Design
proposal / www.dellekamparq.com /
Rendering by Carlos Zimbrn
03 Pr Perch Housing Project
Rennes, France / 184 dwellings and
commercial area / a/LTA Architectes
(Jean-Luc Le Trionnaire, Alain Tassot,
Maxime Le Trionnaire, Gwnal Le
Chapelain) / Design competition entry
/ www.a-lta.fr
04 Rethinking borders
Gorizia, Italy / Redevelopment of a
former civil hospital / Vulmaro Zof
Architect / Design proposal / http://
ec2.it/vulmarozof
05 Bubble Art Display
New York, NY, USA / Created for the
Museum of Comic and Cartoon Art,
Bubble Art refers to the bubble quotes
used in comics / Erick Kristanto /
Design competition entry, honourable
mention
06 Recreation Centre
Paris, France / Community centre with
an area for grafti activities, a dance
hall and a theatre / Olgga Architectes
olgga.fr
MARK No 31
20
NOTICE BOARD
02
01
03
05
04
03
04
06
07
07
21
01 Indigo Bio-Purication Tower

Tiayuan, China / Tower whose faade
has a titanium-dioxide nano-coating
that extracts pollutants from the air /
Ted Givens (Ten Design), Stephen Lau
(HKU), Peby Pratama, Jason Easter
and Benny Chow / Design proposal
/ www.10design.co / Rendering by
Trey Tyler
02 stfold Aiport
Region Master Plan
Rygge, Norway / Airport extension with
conference hotel, ofces, train station,
retail and cultural spaces / Futureproof
/ Design proposal / www.futureproof.
no / Rendering by MIR
03 Escuela de
Balompi de San Juan
San Juan, Puerto Rico / Football
school and training centre / WAI Think
Tank (Nathalie Frankowski and Cruz
Garcia) / Design proposal / www.waiarchitecture.com
04 Exquire
Hamburg, Germany / 104-m-long
yacht / Philipp Kulenkamp and Inken
Derlich / Design proposal / www.
exquire.de
05 Space Wheel: Noordung
Space Habitation Centre
Vitanje, Slovenia / European Space
Technologies (KSEVT) Cultural Centre
/ Bevk Perovi arhitekti, Dekleva
Gregori arhitekti, OFIS arhitekti, Sadar
Vuga arhitekti / Expected completion
2011 / www.os-a.si
06 Train depot of the future
Sweden / Design for a train depot
for real estate company Jernhusen /
YAJ Architects (Ylva Lindstedt, Jonas
Nyberg and Erika Wolters) / Design
competition entry / www.yaj.se
07 Cluster Complex
Dubai, UAE / Ofce tower, apartment
tower and hotel tower with serviced ofces and retail in the podium / Denton
Corker Marshall / Unbuilt / www.
dentoncorkermarshall.com
22
MARK No 31
NOTICE BOARD
01 Russian Orthodox Centre

Paris, France / Cultural and spiritual Russian Orthodox centre / Data
Architectes and Hauvette & Associs /
Design competition entry / www.dataarchitectes.com / www.hauvette.net
01
02

Paris, France / Cultural and spiritual
Russian Orthodox centre / R-Architecture and Brochet Lajus Pueyo / Design
competition entry / www.r-architecture.
com / www.brochet-lajus-pueyo.fr
Russian Orthodox centre / RMDM
Architects and Nexity / Design competition entry / www.rmdm.fr / Rendering
by VisualArch
Russian Orthodox centre / Atelier Zndel Cristea / Design competition entry /
www.zundelcristea.com
05 Tornado-Proof House
Kansas City, MO, USA / House with
an insulated Kevlar skin combined with
a series of hydraulics that push the
house into the ground as a tornado
approaches / Ted Givens (Ten Design)
and Mohamad Ghamloush / Design
proposal / www.10design.co
06 Primary School
Rafz, Switzerland / Primary school with
kindergarten and multifunctional Learnscape / Kit / Design proposal / www.
kitarchitects.com
07 Calles en Altura
Madrid, Spain / Social housing / Fabric
(Eric Frijters and Olv Klijn) / Design
competition entry, honourable mention /
www.fabrications.nl
04
03
05
04
06
07
07
23
24
MARK No 31
NOTICE BOARD
25
01
03
01 Centre for Promotion of Science

Belgrade, Serbia / Centre for Promotion of Science / Wolfgang Tschapeller / Design competition entry, rst
prize / Expected completion 2012 /
www.tschapeller.com / Rendering by
Isochrom
02
03
06
07
04
05
05
06
02 Vertical Theme Park

New York, NY, USA / Stacked theme
park for Manhattan / Ju-Hyun Kim /
Design proposal / www.juhyunkim.com
03 Amager Bakke
Copenhagen, Denmark / Waste-toenergy plant / BIG (Bjarke Ingels
Group) / Design competition, rst prize
/ Expected completion 2016 / www.
big.dk
04 KAT-Ohno
Tokyo, Japan / Conference centre
with spaces for seminars, forums,
exhibitions and other public events /
cheungvogl / Expected completion
2014 / www.cheungvogl.com
05 Wood Sculpture Museum
Harbin, China / Museum for Chinese
wood sculptures in northern China /
MAD / Expected completion undisclosed / www.i-mad.com
06 Central Embassy
Bangkok, Thailand / Retail, entertainment and hotel complex located within
the gardens of the British Embassy in
Bangkok / Amanda Levete Architects
/ Construction started February 2011
/ www.amandalevetearchitects.com
07 Science Centre
Beijing, China / Science and technology museum / KSP Jrgen Engel
Architekten / Design competition
entry, rst prize / Expected completion
undisclosed / www.ksp-architekten.de
27
s
CrS
e
S ctin
ON THE EDGE
26
MARK No 31
6
2
CROSS SECTION
GO HASEGAWA
RCR
CARSTEN ROTH
BENOY
NOBUHIRO TSUKADA
KINO ARCHITECTS
NAF
THEO DEUTINGER
BERNARD TSCHUMI
IDA PILAR
PEDRO GADANHO
PATKAU
SAMEEP PADORA
HIROSHI IGUCHI
PLANT
3GATTI
JUAN AGUSTIN SOZA
NIKKEN SEKKEI
HIROSHI KUNO
KDV
FRITZ ARCHITECTS
28
MARK No 31
CROSS SECTION
go hasegawa
Text Masaaki Takahashi
Photos Go Hasegawa
FIRST FLOOR.
GROUND FLOOR.
GO HASEGAWA & ASSOCIATES
stands on stilts to communicate

with the forest
In the Japanese city of Nagano, Go Hasegawas

Pilotis in a Forest occupies a humid site surrounded
by a dense growth of trees. The holiday house a
striking mix of the vernacular and the modern has
a strong relationship with its location. The ground
oor is an outdoor concrete deck, contiguous with
the forest, that puts the user in direct contact with
the encompassing landscape. Form, simplicity and
use of materials create a sense of unity between
house and forest. The living area on the level above
the deck consists of a light, conventional wood
frame and a Galvalume outer wall, which rests on
nine 10-x-10-cm steel columns held rmly in place
by crossed braces on each of the four sides. The
gently sloping roof, only 1.8 m at its highest point,
is partially glazed, allowing natural light to enter

through gaps that separate the narrow timber
boards used for both oor and ceiling. The glazed
part of the roof overlooks a bespoke arrangement
of chairs around a glass-topped table, which stands
on a glazed section of the oor. The result is a visual
link between the two levels of the house. The upper
oor is 6.5 m from the ground, a carefully calculated
dimension based on the architects research with a
model. According to Hasegawa, people standing on
the pilotis at exactly this height feel connected to
nature without feeling alienated by distance.
www.hsgwg.com
SECTION.
29
30
MARK No 31
CROSS SECTION
rcr
Text Rafael Gmez-Moriana

Photos Iigo Bujedo Aguirre
You wouldnt know it from looking at the building in

photographs such as those shown here. You wouldnt
even know it if you were standing in front of the
building itself. Nor would the names of the architects
Rafael Aranda, Carme Pigem and Ramon Vilalta
of RCR, a Catalan trio known for its uncompromising work offer the slightest hint. Only if you heard
it from an insider would you know that this ofce
complex in LHospitalet de Llobregat, Spain, is a green
building, LEED certied and all.
So where, you might ask, are the photovoltaic
panels? The wind turbines? The nitrogen-inatable
gives us low-key
green
EFTE pillows? Why isnt the building rising from a

Teletubbies landscape? And, considering that this is a
commercial ofce building, where is the eco-lifestyle
billboard cleverly doubling as a greenwash? Your
search for visual evidence is fruitless, for this building
does not make hay over the tonnes of CO2 it prevents
from polluting the environment annually. It does not
show off its rooftop photovoltaic panels, solar waterheating system or toilets ushed with grey water.
Thank goodness.
On the other hand, RCRs building does make ordinary sheet steel (recycled and recyclable, of course)
look like slabs of marble la Barcelona Pavilion. It

does feature a light well, made from two-way reective glass, that recalls a Dan Graham installation. And
it does manage to visually appropriate the neighbouring Repsol service station (designed by Norman
Foster) and transform it into a piece of corporate
sculpture t for a plaza. Might a building that saves
energy and natural resources no longer need to look
as if its doing so? And could designing such a building actually delight us in the process?
www.rcrarquitectes.es
RCR ARQUITECTES
31
MARK No 31
CROSS SECTION
carsten
roth
CARSTEN ROTH
33
Text Peter Dykes

Photos Klaus Frahm / arturimages
levitates art
A huge cantilever may seem like an inappropriate

architectural statement for this storage building in
Pttsching, Austria. Yet its architect, Carsten Roth,
explains the structure in the context of a sculptors
oeuvre.
sit among rows of trees that gradually fade into the

surrounding landscape the farmlands where Karl
was born. The structure is designed to protect the
couples collection of paintings and sculptures from
the elements.
Could you tell us a little about the building

and the artist who commissioned it?
I designed and built the Storehouse for Art for
legendary Austrian stone sculptor Karl Prantl, who
died in October 2010, and his wife, Uta, a passionate painter. The storehouse is on a strip of land
thats 500 m long and 25 m wide. Stone sculptures
How did the location of the storehouse inuence the design?

The work of Karl Prantl is contemporary yet ageless.
My overall intent was to honour his and Utas work
without competing with it. I wanted to leave something timeless in combination with Karls magical
pieces on this narrow but breathtaking stretch of
land. I wanted the design to quote art and refer to

the arts but to lack the ambition of art itself.
Considering its function, are you afraid some
may see it as an immodest building?
The storehouse is what it has to be: a functional depot
and a place for recollection. It levitates the design
is light and has only a minimal connection with the
ground. The cantilever reminds us that the most important things on this piece of land are the sculptures.
www.carstenroth.com
34
MARK No 31
CROSS SECTION
benoy
Text John Bezold
Photo Aldar Properties
brings ferrari
to life
Abu Dhabi, the UAE's second largest city, constantly
attempts to outshine the building spree of the country's more famous capital, this time with Benoy's
Ferrari World Abu Dhabi, a humongous, 1.4-kmwide amusement park occupying yet another of the
countrys articial islands, each of which houses
private collections of architecturally immaculate conceptions. Many continue to gape at Abu Dhabi and
Dubai in amazement, as the cities dream up and realize one impressive feat of architectural engineering
after another. Highlighting the most recent of these
dreams, Ferrari World the worlds largest indoor
theme park is (as we go to press) the world's fastest roller coaster. Integrated into the surroundings of
the complex are the Yas Marina Circuit, home to the
Abu Dhabi Grand Prix; the Yas Hotel, the imaginative
work of New York-based Asympote; and the yet-tobe-built Warner Brothers Movie World.
In terms of engineering and scale, the most
impressive element of Ferrari World is its sculptural
roof, a structure composed of over 200,000 m2
of coloured panels in the company's iconic red. A
central eye, or funnel, made of roughly 10,000 m2
of glass much of it screen-printed draws enough
natural light into the complex to illuminate the entire
park during the day, while helping to keep the indoor
space a uniformly comfortable 25C. The recent
grand opening of Ferrari World recalled the fanfare
that accompanied the opening of Coop Himmelb(l)
au's BMW World in 2007. But bringing the Ferrari
brand to life in this remarkable way surely surpasses
anything BMW World has to offer, if only through the
venues enormity, simplicity and pervasive sense of
Arabian intrigue. Rather than scoring with the speed
and sportiness of Ferrari's designs, Benoy makes
mouths drop in disbelief through sheer size.
www.benoy.com
BENOY
35
MARK No 31
36
CROSS SECTION
nobuhiro
*$5'(1

.,7&+(1
;
SECTION.
;
;
GROUND FLOOR.
FIRST FLOOR.
NOBUHIRO TSUKADA
tsukada
Nobuhiro Tsukadas investigation into how to connect a building to the earth eventually resulted in a
suburban house with a garden suspended 4.3 m
above ground level. After subtracting the required
oor area from that of the 200-m site, we did not
have enough space left over to create a proper
courtyard. The site, in the Tokyo suburb of Yashio,
is bordered by farmland, says the architect. By
positioning the garden at the level of the rst oor
and expanding it like a large umbrella, we were able
to double its size. To realize the 30-m garden, at
the centre of the house we placed a strong, hollow,
37
Text Cathelijne Nuijsink

Photos Tomohiro Sakashita
plants a garden
in a house
reinforced-concrete structure that ares like a

funnel and is lled with soil. Unlike a conventional
rooftop garden, our elevated model is physically connected to the ground. Completely surrounding the
garden is an inward-sloping roof that becomes the
exterior walls. The rooms are arranged within this
encompassing construction. Those inside the house
are aware of an unusual relationship between the interior and the exterior. When you look through a window at ground level, for example, daylight entering
the house from above clearly signals the existence
of the garden. You also recognize that the shape of
the interior is the inverse of that of the garden. You

know that the house is covered in soil. And on a hot
summer day you can almost feel the warmth of the
earth behind the cool concrete walls.
www.ts-ar.com
38
MARK No 31
kino
CROSS SECTION
KINO ARCHITECTS

Photos Daici Ano
branches
out
SECTION.
PLAN.
The layout of Kino Architects latest house in Fukushima, Japan, is determined by the living and dining
room. Four rooms branch off from this central family
space master bedroom, childrens room, guest
room and a unit that encompasses wet areas and
kitchen all positioned to receive optimal natural
light. An open loft above each of these rooms not
only satises the clients request for lots of storage
space but also provides a place to play. The interior
is made chiey of wood, which creates a natural,
cosy environment that strengthens family bonds.
The project is in a somewhat remote residential
district where building sites have been arranged into
a uniform grid. It is a quiet place, with a scattering of
houses, vacant lots and hard landscaping. Kino Architects layout for the Branch House goes beyond
good lighting and family bonding to effectively divide
up the propertys outdoor space. A parking area on
the north side is big enough for several cars. The approach to the main entrance is on the east. The west
side has been earmarked as the space for a garden,
where the family can barbecue and engage in other
outdoor activities, and the south side as a playground for the children. Architect Masahiro Kinoshita
points out that he created various places inside
and outside the house that allow family members to
distance themselves from the others. Personal space
is as important to family life as communal space.
www.masahirokinoshita.com
TUUCI Europe - De Nedervonder 17 - 5061 JP Oisterwijk - The Netherlands - T: +31 522 0471 - F: +31 522 0483 - E: info@tuuci.eu
www.tuuci.com
40
MARK No 31
naf
CROSS SECTION

Photos Noriyuki Yano
plays with light
Is it a hobby that has gotten out of hand? No, you

could call it healthy respect that dentist Kanji Kato
is showing for his painting teacher, the renowned
Japanese artist Kakudo Goami. With the construction of the Mecenat Art Museum in Hiroshima, he
can nally share his Goami collection with a wider
public.
Goami paints striking images of light, so I
decided on an art museum that incorporates natural
light, explains architect Tetsuya Nakazono from NAF.
The exhibition space is designed to be susceptible
to the natural environment. The use of articial light
is kept to a minimum; the paintings are lit naturally,
where possible. Daylight enters through a large
skylight and is ltered through a matte glass oor
before it reaches ground level. Soft light comes in
through vertical openings in the walls, where there
is also a graphic pattern of glass at various points,
which spreads the light diffusely.
The light changes with the state of the weather
and in so doing leaves the visitor with a constantly
different impression. Because it is an exhibition
space, there was no need for structural devices such
as columns and beams, so we made the exhibition wall as large as possible, explains Nakazono.
To incorporate the idea of natural light and wind,
slits have been sliced into the corners without this

interfering with the paintings exhibited. By folding
the wall and creating many corners, NAF was able
to make a stable construction. I would like visitors
to feel the profundity and gentleness in Goamis
work with their entire bodies, says Nakazono. Like
the paintings, the museum reects the spirit of the
changing seasons Japanese people adore so much.
www.naf-aad.com
NAF ARCHITECT & DESIGN
41
MARK No 31
42
CROSS SECTION
Text and graphic Theo Deutinger and Kit Chow
iron silk road
Narvik
Bodo
With China on the rise and Europe standing strong,

Eurasia is rapidly becoming the worlds new ecoTrondheim
nomic centre. Clogged seaports and a vulnerable
air-transport system have shifted the focus to a
Bergen
Oslo
Helsinki
network of railways also known as the Iron Silk
St Petersburg
Stockholm Tallinn
Road intended to shrink todays supercontinent in
the coming years. The project is aimed at shortening
Goteborg
Moscow
Riga
the time of bulk consumer-goods transport between
Kopenhagen
Edinburgh
Hamburg
China and Europe and, at the same time, unlock the
Kaliningrad
Minsk
cities at the heart of Eurasia. Thanks to their straBerlin
Rotterdam /
Manchester
Warsaw
tegic position, creating better access to these cities Dublin
Antwerp
will greatly facilitate the ability of their inhabitants
Kiev
London
to travel and do business throughout the vast area
Cologne
Lille / Brussels
served by the new network.
Nuremb. Pardubice
Chop
Doneck
The Northern Corridor of the Iron Silk Road
Budapest
Strasbourg
Paris
Chisinau
Vienna /
largely follows the existing Trans-Siberian Railway,
Munich /
Odessa
Bratislava
Salzburg
Lyon
while the Central Corridor mainly traces the route
Venice Belgrade
Constanta
Bordeaux
Milan
of the ancient Silk Road to Beijing. The Southern
Varma
Bilbao
Corridor faces political barriers but will eventually
Florence
Skopje
Marseille
Filyos
connect the highly populated countries of Turkey,
Rome
Sofia
Barcelona
Iran, Pakistan and India with Europe and China.
Porto
Napoli
Istanbul
Thessaloniki
Madrid
Pressing ahead enthusiastically with the Iron Silk
Europe
Road project, China is not only establishing a high Lisbon

speed train network inside the country but also plan- Sevilla
ning and building railways along the routes as far as
Turkey (a contractual agreement was signed at the
end of 2010), an operation that will turn Turkey into
Europes gatekeeper.
The Iron Silk Road will interlink about 75 per cent
of the worlds population in more than 40 countries
in Asia and Europe. China hopes to complete its
massive infrastructure project within ten years. It will
include at least one line running 320 km/hour and
will shorten land-transport time between London
and Beijing from 15 to only two days if Europe is
willing to connect, that is.
Uralsk
Volvograd
Aterau
(New Sarai)
Aktau
Baku
Tyre
Damascus
Teheran
Baghdad
Esfehan
(Ctesiphon / Seleucia)
Basra
Cairo
Mediterranean Sea
Dubai
Arabian
Peninsula
ancient silk road
rail gauge sizes:

Standard (Europe, China, Turkey & Iran): 1435mm
South East Asia: 1000mm
Former Soviet Union: 1520mm
India & Pakistan: 1676mm
trans-siberian railway (diverted into trans-mongolian & trans-manchurian)
Black Sea & Caspian Sea harbour

worlds top 15 busiest container ports
important city on the ancient silk road
important city on the new silk road
trans-eurasia logistics
major local railway network (Europe & China)

high-speed railway network by 2020 (>250 km/h)
existing major railway network
Turkmenbasy
Yerevan Tabriz
Antioch
Athens
Eurasian railway network
Damascus
Moscow
Beinau
Batumi
7
break-of-gauge
Perm
Ankara
Palermo
Legend
Kirov
Nizhny
Novgorod
baikal amur mainline

european rail shuttle
new eurasian land bridge (proposed)
chinese transcontinental network (proposed)
TRACECA (Transport Corridor Europe-Caucasus-Asia)
sources: traceca-programme.eu
en.wikipedia.org
trans-eurasia-logistics.com
ersrail.com
skyscrapercity.com
TD
td-architects.eu
WORLD MAP
43
Siberia
Yakutsk
2
Tynda
Northern Corridor
Yekaterinburg
Severobaikalsk
Bratsk
Krasnoyarsk Tayshet
Novosibirsk
Skovorodino
Fervalsk
Omsk
Mohe
Chita
Amur
Heihe
Irkutsk
Astana
Sovetskaya
Gavan
Khabarovsk
Manzhouli
Ulaanbaater
Aktogay /
Alataw Pass
Harbin
Turpan
Kucha
Jiayuguan
Almaty Aksu
Tashkent
Shenyang / Fushun
Dandong
Seoul
Datong
Busan
Wuwei
Niya
Waihai
Lanzhou
Zibo
Hotan (Khotan)
Qingdao
Xian
Osaka
Lianyungang
Taxila
Balkh (Bactra)
Dalian
Lop Nor
Kaxgar (Kashi)
China
Mashhad
Lahore
Tianshui /
Guyuan
Nanjing
Ankang
Chengdu
Lucknow
Karachi
Dali
Huiahua
Guiyang
Myitkyina
Kunming
Ningbo
Changsha /
Zhuzhou
Delhi (Mathura)
Southern Corridor
Shanghai
Chongqing Wuhan
Neijiang
Patna
(Pataliputra)
Nanchang
Hengfeng
Hengyang
Fuzhou
Guangzhou
Hanoi
Barygaza
Taipei
East
China Sea
Kaohsiung
Nanning
Tamluk
Tokyo
Xuzhou
Zhengzhou
Lhasa
Zahedan
Sapporo
Changchun
Beijing /
Tianjin
Balyunebo
Jilantai
Khujand
(Kokand)
Vladivostok
Erenhot
rmqi
Samarkand
Suifenhe
Holingol
Central Corridor
Saksaulkaya
Shenzhen /
Hong Kong
Masulipatam
South
China Sea
Bangkok
Arabian Sea
Bay of
Bengal
Phnom
Penh
Ho Chi Minh City
Kuala
Lumpur
Travel time London - Beijing

1/2 day
Singapore
2 days (2025)
15 days (2011)
26 days
1.000 km
44
MARK No 31
CROSS SECTION
Text Rafal Magrou

Photos Christian Richters
bernard
On a hillside above the Garonne River, facing the

bourgeois city of Bordeaux, a musical rock rises
ever so slightly from a park in the town of Cenon.
The multifaceted structure in shades of red houses
three complementary theatres of different sizes.
Designed by Bernard Tschumi Architects, with Vronique Descharrires, the new building is in striking
contrast to the surrounding greenery.
A working-class suburb of Bordeaux, Cenon is a

melting pot. With a population of 23,000 made up of
75 nationalities, Cenon had good reason to create
a venue dedicated to world music the inaugural
production was an opera in the African language
of Wolof. Le Rocher de Palmer, as the complex
is called, targets a wide, diversied audience. A
650-seat theatre, a hall large enough for another
1,200 (standing) visitors, and a smaller studio for

cosier concerts all share a technical core but can be
used simultaneously. Located in a luxurious garden,
next to the Chteau Palmer winery, the cultural
centre wears a red mantle of Kalzip aluminium that
echoes the red roofs of nearby buildings. The folds
of the pleated roof change with the incidence of
light and the weather, turning the building into a
BERNARD TSCHUMI
tschumi
chameleon whose skin ranges from orange to dark

cherry.
The interior ceilings are like Rorschach tests.
Metal panels hanging high in the grand theatre double as an acoustic device, reecting incident sound
to achieve an effective balance within the concrete
box. Along the corridor that lines the south face of
the rock, light enters the foyer through dark glazing
likes a touch of
colour
that protects visitors from the sun and offers them a

view over the river. This coolly contemporary building,
which is visible across the river in Bordeaux, not only
contrasts with its environment but also ts right in,
adding a touch of colour to its sloping site.
www.tschumi.com
45
DISCOVER
THE GREAT
INDOORS
HERMS FLAGSHIP STORE, PARIS,
FRANCE. DESIGNED BY RDAI.
PUBLISHED IN FRAME #79.
PHOTO MICHEL DENANC,
COURTESY OF HERMS
FRAMEMAG.COM
MARK No 31
CROSS SECTION
ida pilar
Architect Ida Pilar, her husband and their two sons
permanently exchanged their apartment in the
Chilean capital Santiago for a house in an ecological
community at the foot of the Andes, opting to live
and work in an energy-conscious way in a green environment. To protect the birds, rabbits, insects and
rare vegetation in this area, the community requires
all the residents to reuse their water and build using
durable construction materials.
Pilar oriented the house and home ofce perpendicular to the length of the plot. Large windows
on the sunny north side open the house up to the
mountain landscape, while the cold south aspect
is protected by a thick clay wall. The oor plan is
divided into three zones to allow the various living
and working programmes to function independently, according to Pilar. To meet the regulations of
the eco-community we used quincha, a traditional
and environmentally friendly construction system
of impregnated wood, to form an earthquake-proof
IDA PILAR SILVA MONDSELEWSKY

Photos Aryeh Kornfeld
is going eco
framework covered in mud. It requires very little energy for the production and can be applied by local
builders. Besides clay, Casa de Alejo contains local
materials such as stone, wood and the totora plant,
and the window frames are made from recycled
parquet ooring and oak beams from an old house.
These kinds of primitive constructions are usually
associated with a rustic kind of regional architecture
in Chile, says Pilar. But Casa de Alejo uses local
materials without any reference to traditional styles
and has a very modern feel to it.
47
48
MARK No 31
CROSS SECTION
Text John Bezold

Photos Edgar Martins
down the rabbit

hole with
pedro
A trip down the rabbit hole is one way to describe
Pedro Gadanho's GMG House, sited just north
of Lisbon in the city of Torres Vedras. This private
residence packs more pop-culture references within
its walls than rst meet the eye, including nods to
Claes Oldenburg, Damien Hirst and Lewis Carroll's
Alice's Adventures in Wonderland. The renovation
of the 19th-century structure includes a number
of habitable interventions, best exemplied by an
oversized pill a bathroom extension that echoes
both Oldenburgs enlarged objects and Hirsts capsules, while mirroring Alice's sometimes-shrunken,
sometimes-expanded journey through the strange
universe depicted in Carroll's classic novel of 1865.
I think its important to have cultural references
in the home that come from outside the world of
architecture, says Gadanho, adding that such references lend a sense of signicance to the dwelling
that escapes the conned discourse of architecture.
Here in Torres Vedras, hes made a multipurpose mix
of the ground oor. The rst oor combines living
room, library, kitchen, bathroom extension, patio
and pool. The second accommodates a bedroom, a
bath and a studio, which are linked and framed by
a seemingly endless hallway lined in sliding doors,
distantly recalling the enlades of French chateaux
erected centuries ago.
I prefer to see architecture as pleasure
sensual or intellectual rather than as an imposed
constraint, says Gadanho. The realization of this
preference is often a strange universe of historical,
ctional and narrative connections. Only in this way,
he says, can architecture full its cultural role and
trigger ideas, recollections or even playful daydreaming. Daydreaming, as Alice would do.
shrapnelcontemporary.wordpress.com
PEDRO GADANHO
gadanho
FIRST FLOOR.
SECOND FLOOR.
SECTION.
49
50
MARK No 31
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patkau
aligns a house with

its topography
PATKAU ARCHITECTS
51
Text Peter Dykes

Photos James Dow
PLAN.
On a small island in British Columbia, Canada,

Patkau Architects Linear House sits on a 6.5-hectare farm. Linearity was clearly a driving concept in
the design of the 84-m-long, single-storey rectangle.
The linearity of the plan was a direct response to
the line of Douglas rs that subdivides the site, says
John Patkau, adding that the use of this line as a
reference point connects the house to the site in a
powerful way that doesnt interfere with the integrity
of the space of the nearby orchard or hay eld.
The exterior of the house is clad in charcoalcoloured bre-cement panels that complement the
surrounding evergreen foliage. Translucent acrylicresin panels on interior walls absorb and reect
both natural and articial light, and static volumes
replaces and cupboards break up the semi-open
plan. Potentially ambiguous spaces in between
derive their coherency from elongated furniture and
xtures that conform to the theme of the building
and dene its circulation.
By interrupting the walls with large expanses of
glazing, Patkau continually engages the occupants
with the landscape that runs alongside the house. A
series of thin vertical planes that jut perpendicularly
from either side of the windows frame these views,
and a peripherally restricted outlook gives identity to
each room. Furthermore, all windows, including the
buildings 40 skylights, are fully retractable, allowing
users to transform the house into an open-air pavilion in the summertime.
www.patkau.ca
52
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sameep
padora
Sameep Padoras most recent work is a deli-cumrestaurant situated in a large shopping mall in
Mumbai, India. A uid wooden grid hanging from the
ceiling singularly encloses and denes the space.
Padoras practice, sP+a, is perhaps best known for
its collaboration with the local people of Maharashtra in the design of a Hindu temple a similarly
engaging piece of work. The new commercial
project displays Padoras ability to create interesting
and inspiring spaces even when conned to a boxy
mall unit. The form is an insert into the raw space
that attempts to obliterate its rigid geometries, he
says. It is quasi-wall, quasi-roof, rejecting the formal
structure of either.
The seemingly endless space and uorescent

lighting that comprise our collective understanding of the mall stop at the delis threshold. Padora
has made the most of the interior by restricting it,
vertically at least. Stemming from four convergences
above the seating area, the highest points in the
establishment, is a square grid with an undulating
curvature that expands and contracts. Elsewhere,
the usable vertical space is cut in half. Moving
through the restaurant is a dynamic experience no
two points under the lattice are the same.
The shelves satisfyingly morph into the roof, and
the brightness of the malls interior permeates two
layers of crisscrossing wood before ltering light
SAMEEP PADORA
Text Peter Dykes

Photo Edmund Sumner
cuts corners
from the mall into the delis cosier dining area. The
wooden lattice clearly denes the scale customers interact with it when reaching in to get their
food. The design aims to combine the intimacy
and warmth of traditional wine cellars with the
programme of retail shelving, Padora explains. The
grid, however, does not enclose the restaurant as a
whole. At its edge is the kitchen, whose contrasting
straight lines and right angles clearly delineate front
of house from back of house while remaining visible
to shoppers.
www.sp-arc.net
Portland Art Museum - Portland Oregon
Woven Wire Fabric

Projects include multi-story wire mesh draperies for hotels, auditoriums, and casinos; curved dividers for visual
merchandising; window treatments for private homes; safety & blast mitigation screening; sculptural forms for
urban gardens; decorative interior/exterior wall coverings; solar shading for buildings and parking garages; aviary
screening for animal habitats, and see-through appealing barriers for commercial security.
Whatever the application, let us help you realize your creative vision.
54
MARK No 31
CROSS SECTION
HIROSHI IGUCHI
55
Text Salvator-John Liotta

Photos Alessio Guarino
hiroshi
iguchi
adds a chapter to
asahi mil ennium city
Not far from Tokyo, a three-storey greenhouse

designed by Hiroshi Iguchi encloses a timber-framed
house with a suspended, half-ceiling of straw: a structure with comfortable, cosy, light-lled spaces that
generate a calm atmosphere and a smooth connection between the house and its surroundings. Inside
its glazed cocoon, the dwelling features an attractive
mix of rough-hewn and rened elements. Iguchi combined a traditional tatami room and Japanese shoji
with a vast expanse of transparent glass to produce a
tranquil sense of buoyancy.
Iguchis work transcends the eld of architecture
to embrace society and the development of ecological
concepts. The Japanese architect is a dreamer who

challenges the norm by designing harmonious communes. To turn his dream into reality, he established
Millennium City, a non-prot organization that boasts
more than 500 active members to date. My goal is to
restore the global environment and the human hearts
and ties that we have devastated in the 20th century.
According to Iguchi, the paradigm shift he envisions can be achieved with a few simple steps, including build-it-yourself projects, good communication
aimed at closer relationships among neighbours, and
resuscitation of the environment through symbiosis.
The Asahi Millennium City is the sixth project that
Iguchi and colleague Kazuki Ono have designed.

Their ambition the creation of a networked city is
an ongoing project; they have already established
six settlements in areas around Tokyo. Japan had
recycling-oriented communities as far back as the
Edo period [1603-1867]. Projects like these allow us
to pursue a lifestyle with a focus on self-sufciency,
aided by organic farming. Our ultimate objective is an
even larger network of eco-villages that continues to
expand.
www.fthworld-inc.com
56
Photo Dniel Nmeth
MARK No 31
CROSS SECTION
PLANT
57
plant
Text Peter Dykes
spans the
gap
Photo Sndor Szab
Jzsefvros, Budapest historically one of Hungarys

most deprived areas is currently undergoing a massive and controversial regeneration. In 2005 a competition for the design of a mixed-use housing scheme to
accommodate some of Jzsefvross poorer displaced
residents was won by PLANT.
The design echoes surrounding development in
scale and volume, continuing the sectional shape of the
party walls to which it is attached. Local identity will remain, even to cite an extreme case if all the neighbouring buildings are demolished, says architect Pter
Kis of PLANT. External walls take their cue from the
local brickwork, but a change in materiality to charcoal
glazed tile differentiates the building from its surroundings while keeping costs low. A route into the blocks
courtyard creates additional public space and optimizes
natural light, splitting the scheme into two volumes
united by an animated sequence of walkways that span
the gap between them and balconies of various lengths
that project from the faade into the breach.
A courtyard and shops heighten the Prater Street
social-housing projects sense of community. The
development, however, is not only socially but also
economically sustainable. Material longevity is complemented by simple detailing. The people living here
might never have the money to restore the building,
says the architect. Nevertheless, an aerial view of the
scheme hints at ways in which tenants are adapting,
personalizing and even colonizing their balconies as
indoor space. The buildings evolution is anticipated
through its inhabitation.
www.plant.co.hu
58
CONCEPT BLOB.
PLAN.
MARK No 31
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CONCEPT BOOLEAN SUBTRACTION.
3gatti
3GATTI ARCHITECTURE STUDIO
59
Text Peter Dykes

Photos Daniele Mattioli
designs digitally but builds manually
Recently opened in Shanghai, ZeBar by 3Gatti

explores the practical application of 3D computer
design, although the process was not altogether
guilt-free.
Whats the idea behind this project?
Francesco Gatti: The project was born in 2006,
when a Singaporean movie director and an exmusician from southern China decided to open a
live-music bar in Shanghai. The budget was low,
but the clients were very open-minded. They liked
one of the rst concepts we proposed: a cave-like
space based on a digital Boolean subtraction of
hundreds of slices of an amorphous blob. The idea
looks complex, but its actually very simple; it came
from playing with virtual volumes and spaces in 3Dmodelling programs.

Such programs often lead to designs that
cant be built. Did you follow a similarly technological process to implement the design?
The space was subdivided into slices to bring it back
from the digital into the real world to give real
shape to each of the many, many sections of the
uid NURBS surfaces. In Europe, the natural consequence of a design like this would be huge numbers
of machine-cut sections. In China, however, the work
of low-paid labourers replaces mass-production. Using a projector, they traced all the sections we had
drawn onto plasterboard and cut out each section by
hand. Construction was incredibly fast, only a couple

of months. A low-cost but morally uncomfortable
manufacturing process.
www.3gatti.com
60
MARK No 31
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juan
agustin
JUAN AGUSTIN SOZA

Photos Marcos Mendizabal
Casa 4M in Santiago is an ode to the South American master brick-builders, including the Colombian
architect Rogelio Salmona and the Uruguayan Eladio
Dieste. In the house for a young couple who originate
from Chile and Uruguay respectively, Juan Agustin
Soza combines tradition with a fast, inexpensive
method of construction in a most effective way. The
exterior walls are composed of hand-made bricks
measuring 28 x 14 x 7 cm, set in slender steel
frames. In this way, Augustin was also able to full
the requirement imposed by Chilean regulations that
brick constructions must be reinforced, but without
losing any corporality.
The site is located in a neighbourhood with
plots ranging from 600 m2 to 1000 m2, lled with
rectangular-shaped houses, Agustin relates. In spite
of the mixture of architectural styles, every architect
rigorously ts their project into the same rectangular
composed an
ode to his masters
format. Casa 4M is completely free of this geometry.

The corners and recesses of the non-rectangular
oor plan suit the lifestyle of the couple and their
three children much better, according to the architect.
Furthermore, the plan ts in with the topography of
the landscape and provides better views over Santiago and the nearby mountains as a result.
The randomness of the brickwork evokes a
sense of craftsmanship thats different from the
mechanized construction processes that are the
standard nowadays, says Augustin. The identity of
the house, resulting from the combination of steel
and brick, perfectly reects the familys way of living
and sharing.
FIRST FLOOR.
GROUND FLOOR.
design by Antonio Citterio with Toan Nguyen
HUL^]PZPVU!2,3=053,+
www.os.com
62
MARK No 31
CROSS SECTION

Photos Koji Fujii / Nacasa & Partners
NIKKEN SEKKEI
63
nikken sekkei
rises from the suburbs
This extraordinary art museum, located in Chiba,

Japan, was designed by a team led by Tomohiko
Yamanashi of Nikken Sekkei, a massive architecture
rm with a solid nationwide reputation. Although
projects by companies this large are often less than
inspirational, Yamanashis team has been producing
one unique building after another. As it is a private
art museum with a collection consisting solely of realist paintings, we aimed for the same kind of purity
in our architecture that is found in the art on display,
says Yamanashi. The architects created a visually
awless interior by smoothing surfaces, eliminating
imperfections no folds in the fabrics used, no joins
in the carpeting and concealing LED lighting in
the ceiling.
The 80-m-long museum extends as far as the
building site allows. Tubular gallery spaces, stacked
one atop the other, conform to the shape of the
awkwardly curved site, arcing to offer long sightlines
that help visitors spot their favorite pieces. At the
open ends of these corridors, they have a chance to

admire the landscape before proceeding to the next
area. On the west side the main approach the
museum rises from the scale of neighboring houses;
on the east, it overlooks a spacious nature park. An
astonishing 30-m-long tubular cantilever shoots over
a walkway at ground level, extending the angular
gallery space beyond the building proper, exposing
the thinness of the metal shell and appearing to be
weightless.
www.nikken.co.jp
64
MARK No 31
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hiroshi kuno
Photos Hiroshi Kuno + Associates
A conventional Japanese house is just a closed box

at the centre of the plot that focuses solely on the
interior, claims architect Hiroshi Kuno. By treating
the entire site as the architectural programme, we
can make the house into a new environment at a
scale between architecture and landscape.
Kuno broke through the monotony of an ordinary
residential neighbourhood in Sapporo on a 170-m2
plot by playing with unconventional proportions and
unusual oor heights. For instance, the 2.59-m-high
living room of his Kumagai House has been buried
72 cm into the ground. The adjoining bedroom has
a minimal ceiling height of only 1.87 m, while an
8-m-high box towers above all the surrounding

houses and provides a spectacular view. Kunos play
with unusual perspectives means that eating in the
living room takes place at eye-level with the plants in
the garden, and that parents in the sunken kitchen
can keep a watchful eye on their children playing
outside. The area round the house also acquires a
different perspective. The roof garden is at the remarkable height of 1.87 m, lower than the standard
height for balconies. Being up here leads to spontaneous contact with neighbours and passers-by.
Kumagai House is not an introvert box, but a
house that integrates the surrounding environment
into the daily life of the residents, says Kuno. This

open lifestyle is comfortable, because it feels like a
private territory amid a semi-public environment.
http://qno.jp
HIROSHI KUNO + ASSOCIATES
digs himself in
SECTION.
GROUND FLOOR.
FIRST FLOOR.
SECOND FLOOR.
65
GRAND STAND 3
DESIGN FOR TRADE FAIR STANDS
Grand Stand 3 brings readers up to date on

current developments in the fast-paced world
of stand design. Covering 512 pages, the book
encompasses 145 trade fair environments divided
over nine categories: Apparel, Architectural
Products, Consumer Products, Electronics,
Interior Products, Lighting, Mobility, Services and
Shoes & Accessories. Each stand is presented
by a description of the design, project credits,
photography and a designer profile. Floor plans,
sections, sketches, detail drawings, renderings
and construction photos explain the design
processes from concept to completion. Contact
details of architects, designers, brand agencies
and stand builders are included.
PRICE 69 EXCLUDING SHIPPING COSTS

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DESIGNED BY KAUFFMANN THEILIG & PARTNER AND
ATELIER MARKGRAPH .
PHOTO ANDREAS KELLER
KDV ARCHITECTS AND FRITZ ARCHITECTS 67
Text Sandy-Lynn Kenswil

Photos KDV / Roy Tjin
kdv and
fritz
steel a wooden
cathedral
Is architecture a craft? Carpenter Frans Harmes

must have thought so 130 years ago, when he
designed one of worlds largest wooden cathedrals
for the Diocese of Paramaribo, Suriname. Whereas
most Roman Catholic churches are brick buildings,
this ne neogothic church is made entirely of wood.
Although much of the original architecture remains,
considerable restoration work was executed in the
1970s. Disrepair, lack of money for maintenance and
safety concerns had led authorities to close the cathedral in 1989. Eighteen years later, the European
Union and the government of Suriname made it

possible to restore this historically important building.
The cathedral was consecrated again in November.
Invisible to churchgoers is the extensive structural steelwork that the restoration team used to
reinforce the roof that connects the two towers and
the sanctuary. These are the strongest parts of the
church, says Philip Dikland of KDV Architects, who
led the restoration together with architecture rm
Fritz. To connect the timber columns in the church,
the team used steel tension rods that now span the
nave. Some of these columns had suffered so much

termite damage that they had to be replaced by new
ones, which are made from the same type of cedar
used throughout the interior. Dikland is fascinated
by the work that Harmes and his staff carried out
over a century ago. He estimates that rebuilding the
church today would take us about six years, and yet
it took Frans Harmes only two and a half years.
www.kdvarchitects.com
www.bureaufritz.nl
68
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WWWAATPLUSCOM
MAKOTO YOKOMIZO AND TWO

COLLEAGUES AT WORK.
PHOTO HIRO SAKAGUCHI
74
MARK No 31
VIEWPOINT
THANKS TO ITS SLOPING SITE, MTH

OFFERS UNINTERRUPTED VIEWS OF THE
SURROUNDINGS.
@!2#()4%#452%3(/5,$./4
315%%:%0%/0,%).4/&2!-%3
"54')6%4(%-&2%%$/-
-AKOTO9OKOMIZO
BASEMENT.
GROUND FLOOR.
FIRST FLOOR.
TOKYO . JAPAN
75
@7%*!0!.%3%$/./40%2#%)6%/52
3-!,,/.% 2//-30!#%3!33/-%4().'
4(!43"%%.&/2#%$50/.53
-AKOTO9OKOMIZO
THE CURVING WALL SEPARATES THE LIVING AREA FROM THE TATAMI ROOM.
MTH
Minamiashigara / Japan
2010
Photos Hiro Sakaguchi
Designed for a couple with one child, MTH is a
house in Kanagawa that explores an unusual
method of partitioning. One white wall undulating
through the house smoothly separates the space
into various areas. Careful control of the position
and curvature of this wall enabled Yokomizo to
make one grand gesture that accommodates
ve functions: bathroom, toilet, washroom, storage space and stairs. The sinuous white volume
is not only a partitioning wall, but also a loadbearing structure, a light-absorbing screen, a
controller of air ow throughout the interior and
a striking piece of furniture.
SECTION.
SPACE ABOVE THE CLOSET IS ROOMY

ENOUGH FOR A BED.
76
MARK No 31
THE STAIRCASE REVOLVES AROUND THE

BATHROOM.
VIEWPOINT
TOKYO . JAPAN
77
78
MARK No 31
VIEWPOINT
TOKYO . JAPAN
79
STYIM
Tokyo / Japan
2007
Photos Makoto Yokomizo
Makoto Yokomizo collaborated with property
developer Ascot Corporation on a concept for
STYIM. They based their idea on heterogeneity
and applied it to the entire building, inside and
out. Looking at the exterior, you see ve types
of residential units whose balconies and ceiling
heights reveal exactly which type each one is.
What you nd inside are units with different oor
plans and different cross sections. The prefabricated slabs that Yokomizo used for STYIM
allowed him to build an apartment complex with
no visible beams and columns. The framework
combines reinforced-concrete walls around a
core and gable ends. The puzzle-like pattern
of the faade refers to the complexity and surroundings of the location: the heart of Tokyo.
THANKS TO ITS SPLIT-LEVEL DESIGN,
THIS APARTMENT HAS ROOM FOR A
RAISED BED.
THE STRUCTURAL ORGANIZATION OF

THE APARTMENT BUILDING. UNITS AT
THE FRONT OF THE BUILDING FORM AN
INTERLOCKING PATTERN; THOSE AT THE
BACK DISPLAY A MORE CONVENTIONAL
DESIGN.
FIVE TYPES OF APARTMENTS.
THE STAGGERED HEIGHTS OF THE

VARIOUS UNITS CREATE SPLIT-LEVEL
APARTMENTS, SUCH AS THE ONE
SHOWN HERE.
80
MARK No 31
VIEWPOINT
TOKYO . JAPAN
OPEN AT BOTH ENDS, THE HOUSE HAS A

SENSE OF TRANSPARENCY.
81
CURVED 9-MM-THICK STEEL SHEETS

PROVIDE A STRUCTURAL FRAMEWORK
AND PARTITION THE INTERIOR.
NYH
Nagoya / Japan
2006
NYH, a house that rises from a small narrow
piece of land in Nagoya, provides a designer
and an illustrator with a place in which to live
and work. Yokomizo has made the boundary between living area and studio deliberately vague.
Equipped with a wireless laptop, either occupant
can work anywhere in the ve-oor building.
Separating the interior into different areas are
curved, 9-mm-thick steel sheets. A subtle play
of light on these curved surfaces enlivens the
interior. To minimize construction costs, the architect opted for eight prefabricated units, which
were made in a factory, transported to the site
and assembled there.
A LIBRARY OCCUPIES THE FRONT OF THE

HOUSE.
04
A BATHROOM ON THE ROOF IS ACCESSIBLE ONLY VIA A ROOF TERRACE.
01 GARAGE
02 STUDIO
03 MEETING ROOM
04 LIBRARY
05 LIVING ROOM
06 KITCHEN
07 BEDROOM
08 BATHROOM
03
02
FIRST FLOOR.
ROOF.
01
07
GROUND FLOOR.
THIRD FLOOR.
02
BASEMENT.
08
06
SECOND FLOOR.
05
STRUCTURAL SKETCHES.
MARK No 31
82
VIEWPOINT
KEM
Tokyo / Japan
2006
An undulating landscape marked by narrow
meandering alleys and stairs makes Kagurazaka
an interesting place to live. These manmade elements, together with natural inclines in this part
of town, give the Tokyo neighbourhood a unique
sense of depth and intimacy. The polytopic faade
of the KEM apartment complex creates the illusion that Kagurazakas characteristic alleys and
stairs have crept into the building. Each room has
one wall that tilts at an angle which strengthens
the diversity among the various units and imbues
the room with its distinctive dynamic.
SLANTED WALLS INSIDE THE APARTMENT

COMPLEX ARE RESPONSIBLE FOR THE
BUILDINGS STRIKING IMAGE.
AN INCLINE AT THE BACK OF THE BUILDING IS THE REASON FOR THE BLIND WALL
AT THE REAR OF EACH GROUND FLOOR
APARTMENT.
NQ
NQ
NQ
5
4
3
NQ
NQ
1
0
FIRST FLOOR.
SECOND FLOOR.
GROUND FLOOR.
TOKYO . JAPAN
VIEW FROM A FIRST-FLOOR APARTMENT

OF THE COMMUNAL STAIRWELL.
TWO OF THE THREE DUPLEX APARTMENTS ON THE TOP FLOORS HAVE

BALCONIES.
@)43%%-3!3)&!,-/34
%6%29"/$9).4(%
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&5.#4)/.!,)49!.$
%&&)#)%.#9
-AKOTO9OKOMIZO
NQ
THIRD FLOOR.
FOURTH FLOOR.
LONG SECTION.
83
84
MARK No 31
VIEWPOINT
DST
Tokyo / Japan
2009
Steeply inclined alleys give visitors to the sloping
terrain of Daikanyama a sense of the original
atmosphere of this part of Tokyo. DST is a vestorey apartment building that incorporates the
verticality of Daikanyama and uses it, despite the
absence of a lift, to draw residents and visitors
all the way to the top oor. Yokomizo erected the
building on the southwest side of the site. By
positioning the structure diagonally, he created
an intriguing open space on the northeast side,
which whets the curiosity of pedestrians who
imagine theyve discovered one of the neighbourhoods charming alleys just waiting to be
explored.
LARGE GLAZED WALLS OFFER A GRAND

VIEW OF THE URBAN LANDSCAPE.
THIRD FLOOR.
AN ALLEY NEXT TO THE APARTMENT
BUILDING LENDS ACCESS TO A STAIRWAY THAT LEADS ALL THE WAY TO THE
TOP FLOOR.
LONG SECTION
GROUND FLOOR.
SECOND FLOOR.
BASEMENT.
FIRST FLOOR.
TOKYO . JAPAN
85
FLUID TRANSITIONS FROM FLOOR TO

WALL TO CEILING MAKE IT DIFFICULT TO
DETERMINE THE SCALE OF THE INTERIOR.
THE GALLERY HAS A RATHER INCONSPICUOUS EXTERIOR.
Kurenboh
Tokyo / Japan
2006
Photos Makoto Yokomizo
Kurenboh is a tiny Tokyo photography gallery
that forms an extension of a small Buddhist temple. The building, designed in collaboration with
artist Yukihiro Yoshihara, contains two exhibitions
rooms: one is 3 x 3 m and the other 3 x 1 m. To
enlarge these spaces optically, Yokomizo blurred
transitions from oor to wall to ceiling with
the use of curved prefabricated polycarbonate
panels. The result is an interior whose surfaces
seem to stretch gradually into innity.
DOORWAYS OF VARIOUS HEIGHTS
REINFORCE THE SENSE OF A SPACE
WITHOUT SCALE.
PLAN.
SECTION.
86
MARK No 31
MARTIN KALTWASSER AND

FOLKE KBBERLING.
PHOTO KBBERLING/KALTWASSER
VIEWPOINT
BERLIN . GERMANY
KBBERLING/ KALTWASSER
4(%
()'(%34
0%!+/&
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CHALLENGES THE PRESUMPTIONS
OF CONSUMERISM.
4EXT4ONY-INICHIELLO
87
88
MARK No 31
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THE JELLYFISH THEATRE.
89
MARK No 31
90
VIEWPOINT
THE ARCHITECTS OPTED FOR A STEELPOLE FRAME COMPLETELY COVERED

WITH WOODEN PALLETS, TO WHICH THEY
ANCHORED INTERIOR SURFACES.
IT WAS FUN TO BUILD WITHOUT

CUTTING AND TO SEE THE CREATION OF
A DIFFERENT AESTHETIC
-ARTIN+ALTWASSER
THE HEAD OF THE JELLYFISH

SERVED AS LOUNGE.
BERLIN . GERMANY
The Jellysh Theatre
KBBERLING/KALTWASSER USED
TIMBER WASTE TO BUILD THE
JELLYFISH THEATRE.
London / United Kingdom

2010
Photos Kbberling/Kaltwasser
In the summer of 2010, Kbberling/Kaltwasser
used timber waste to build the Jellysh Theatre,
a temporary low-budget building in the London
Borough of Southwark. The project was completed with the help of about 100 volunteers
and the involvement of local social organizations
and neighbourhood residents. The venue was
erected for the Oikos Theatre Festival, an event
organized by The Red Room Theatre Company
in cooperation with the Architecture Foundation.
Extremely minimized planning combined with
good communication, clever improvisation and
sheer passion produced a performance space
with 120 seats, a dressing room, a lounge and
a playful faade. The jellysh as both symbol
and abstracted form of theatre construction alluded to aspects of fragility (in building materials
and careful workmanship), threat (from the dictates of a neoliberal society), danger (in the eyes
of a fearful society) and signicance (in the form
of an almost incomprehensible, organic volume).
SECTION.
PLAN.
91
92
MARK No 31
Haltestelle
(Bus Stop)
VIEWPOINT
THE HALTESTELLE WAS THE ARCHITECTS

TRIBUTE TO UNFETTERED, INFORMAL,
URBAN COMMUNICATION FOR 52 WEEKS.
PHOTO CHRISTINE WEISSER
Linz / Austria
2009
This scheme began with a disused Linz
Transport bus shelter at one end of the busy
Nibelungen Bridge. Inspired by Eastern-European models, Kbberling/Kaltwasser turned the
shelter into an informal billboard to advertise the
52 Ways to Change the World project, complete
with winning ideas borrowed from an international competition on how to make the world a
better place. Also serving as a hub of information exchange, the shelter provided space for
the people of Linz to post personal messages: a
reference to the heyday of socialism in Eastern
Europe, when many public-transport shelters
invited this type of informal exchange a
custom that is dying out as shelters become
integrated into privatized transport services that
bar nonpaying customers from entering areas
where such forms of visual communication once
thrived.
OUT OF FEAR, ENGLISH

CHILDREN DONT USE
PLAYGROUNDS ANYMORE
-ARTIN+ALTWASSER
KBBERLING/KALTWASSERS
HALTESTELLE OCCUPIED A PROMINENT
LOCATION IN LINZ, IDEAL FOR
LUCRATIVE ADVERTISING.
BERLIN . GERMANY
Blind Spots
THE BLIND SPOT STRUCTURES WERE

ALSO EXHIBITED IN A MUSEUM.
PHOTO KAREN FRASER
Nottingham / United Kingdom

2009
THE WALK-IN SCULPTURES OFFERED

PROTECTION FROM OBSERVATION
AND EXPOSURE TO ADVERTISING.
PHOTO NEIL THOMSON
During the Radiator Festival in Nottingham,

Kbberling/Kaltwasser researched the few
locations in the centre of town that were still
unaffected by CCTV surveillance and designated
them as blind spots. The architects drew attention to these locations by erecting subtle spatial
interventions crafted from discarded pieces
of wood found in the vicinity. Each distorted
pyramid or trapezoid was roughly the size of a
telephone box. The walk-in sculptures offered
protection from observation and exposure to
advertising, Muzak, and other manipulative or
stress-inducing factors. Kbberling/Kaltwassers
structures represented the last vestiges of open
public space before it was restricted, refurbished
for commercial purposes and provided with
improved disability access.
THE WALK-IN SCULPTURES WERE

OPEN TO THE PUBLIC AT ALL TIMES.
PHOTO NEIL THOMSON
93
94
MARK No 31
VIEWPOINT
KBBERLING/KALTWASSER TURNED
THE RECLAIMED BUILDING MATERIALS
INTO A MEETING PLACE AT THE HEART
OF ZURICH.
Werdplatzpalais
PEOPLE LIVING IN HIGHRISES HAVE A DEEP DESIRE

FOR INDIVIDUALITY, FOR A
PLACE OF THEIR OWN
-ARTIN+ALTWASSER
THE VENUE SERVED AS A CINEMA,

A LECTURE HALL, A GALLERY AND A
SOUP KITCHEN FOR THE NEEDY.
Zurich / Switzerland
2007
Discarded materials found on the streets of
Zurich were used in the construction of
Werdplatzpalais, a building erected near the
citys stock exchange. The site-specic design
aligned the palace with existing pedestrian
paths and provided outdoor public seating to
supplement the only public bench in the area,
a spot close to the Cooperativo restaurant.
With its wide overhang sheltering the entrance,
Werdplatzpalais became a distinctive feature at
the heart of town. When the temporary building
permit elapsed after three months, the pavilion
was dismantled.
BERLIN . GERMANY
Hausbau (Housing
Construction)
Berlin / Germany
2004
In the night of 16 and 17 August 2004, Kbberling/Kaltwasser constructed a dwelling big
enough for a family on a vacant eld just outside
the Gropiusstadt housing estate in Berlin. Building materials for the project consisted of timber
found discarded at the citys many building sites,
evoking for the architects images of their recent
trip to Istanbul, where the so-called gecekondu
(overnight building) enables the squatter to
acquire the title to the piece of land involved.
Intended as a statement on the potential of the
area, the architects gesture mimicked conventional methods used by property developers to
stake early claims. The residents of Gropiusstadt
reacted to the improvised building activities with
great curiosity and friendliness. After a week, the
occupants dismantled the house, packed up the
components and took off.
THE TEMPORARY HOUSE

WAS ERECTED JUST OUTSIDE
GROPIUSSTADT, ONCE ENVISIONED AS
A MODERNIST UTOPIA.
KBBERLING AND KALTWASSER LIVED

IN THE HOUSE WITH THEIR CHILDREN
FOR ONE WEEK, CONTINUING TO
ELABORATE ON ITS DESIGN.
95
96
MARK No 31
VIEWPOINT
BERLIN . GERMANY
Cars Into Bicycles

Graz / Austria
2008
Santa Monica (CA) / USA
2010
IN SANTA MONICA, KBBERLING/

KALTWASSER CONVERTED A
SAAB 900 TURBO INTO TWO
FULLY OPERATIONAL BICYCLES.
ADVENTUROUS VISITORS OF THE

EXHIBITION AT THE GRAZ HOUSE
OF ARCHITECTURE WERE INVITED
TO RIDE THE NEWLY FABRICATED
VEHICLES.
PHOTO EVA DE GROOTE
As its contribution to the Steirischer Herbst festival in Graz, Kbberling/Kaltwasser converted

an old Peugeot 205 into two fully operational
bicycles. The architects three-week performance
took place at the Andreas Hofer Platz car park,
where they transformed four parking spaces
into an outdoor car-dismantling workshop. The
results were later exhibited at the Graz House of
Architecture. Two years after the experiment in
Graz, Kbberling/Kaltwasser converted a Saab
900 Turbo into two fully operational bicycles
during the course of a two-month performance
at a public place in Santa Monica. Together
with students of Pasadenas Art Center College of Design, they occupied eight spaces at
a car park, which they turned into an outdoor
car-dismantling workshop. The completed bikes
were test-driven by prominent LA personalities.
MARTIN KALTWASSER TEST-DRIVING

ONE OF HIS BIKES IN LOS ANGELES.
RIDING
BICYCLES
IN LOS
ANGELES
MADE US
FEEL LIKE
KINGS
-ARTIN+ALTWASSER
97
98
MARK No 31
8
9
LONG SECTION
UNSTUDIO
SUPPOSE DESIGN
CARLOS CASANUEVA
AIRES MATEUS
SUN JIWEI
JULIE D. TAYLOR
STEFAN FORSTER
MEIXNER SCHLTER
WENDT
EM2N
JOHN ENGLISH
LETTER FROM
WESTON-SUPER-MARE
99
ng
lSec
ti n
MAKING IT
100
BEN VAN BERKEL.

PHOTO INGA POWILLEIT
MARK No 31
LONG SECTION
DEPARTMENT STORE
CHEONAN . SOUTH KOREA
UNSTUDIO
EYE
SHOPPING
4HEDEPARTMENTSTORE
5.3TUDIOBUILTIN#HEONAN
lRSTLURESVISITORSINSIDEAND
THENUPWARDS
4EXT!RTHUR7ORTMANN0HOTOS#HRISTIAN2ICHTERS
101
102
MARK No 31
"ENVAN"ERKELCALLSITA@PROPELLERPRINCIPLE
THENEWDEPARTMENTSTOREBUILTBY5.3TUDIOIN
THE+OREANCITYOF#HEONANISORGANIZEDAROUND
ANATRIUMWITHLARGEPLATEAUSTHATFANOUTIN
FOURDIRECTIONSLIKETHEBLADESOFAPROPEL
LER4HEPUBLICISSTREAMEDUPWARDSTOSPREAD
OUTOVERTHELEVELS!SISOFTENTHECASEWITH
5.3TUDIOPROJECTSmOWSOFVISITORSANDCIRCULA
TIONPATTERNSAREACTUALLYWHATDETERMINETHE
ARCHITECTURALCONCEPT4HISIS6AN"ERKELSWAY
OFACHIEVINGmUIDSTREAMLINEDARCHITECTURE
!DEPARTMENTSTOREISANINTERIORWORLDAND
WHATHAPPENSINSIDEHASRELATIVELYLITTLETODO
WITHTHEEXTERIOR"UTIN#HEONANA M HIGH
ADVANCEDMEDIAFAADEHASBEENADOPTED
AIMEDATATTRACTINGTHEPUBLICANDSHOWINGCOM
MERCIALSINASUBTLEWAY
(OWDIDYOUGETTHISCOMMISSION
"ENVAN"ERKEL7EHAVEACTUALLYKNOWNTHE
CLIENT(ANWHA'ALLERIASINCEWHEN
WERENOVATEDANOTHEROFTHEIRDEPARTMENT
STORESIN3EOUL&ORTHATPROJECTWEDESIGNED
ACOMPLETELYNEWINTERIORANDANILLUMINATED
FAADEFORANEXISTINGBUILDING4HEFAADESKIN
OFTHAT'ALLERIAWASCREATEDFROMGLASS
DISCSWITHINCORPORATED,%$LIGHTING"YNIGHT
THEBUILDINGISILLUMINATEDBYSTORMSOFCOLOUR
CHASINGACROSSTHEELEVATION4HEDEPARTMENT
LONG SECTION
STOREIN#HEONANHADACOMPLETELYDIFFERENT
DEPARTUREHOWEVER)TISANEWBUILDINGSETINA
NEWDISTRICT#HEONANLIESSOMEKMSOUTHOF
3EOULANDHASAROUNDHALFAMILLIONINHABITANTS
3EVERALYEARSAGOAHIGH SPEEDRAILWAYBETWEEN
3EOULAND#HEONANWASESTABLISHED4HENEW
DEPARTMENTSTOREISPARTOFTHENEWURBAN
DISTRICTWHICHSURROUNDSTHISLINESTERMINALSTA
TION4HE'ALLERIADEPARTMENTSTORESERVESASA
MAGNETWITHINTHISDEVELOPINGAREA
$IDTHISPREVIOUSHISTORYMEANTHATYOUHAD
SIGNIlCANTDESIGNFREEDOM
9ESANDWEWEREABLETOMAKETHISFREEDOM
PRODUCTIVEBYAPPLYINGTHETHINGSWEHADLEARNT
DURINGTHElRSTCOMMISSIONINAMORERADICAL
WAY/URRESEARCHHADSHOWNTHATIN!SIASHOP
PINGFULlLSAMUCHMORESOCIALFUNCTIONTHANIT
DOESFORUSINTHE7EST)TISMUCHMORECOM
MONIN!SIAFORPEOPLETOGOWINDOW SHOPPING
AFTERWORKORSCHOOLnOR@EYESHOPPINGASTHEY
CALLITIN+OREA3HOPPINGSTREETSANDDEPART
MENTSTORESHAVEAMUCHMOREPUBLICQUALITY
TOTHEMANDAREBREEDINGGROUNDSFORPEOPLES
SOCIALLIVESPEOPLEGOTHERETOSEEEACHOTHER
NOTJUSTTOBUYTHINGS7EWANTEDTOEMPHASIZE
THATPUBLICASPECTINTWOWAYSBYCREATINGA
VARIEDASSORTMENTOFSPACESINTHEINTERIORn
INCLUDINGRESTAURANTSA@KIDSCAFANARTw
01
02
01 DURING THE DAY THE BUILDING HAS

A MONOCHROME REFLECTIVE APPEARANCE, WHILE AT NIGHT SOFT COLOURS
ARE USED TO GENERATE WAVES OF COLOURED LIGHT ACROSS THE FAADE.
02 THE FAADES FEATURE TWO LAYERS
OF CUSTOMIZED ALUMINIUM EXTRUSION PROFILES ON TOP OF A BACK LAYER
OF COMPOSITE ALUMINIUM CLADDING.
THE VERTICAL PROFILES OF THE TOP
LAYER ARE STRAIGHT, BUT THOSE OF THE
BACK LAYER ARE ANGLED. THIS RESULTS
IN A WAVELIKE APPEARANCE, WHICH
CHANGES DEPENDING ON THE VIEWPOINT
OF THE SPECTATOR.
DEPARTMENT STORE
UNSTUDIO
103
104
MARK No 31
LONG SECTION
WE ARE RE-CONQUERING THE PUBLIC

DOMAIN WITHIN PRIVATIZED SPACES
n"ENVAN"ERKELn
DEPARTMENT STORE
UNSTUDIO
105
SIONSISTHATTHEYSEEMTOALTERSCALESANDCREATE
DOUBLEIMAGESGIVINGTHEIMPRESSIONTHATNO
IMAGEINTHEBUILDINGISPERMANENT
FROMTHEWHITEmOORSPROVIDESPERCENTOF
THELIGHTINGFORTHELOWERHALVESOFTHEWORKSOF
ART-ANYMUSEUMSMAKETHEMISTAKEOFHAVING
DARKmOORSWHICHCAUSESLIGHTTOBEWASTEDAS
ARESULTTHELOWERHALVESOFTHEPAINTINGSON
DISPLAYAREACTUALLYTOODARK
!LSOIMPORTANTISTHEASPECTOFDISPLAY
WHICHISAPRINCIPLECONCERNINTHEDESIGNOF
BOTHMUSEUMSANDDEPARTMENTSTORES7HATIS
THEBESTWAYTOORGANIZEANDDISPLAYWORKSOF
ARTINONEANDPRODUCTSINTHEOTHER
02
01
01 ONE OF THE ENTRANCES.

02 TESTING THE FAADES COLOURED
LIGHTS.
CENTREANDACULTURALCENTREnANDBYGIVINGTHE
BUILDINGAPUBLICIMAGE7EHAVECOMPLETELY
MOVEDAWAYFROMANORMATIVEPERSPECTIVEON
SHOPPINGANDHAVETURNEDTHEUSUALCRITICAL
CONTEMPTFORCOMMERCIALSPACEUPSIDEDOWN
7EARERE CONQUERINGTHEPUBLICDOMAINWITHIN
PRIVATIZEDSPACES
7HICHMESSAGESHOULDTHEFAADERADIATE
)NTHEEVENINGSTHEBUILDINGBECOMESALANTERN
THATYOUCANENTER4HEANIMATEDCONTENTCRE
ATESABSTRACTPATTERNSOFCOLOURONALLSIDESOF
THEBUILDING!TTHECORNERSTHERESOLUTIONISSO
HIGHTHATDISTINGUISHABLECINEMATICIMAGESCAN
BEGENERATEDANDTHISOFFERSALLKINDSOFOP
PORTUNITIESFORTHEMATICANIMATEDCONTENTAND
AMOREAGGREGATEAPPROACHTOBRANDING
0ERHAPSEVENMOREIMPORTANTISTHELAYERED
COMPOSITIONOFTHEFAADES)NFRONTOFTHE
ACTUALFAADEISASECONDSHELLOFSCREEN PRINTED
GLASS4HISDOUBLELAYERCREATESAMOIREFFECT
!SYOUWALKPASTTHEBUILDINGTHEIMAGESIT
GENERATESCONTINUOUSLYCHANGETHISPOTENTIAL
FORCONSTANTMOTIONMEANSTHEBUILDINGIS
ANIMATEDDAYANDNIGHT9OUCOULDSAYTHATIN
THEEVENINGSTHEFAADEISACTIVELYGENERATING
EFFECTSWHILEDURINGTHEDAYITISTHEPERCEPTION
OFPASSERS BYTHATCREATESTHEMOREPASSIVEEF
FECTS
7EHAVETRIEDTOACHIEVETHESAMEKIND
OFSHIFTINGPERSPECTIVESINTHEINTERIOR4HE
BUILDINGHASAVERYLARGEATRIUMWITHCURVILIN
EARPLATFORMSJUTTINGINTOIT4HESEPLATFORMS
ORBALCONIESAREOFDIFFERENTSHAPESANDSIZES
"ECAUSEOFTHISFROMONEPOINTOFVIEWITSEEMS
ASIFYOUARESTANDINGINAFOUR STOREYBUILD
INGWHILEFROMADIFFERENTPERSPECTIVEYOUCAN
SEEALLTENLEVELSOREVENIMAGINETHATYOUARE
SEEING7HATINTERESTSMEABOUTTHESEILLU
3OITSNOTNECESSARYFORVISITORSTOGETTHEIR
BEARINGSEASILY
)NDEPARTMENTSTORESORREALLYANYTYPEOF
BUILDINGOFTHISSIZETHEBIGQUESTIONISHOWTO
GETPEOPLETOGOTOTHEUPPERmOORS6ISITORS
HAVETOBELUREDUPWARDS/NEOFTHEWAYS
WEHAVEDONETHISISBYOFFERINGINTERESTING
PROGRAMMECOMPONENTSONDIFFERENTLEVELS
"UTWEHAVEALSOGIVENTHEBUILDINGANALMOST
LABYRINTHINEFEEL)TISTHEPOLAROPPOSITEOF
ANATRIUMWITH*OHN0ORTMAN LIKELIFTSTHAT
IMMEDIATELYGIVEYOUANOVERWHELMINGVIEW
OFTHEENTIRESITUATION(EREWEAREAFTERA
COMPOSITIONWITHSURPRISESANDTHEPOTENTIALTO
EXPLORE)TISALESSONWELEARNTFROMDESIGNING
THE-ERCEDES "ENZ-USEUMIN3TUTTGARTIFYOU
HAVETOSEARCHNOWANDAGAINTOSEEWHETHER
YOUHAVEALREADYBEENSOMEWHEREINSPATIALLY
COMPLEXSURROUNDINGSITAWAKENSYOURINTEREST
INRETRACINGYOURSTEPSANDWALKINGTHESAME
ROUTEAGAINTOHAVEANOTHERLOOK
4OWHATEXTENTDOESADEPARTMENTSTORERESEM
BLEAMUSEUM
)TISINFACTACOMPARISON)USEDALOT)SEEA
SIMILARITYINTHEWAYPEOPLEUSEBOTHTHEMU
SEUMANDTHEDEPARTMENTSTOREASPUBLICAND
SOCIALFACILITIESTOBEDISTRACTEDANDUPLIFTED
#AREFULCONSIDERATIONOFTHISRESEMBLANCEIN
THEARCHITECTURALDETAILINGCANBEANEYE OPEN
ER4AKEFORINSTANCETHEQUESTIONOFCOLOURIN
THEINTERIOR-AKINGEVERYTHINGWHITEINCLUD
INGTHEmOORSMAKESARTEFACTSSTANDOUT7E
NOTICEDTHISWHENWEWEREDESIGNING-USEUM
(ET6ALKHOFIN.IJMEGEN4HEREmECTIONOFLIGHT
4HEINTERIOROFTHEDEPARTMENTSTOREISDIVIDED
INTOTHEMESANDZONES#ANYOUTELLUSMORE
ABOUTTHAT
7EDIVIDEDTHEINTERIORINTOFOURTHEMEDCLUS
TERSEACHSPREADOVERTWOORTHREEmOORS4HE
FOURGUIDINGTHEMESARE@,UXURY@7ELLNESS
@#ULTUREAND@0ARK4HESECLUSTERSAREUSED
INDIRECTLYTOGUIDETHEMERCHANDISINGLAYOUTn
WHICHBRANDSANDORTENANTSARELOCATEDWHERE
nANDTHEALLOCATIONOFADDITIONALPROGRAMME
ELEMENTS%ACHmOORHASTWOZONESAQUIET
ZONEATTHEEDGESANDAMOREPUBLICZONENEAR
THEATRIUM!LONGTHEPERIPHERYTHEVARIOUSTOP
FASHIONLABELSAREFREETOADAPTTHELAYOUTTO
THEIROWNHOUSESTYLE
,IGHTINGINTHEINTERIORISALSOVERYIMPOR
TANT#EILINGLIGHTINGPLAYSANIMPORTANTROLEIN
THEPUBLICZONE)TSLOCATEDINROUNDEDSTRIPS
ANDFOLLOWSTHECURVESOFTHEBALCONIES3EEN
FROMBELOWTHISCREATESTHEEFFECTOFANABSTRACT
CHANDELIERi
WWWUNSTUDIOCOM
106
MARK No 31
LONG SECTION
DEPARTMENT STORE
CURVILINEAR
CEILING
LIGHTING
CREATES
THE EFFECT
OF AN
ABSTRACT
CHANDELIER
n"ENVAN"ERKELn
02
01
01 THE INTERIOR DERIVES ITS CHARACTER

FROM THE ACCUMULATION OF ROUNDED
PLATEAUS ON LONG COLUMNS.
02 INTERIOR MATERIALS INCLUDE
WOODEN FLOORS AND COMPOSITE TILING, GYPSUM PLASTERBOARD CEILINGS
AND GLAZING OF TOUGHENED GLASS
WITH SAFETY FOILS.
UNSTUDIO
107
108
MARK No 31
LONG SECTION
WE ARE AFTER A COMPOSITION

WITH SURPRISES AND THE POTENTIAL
TO EXPLORE
n"ENVAN"ERKELn
01
02
01 VIEW FROM THE TOP FLOOR.
DIAGRAM SHOWING THE PROPELLER PRINCIPLE.
02 THE CENTRAL VOID IS SIMPLE AND

STRAIGHT IN ONE CROSS SECTION, BUT
OBLIQUE AND JAGGED IN THE OPPOSITE
CROSS SECTION. THE RESULT CAN BE
SEEN AS A KIND OF SPATIAL WATERFALL.
DEPARTMENT STORE
UNSTUDIO
109
110
MARK No 31
LONG SECTION
01
01 PLATEAU
02 CORRIDOR
03 CENTRAL ZONE
04 DELI
05 FOOD COURT
06 WINE SHOP
07 SUPERMARKET
08 CASHIER DESK
09 POINT OF SALE
10 VIP ROOM
11 CUSTOMER TOILETS
12 PANORAMIC VIEW
POINT
13 OUTDOOR TERRACE
14 GALLERIA LOUNGE
15 TICKET DESK
16 ART CENTRE
17 WAITING AREA
18 CULTURAL CENTRE
19 ROOF GARDEN
+9
03
02
+8
01
+7
+6
GROUND FLOOR.
+5
+4
+3
+2
+1
09
0
04
05
-1
08
06
07
BASEMENT.
CIRCULATION IS ACHIEVED BY ESCALATORS,

WHICH ARE POSITIONED ON BOTH SIDES OF THE
ATRIUM; A PANORAMA LIFT BY THE VOID; AND
LIFTS LOCATED IN THE EAST AND WEST LOBBIES.
THE DRAWING ALSO SHOWS THAT THE DEPARTMENT STORE CONSISTS OF STACKED STOREY
CLUSTERS WITH SIMILAR FLOOR PLANS.
DEPARTMENT STORE
UNSTUDIO
111
18
01
17
01
11
15
01
16
03
19
02
FOURTH FLOOR.
EIGHTH FLOOR.
THE BIG QUESTION IS HOW TO GET

PEOPLE TO GO TO THE UPPER FLOORS
n"ENVAN"ERKELn
13
14
01
13
01
12
01
11
03
03
02
02
10
13
SECOND FLOOR.
SEVENTH FLOOR.
112
MARK No 31
LONG SECTION
HOUSE
HIROSHIMA . JAPAN
SUPPOSE DESIGN / MAKOTO TANIJIRI
100 M OF
FUN
2
-AKOTO4ANIJIRIKNOWSHOWTO
CREATEANOCEANOFSPACEDESPITEA
LIMITEDSURFACEAREA
4EXT#ATHELIJNE.UIJSINK0HOTOS4OSHIYUKI9ANO
113
114
MARK No 31
LONG SECTION
HOUSE
02
01
01 A SMALL FLIGHT OF STEPS DIVIDES THE

LIVING ROOM FROM THE ENTRANCE AREA.
02 THE EXTERIOR FAADE IS LARGELY
CLOSED, TO KEEP OUT AS MUCH TRAFFIC
NOISE AS POSSIBLE.
HIROSHIMA . JAPAN
115
(OWMUCHLIVINGCOMFORTCANBEACHIEVEDWITH
MOFmOORSPACE&ORSOMETHATMEANSA
SPACIOUSLIVINGROOMINALUXURYVILLAINLESS
FORTUNATECIRCUMSTANCESAFAMILYOFEIGHTWOULD
BECONTENTWITHASOCIALHOUSINGUNITTHISSIZE
)N*APANLIVINGINASMALLDWELLINGHASNOTHING
TODOWITHLACKOFMONEY%VENINTHESUBURBS
OFTHELARGECITIESAHOMEWITHAmOORAREA
BETWEENANDMISALMOSTSTANDARDTO
HOUSEAFAMILYWITHTWOCHILDREN7EARETALK
INGHEREABOUTDETACHEDHOUSES-ANYHOUSES
IN*APANMUSTBEBUILTASDETACHEDBECAUSEOF
THEDANGEROFlREDURINGEARTHQUAKESANDTHE
HIGHDENSITYNECESSITATESSTRICTBUILDINGREGULA
TIONS/NTOPOFTHATTHEAVERAGELIFEEXPECT
ANCYOFAHOUSEISONLYYEARSANDDURING
THATTIMEITWILLUSUALLYBEOWNEDBYTHESAME
FAMILYWHICHGIVESTHEINHABITANTSCOMPLETE
FREEDOMWITHTHEINTERIORPROGRAMME#ANYOU
IMAGINEAMORECHALLENGINGDESIGNCOMMIS
SION.OWONDERARCHITECTSIN*APANENDLESSLY
BRAINSTORMABOUTNEWCREATIVEFORMSOFLIVING
ONSMALLBUILDINGPLOTS
!RCHITECT-AKOTO4ANIJIRI HASMADE
ANAMEAMONGYOUNGFAMILIESLOOKINGFOR
AUNIQUECUSTOM BUILTHOUSE4HEHOUSEIN
&UKAWAASUBURBOF(IROSHIMAISTHELATESTOF
HISBYNOWMORETHANRESIDENTIALPROJECTS
IN*APAN7HYDOTHESECOUPLESALLRESORTTO
4ANIJIRI@!NEWIDEASTARTSFROMTHECOMMUNI
CATIONWITHTHECLIENTSEXPLAINS4ANIJIRIABOUT
HISMETHODOFWORKINGDURINGAWORKINGTRIPTO
4OKYO@!UNIQUESOLUTIONUSUALLYFOLLOWSFROM
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ENCESFROMMYOWNDAILYLIFE4HEOUTCOME
SHOULDBESOMETHINGCOMPLETELYDIFFERENTTHAN
THECONVENTIONALLAYOUTTOMAKEPEOPLELOOK
BEYONDTHECURRENTPOSSIBILITIESINHOUSING
4ANIJIRIRECOUNTSTHATHEDOESNOTLIKE
ARCHITECTUREWITHSTRICTBOUNDARIESBETWEEN
INSIDEANDOUTSIDE)NTERIORANDEXTERIORAREALL
ONEANDTHESAMEASFARASHEISCONCERNEDAND
THETWOSHOULDACTUALLYBEDESIGNEDSIMULTA
NEOUSLY!TlRSTSIGHTTHEHOUSEIN&UKAWA
BUILTFORACOUPLEWITHTWOCHILDRENSEEMSTO
CONTRADICTTHATIDEA4HEBUILDINGISCLOSEDFROM
THEOUTSIDEBECAUSETHECLIENTSINDICATEDTHAT
THEYWANTEDTOKEEPTRAFlCNOISEOUTASMUCH
ASPOSSIBLE!LTHOUGHHEHASHONOUREDTHIS
REQUEST4ANIJIRIHASMANAGEDTOEVOKEAFEEL
INGOFSPACIOUSNESSINTHEINTERIORWITHOUTTHE
CLOSEDEXTERIORFAADECAUSINGANYINTERFERENCE
7HATAPPEARSFROMTHEOUTSIDETOBEABORING
BOXTURNSOUTTOOFFERASURPRISINGLYROOMY
EXPERIENCEONTHEINSIDE3TARINGATANw
116
MARK No 31
LONG SECTION
WITHIN THE
LIMITS OF THE
PLOT, I TRIED
TO GRASP A
FEELING
OF ENDLESSNESS
n-AKOTO4ANIJIRIn
APPARENTLYENDLESSSEAONTHEHORIZONMADE
4ANIJIRIREALIZESOMETHINGESSENTIALABOUT
SPATIALQUALITY@!RCHITECTSTENDTOMEASURE
EVERYTHINGUSINGACERTAINSCALEEXPLAINS-A
KOTO4ANIJIRI@"UTPEOPLEEXPERIENCEASPACEAS
MUCHBIGGERIFTHEYCANNOTlGUREOUTTHEEXACT
SIZEOFIT4ANIJIRIHASPUTHISTHEORYTOTHETEST
INTHEHOUSEIN&UKAWA
!TTHEHEARTOFTHEHOUSEISACENTRAL
WOODENSTAIR4HESTAIRCASESTANDSLIKEATHICK
TREETRUNKINTHEMIDDLEOFTHEHOUSEANDCON
TINUESRIGHTUPTOTHECEILING4HREEBEDROOMS
CLADWITHCONIFEROUSPLYWOODARESUSPENDEDON
THISCOREEACHATADIFFERENTHEIGHTANDTURNED
ATVARIOUSANGLES4HISCREATESAMORPHOUS
SPACESBETWEENABOVEANDBELOWTHECLOSED
BOXESANDTHESECANBEUSEDBYTHERESIDENTS
ASTHEYCHOOSE&OREXAMPLEASANOUTSIDE
TERRACEABOVETHESLEEPINGAREASORDOUBLE
HEIGHTSPACESTHATCANBEUSEDASLOFTBALCONY
ORCONSERVATORY)NTHESAMEWAYTHATTHESTAIRS
SUGGESTTHEIMAGEOFATREETRUNKTHELAYERING
BETWEENCLOSEDANDOPENSPACESINTHEINTERIOR
REPRESENTSTHESHADYPLACESUNDERTHETREE
4HEUNUSUALCONlGURATIONPRODUCESINTER
ESTINGSPATIALRELATIONSHIPSBETWEENTHETERRACES
ANDTHEROOMS4HETERRACESARELOCATEDINTHE
INTERIORBUTOFFERTHESPATIALQUALITYOFOUTSIDE
ROOMS/NESTEPAWAYFROMTHESTAIRCASEAND
THERESIDENTSAREMOVINGINANOCEANOFSPACE
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FEELINGOFENDLESSNESSLIKETHESKYAMOUNTAIN
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NATUREWECANNOTFEELANYSENSEOFSCALE)NA
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9OUCANMAKEITJUSTASADVENTUROUSANDUNPRE
DICTABLEASNATUREi
WWWSUPPOSEJP
01
02
03
01 THE HIGH FRONT DOOR DELIBERATELY

DISTURBS THE FEELING FOR SCALE AND
DISTANCE.
02 A SMALL STEP BESIDE THE KITCHEN
GIVES ACCESS TO THE STAIRCASE.
03 THE STAIRCASE PROVIDES ACCESS TO
BOTH THE ROOMS (RIGHT) AND THE TERRACES (LEFT).
HOUSE
HIROSHIMA . JAPAN
117
118
MARK No 31
LONG SECTION
FIRST FLOOR.
THIRD FLOOR.
GROUND FLOOR.
SECOND FLOOR.
HOUSE
HIROSHIMA . JAPAN
PEOPLE EXPERIENCE A SPACE AS

MUCH BIGGER IF THEY CANNOT
FIGURE OUT THE EXACT SIZE OF IT
n-AKOTO4ANIJIRIn
01
02
01 THE MANY OPENINGS IN THE WALLS

PROVIDE VIEWS THAT INCREASE THE FEELING OF SPACIOUSNESS.
02 A BEDROOM AND TWO TERRACES ARE
SITUATED JUST UNDER THE ROOF. THE
ROOM ON THE LEFT PROVIDES SPACE FOR
A WALK-IN CUPBOARD.
SECTION.
119
120
MARK No 31
LONG SECTION
HOUSE
PINAR DE CASTELLANOS . SPAIN
CARLOS CASANUEVA ARQUITECTOS
SHELL
SEEKER
#ARLOS#ASANUEVACREATEDAHOUSE
ON3PAINSNORTH WESTERNCOASTTHAT
WINKSPLAYFULLYATTHES
4EXT!LEXANDRA/NDERWATER0HOTOS$UCCIO-ALAGAMBA
121
122
MARK No 31
LONG SECTION
HOUSE
123
3PANIARDSAREROMANTICS!NYONEINANYDOUBT
SHOULDSEETHEPOETICVIDEOCOMPILATIONMADE
BY#ARLOS#ASANUEVAABOUT#ASA,A6ENERA
&ADINGIMAGESACCOMPANIEDBYCLASSICALSTANZAS
SKETCHAmEETINGPICTUREOFHISMOSTRECENTCREA
TIONSITUATEDONAHILLHALFWAYBETWEEN"ILBAO
AND3ANTANDER@)KNOWTHATPEOPLEJUSTWANT
TOKNOWHOWITWASBUILTBUTITJUSTSOHAP
PENSTHAT)THINKINIMAGESINPOETRYSAYSTHE
YEAR OLD3PANIARD(EHASBUILTAREMARK
ABLEVILLABASEDONMEMORIESANDASSOCIATIONS
WHEREBOTHTRACESFROMTHEPASTANDCONTEMPO
RARYINmUENCESCANBERECOGNIZED#ASA,A6EN
ERAPOSSESSESTHESEDUCTIVEROUNDFORMSOFTHE
SBUTTECHNICALLYTHEHOUSEISVERYMUCH
)MAGINEMODERNISMWITHOUTTHECOLDNESS
WITHRESPECTFORITSSURROUNDINGS4HEPALETTEOF
COLOURSEXCLUSIVELYRUSTANDWHITEISBASEDON
THESURROUNDINGWOODEDAREA4HECURLED UP
ENDSOFTHELIMESTONETERRACELOOKLIKEARTIlCIAL
WAVESRIPPLINGWATERLIKEINTHERIVERASTONES
THROWFROMTHEVILLA
)TISNOTJUSTTHELANGUAGEOFFORMTHAT
MAKESITA@DREAMHOUSETHENAMEALSOREFERS
TOADISTANTIDEAL6ENERAISTHE3PANISHWORD
FOR@SCALLOPIFYOUHANGTHECONCHADELAVENERA
THESCALLOPSHELL ROUNDYOURNECKYOUARELET
TINGPEOPLESEETHATYOUAREONPILGRIMAGE4HAT
ISAFARFROMUNUSUALSIGHTINTHEREGIONWHERE
MANYAPILGRIMTREADSTHEFAMOUSROUTEALONG
THE#AMINODEL.ORTEVIA3ANTANDERTOWARDS
3ANTIAGODE#OMPOSTELLA@4HEHOUSEISACTUALLY
ASORTOFSHELLTOOSAYS#ASANUEVA@ABUILDING
SETINTWOSKINSnONERUST COLOUREDTHEOTHER
WHITE
3EENFROMADISTANCEHOWEVERTHEHOUSEIS
MOREREMINISCENTOFA,EGOKITWHERETHEmAT
BLOCKATTHEFRONTSEEMSTOHAVEBEENCLICKED
ONTOTHEHIGHERBLOCKSLANTINGUPWARDS)TGETS
EVENSTRANGERTHECLOSERYOUGETWHENYOU
COMETOTHECONCLUSIONTHATTHEELONGATEDLIV
INGQUARTERSHAVEBEENPARTLYSLIDINTOTHEBASIC
CONSTRUCTION4HELOWERPARTWHICHAPPEARS
TOmOATABOVETHEGROUNDDISAPPEARSINTOTHE
MOTHERHOUSE
@)WANTEDTODOSOMETHINGOUTOFTHE
ORDINARYINTHISFAIRLYCONSERVATIVETRADITIONAL
REGIONWITHOUTLAPSINGINTOTHESORTOFABSTRACT
MODERNISMYOUCOULDlNDANYWHEREINTHE
WORLDSAYS#ASANUEVA4HEROUNDEDCORNERS
ANDORGANICFORMSREFERTOBOTHTHELOCAL
TOPOGRAPHYWITHITSMEANDERINGRIVERSANDTHE
S@4HINKOFTHEWALLPAPERPRINTS!MERICAN
'RAFlTIAND#ALIFORNIANCARSFROMTHATERASAYS
#ASANUEVA(EISSATISlEDWITHTHERESULTWHICH
TOOKUPTWOYEARSOFHISCAREER
4HEIDEAFORTHEASYMMETRICALCYLINDRICAL
FORMCAMEPARTLYFROMTHEEXISTINGHOUSETHAT
GRACEDTHEEXACTSAMELOCATION@4HATHOUSEw
TO MARK THE ENTRANCE, THE FAADE

RECEDES SLIGHTLY.
124
MARK No 31
LONG SECTION
THINK OF THE WALLPAPER

PRINTS, AMERICAN GRAFFITI
AND CALIFORNIAN CARS
FROM THE 1960S
AMASSIVECHUNKOUTOFTHEFRONTFORMSTHE
ENTRANCE4HESALONJUTTINGOUTATTHEBACKHAS
ATEMPORARYCHARACTERLENTBYTHEFEELINGOF
APUSHED INmOATINGBOX!SIFITCOULDBESLID
OUTAGAINATANYMOMENTSAYS#ASANUEVA4HE
EFFECTISFURTHERSTRENGTHENEDBYTHEBEAMS
VISIBLEINTHECEILINGTHATAPPEARTOBEHOLDING
THEBOXINTHEAIR4HESLIDINGWINDOWELE
MENTSATTHEREARnWHOSEFRAMESARECOATED
WITH0LADURACOILCOATINGnGIVETHELANDSCAPE
ALEADINGROLEANDPROVIDESUFlCIENTNATURAL
LIGHTINTHEOTHERWISECOMPACTHOUSE"Y
ALLOWINGTHESKINTOCONTINUEALITTLEFURTHER
THANTHEPOINTWHERETHEWINDOWSTOUCHTHE
CEILINGANATURALAWNINGISCREATED@"ESIDES
ITPROVIDESBETTERINSULATIONSAYS#ASANUEVA
@ANDFROMANAESTHETICPOINTOFVIEWITISMUCH
MOREATTRACTIVELIKETHIS3PANISHHOUSESARE
INFAMOUSFORTHEIRMEAGREHEATINGBUTTHAT
ISNOTTHECASEIN#ASALA6ERENA4HEHEATING
SYSTEMHASBEENINTEGRATEDINTOTHEmOORTHE
ACTUALINSTALLATIONISLOCATEDOUTSIDECONCEALED
INTHEGROUND
2OBUSTBUTAIRYRATIONALANDSENSUAL
7HENASKEDHOWTHEHOUSEREmECTSHIMASAN
ARCHITECT#ASANUEVASAYS@&REEDOM(AP
PINESS)APPROACHEDTHEPROJECTLIKEACHILD
NAVE9ESHEWOULDHAVELOVEDTODESIGN
THEFURNITUREASWELLBUTAPARTFROMTHAT
#ASANUEVAHASBEENABLETODOEVERYTHINGTHAT
OCCURREDTOHIM)TISADREAMHOUSEINMANY
RESPECTSi
n#ARLOS#ASANUEVAn
HADANATTRACTIVESLOPINGROOFACCORDING
TO#ASANUEVA@THAT)WANTEDTOHONOURIN
THENEWDESIGN7HENTHEOWNERSMADETHE
DECISIONTORENOVATEWEWEREFACEDWITHTHE
PROBLEMOFREGIONALREGULATIONS4HEOLDHOUSE
WASACTUALLYTOOCLOSETOTHECOAST)FWElRST
DEMOLISHEDTHEHOUSECOMPLETELYWEWOULD
NOTBEALLOWEDTOBUILDANEWHOUSEONTHIS
SPOT7EHADTOlNDAWAYOFGETTINGROUNDTHE
RULES
4HESOLUTIONWASFOUNDINBUILDINGAMETAL
FRAMEWORKCOVEREDWITHAWHITEALUMINIUM
SHELLATAFEWCENTIMETRESDISTANCEFROMTHE
EXISTINGSTRUCTURE@/NLYONCETHATWASIN
PLACEDIDWETAKEDOWNTHEOLDHOUSESAYS
#ASANUEVA@)TWASACOMPLEXAPPROACHBUT
VERYEFFECTIVE

7HILEHEWASWALKINGTHROUGHTHEOPEN
SPACECREATEDTHISWAY#ASANUEVANOTICED
HOWMUCHTHEMETALRIBSRESEMBLEDTHEFRAME
WORKOFABOAT4HESQUAREDTUBESNEEDEDTO
BEKEPTINVIEWINHISOPINION7HENYOUSTEP
INTOTHEVILLANOWYOUARETREATEDTOTHESIGHT
OFTHESEVERYSAMERIBS5 SHAPEDBANDSTHAT
ENVELOPTHEHOUSEASITWERE#ASANUEVA@4HE
METALCONSTRUCTIONWASlRSTCOVEREDWITHAN
ALUMINIUMPLATERAINWATERCANTRICKLEAWAY
ALONGSIDE/NLYAFTERTHISSTEPDIDWEINSULATE
THEHOUSEANDBRICKITUPACOMMONLYSEEN
CRAFTHERE!STHElNISHINGTOUCHTHEBUILDING
WASGIVENALAYEROFCONCRETE
4HElNALLAYERTHEOUTSIDESKINASITWERE
ISAMIXTUREOFCONCRETEANDARTIlCIALSTONE
WITHASEMI GLOSSYlNISH4HERESULTISANEXCIT
INGCOMBINATIONOFROLLINGSMOOTHSOFTWHITE
ANDMOREIRREGULARBROWNWHICHCHANGES
DEPENDINGONTHEINTENSITYOFTHESUNFROM
ANORANGE BROWNRUSTYSTEELCOLOURTODEEP
CHOCOLATEBROWN@4OBEGINWITH)HADCORTEN
STEELINMINDFORTHEEXTERIORSAYS#ASANUEVA
@BUTTHATWASASTEPTOOFARFORTHEOWNERS)
THOUGHTTHEIDEAOFUSINGCONCRETEWASBORING
)WANTEDTOEXPERIMENTWITHCOLOUR#REATING
WHITEAREASINLIMESTONEWASFARTOOEXPENSIVE
ANYWAYSOWESTARTEDMAKINGOUROWNSTONE
!MIXTUREOFPIGMENTSREDBLACKBROWN
ANDYELLOW SILICONEANDCONCRETEULTIMATELY
PROVIDEDTHEDESIREDAPPEARANCE4HERUST
COLOUREDAREASCREATEDINTHISWAYRESEMBLE
ALMOSTLIVINGMATERIALWITHCRACKSANDVEINS
LIKETHEBARKOFATREE)FYOUDIDNTKNOW
BETTERYOUWOULDTHINKTHEBUILDINGHADSTOOD
THETESTOFTIMEPERCHEDFORYEARSONTHEHILL
LOOKINGOUTOVERTHELANDSCAPEANDTHEVILLAGE
OF0INARDE#ASTELLANOS
#URVEDMETALBEAMSFORMTHESUPPORTING
STRUCTUREOFTHEUPWARD SLOPINGMAINBUILDING
3EENFROMABOVETHEPLANISA5 SHAPEWHERE
01
02
01 A LARGE SLIDING GLASS DOOR PROVIDES VIEWS OVER THE SURROUNDINGS.

02 THE ROOF AND FLOOR CONTINUE ON A
LITTLE ON THE GARDEN SIDE, WHICH CREATES AN INTEGRATED AWNING.
HOUSE
125
126
MARK No 31
LONG SECTION
HOUSE
127
FREEDOM. HAPPINESS. I
APPROACHED THE PROJECT
LIKE A CHILD, NAVE
n#ARLOS#ASANUEVAn
02
01
03
01 FLOOR HATCHES PROVIDE ACCESS TO

THE CRAWL SPACE.
02 A HEIGHT DIFFERENCE IN THE FLOOR
MARKS THE TRANSITION BETWEEN THE
TWO VOLUMES FROM WHICH THE HOUSE
IS BUILT.
03 THE STEEL CONSTRUCTION JOISTS HAVE
BEEN KEPT VISIBLE.
128
MARK No 31
01 LIVING ROOM
02 KITCHEN
03 BEDROOM
04 BATHROOM
LONG SECTION
04
04
03
03
01
PLAN.
CROSS SECTION.
CROSS SECTION.
LONG SECTION.
02
04
03
03
HOUSE
THE ROUNDED WINDOWS GIVE THE

INTERIOR THE FEEL OF A SPACIOUS
CARAVAN.
129
130
MARK No 31
LONG SECTION
HOUSE
LEIRIA . PORTUGAL
AIRES MATEUS
MODEL
HOME
)N,EIRIAAHOUSEDESIGNEDBY
!IRES-ATEUSBREAKSTHEMOULD
4EXT3ARA3EDDON+ILBINGER0HOTOS&ERNANDO'UERRA&'3'
131
132
MARK No 31
/NYOURlRSTAPPROACHYOUCOULDBEFORGIVEN
FORTHINKINGTHATYOUDSTUMBLEDACROSSAN
OVERSIZED7ENDYHOUSEWHICHLOOKSALMOST
MONASTICINITSSIMPLICITYNESTLEDAMONGORANGE
ANDOLIVETREESOVERLOOKINGTHE0ORTUGUESE
TOWNOF,EIRIA"UTTHEDECEPTIVELYSIMPLEEXTE
RIOROFTHISPRIVATERESIDENCEBELIESITSCOMPLEX
nANDPLAYFULnINTERIOR
4HEHOUSEWASDESIGNEDBY,ISBON BASED
ARCHITECTURElRM!IRES-ATEUSFORALOCALFAM
ILYTHATALREADYOWNEDTHESITEAPARCELOFLAND
HIGHABOVETHECITYANDTHECASTLEOF,EIRIA
4HEYWEREKEENTOEXPLORETHEPOSSIBILITIESOF
USINGTHISSPACETOBUILDAUNIQUEFAMILYHOME
@7HENWElRSTWENTTOSEETHESITEWEWERE
STRUCKBYTHEGREATVIEWOF,EIRIA#ASTLESAYS
ARCHITECT-ANUEL!IRES-ATEUS@7EWEREIN
TERESTEDINDESIGNINGAHOUSETHATWOULDWORK
WITHTHESITEWHILEALSOEMBRACINGTHEVIEWOF
THECASTLEWHICHCANNOWBESEENFROMMANY
VANTAGEPOINTS
4HECLIENTSWEREKEENTOHAVEALIGHTSPA
CIOUSHOMETHATWOULDOFFERPROTECTIONFROM
THE0ORTUGUESESUNBUTTHEYALSOWELCOMED
THEINTRODUCTIONOFSOMEUNUSUALFEATURESPRO
POSEDBY!IRES-ATEUSASWELLASTHEELIMINA
TIONOFCERTAINTRADITIONALELEMENTSSUCHASWIN
DOWSINTHEFAADE.OTONEROOMINTHEHOUSE
HASAWINDOWLOOKINGOUTONTHESURROUNDING
LONG SECTION
LANDSCAPE@7HENWESTARTEDTODESIGNTHISSPACE
OURPOINTOFDEPARTUREWASAHOUSETHATWOULD
BECLOSEDTOTHEOUTSIDEINRESPONSETOTHEVERY
BRIGHT0ORTUGUESESUNSHINESAYS!IRES-ATEUS
@7EWEREEXTREMELYCONSCIOUSOFTHELIGHT)
STILLVERYMUCHLIKETHEIDEAOFAHOUSESHIELDED
FROMITSSURROUNDINGS7HATWEVECREATEDHERE
ISASENSEOFBEINGPROTECTEDYOUCANCOMPARE
THEHOUSETOACOCOON!NINTERNALATRIUMTHAT
RISESTHROUGHALLTHREELEVELSPROVIDESALOTOF
LIGHTSOWEDIDNTNEEDADDITIONALWINDOWS
4HEABSENCEOFWINDOWSGIVESTHEHOUSEA
VERYABSTRACTQUALITYANDMORETHANAPASSING
RESEMBLANCETOANARCHITECTSMODELnFROMTHE
OUTSIDEATLEASTWHEREBRILLIANTWHITESURFACES
ADDATOUCHOFDRAMATOAVOLUMECOMPOSEDOF
BLANKWALLSANDAPITCHEDROOF)NSIDEHOWEVER
ITISADIFFERENTSTORY4HISISNOCONVENTIONAL
DWELLING%ACHOFITSTHREELEVELSHASADISTINC
TIVEmOORPLAN)NTERMSOFSPACETHEBASEMENT
LEVELOCCUPIESMTHEGROUNDmOORM
ANDTHETOPmOORANADDITIONALM4HEFOUR
CORNERSOFTHEUNDERGROUNDLEVELACCOMMODATE
FOURBEDROOMSEACHWITHA MCOURTYARD
THATEXTENDSBEYONDTHEHOUSEITSELFANDOPENS
TOTHEGROUNDmOOR@7EDIDTHISTOBRINGAD
DITIONALLIGHTINTOTHEBASEMENTSAYS!IRES-A
TEUS@BUTITISALSOANINTERESTINGARCHITECTURAL
FEATURE
01
02
01 AS THE CENTRALLY POSITIONED

ATRIUM RISES TO CONNECT ALL
THREE FLOORS OF THE HOUSE, SLIGHT
SHIFTS OCCUR IN ITS POSITION AT
EACH LEVEL.
02 EXTERIOR WALLS AND ROOF HAVE
BEEN PAINTED ENTIRELY WHITE. TO REINFORCE THE ABSTRACT EFFECT, AIRES
MATEUS INTEGRATED RAIN GUTTERS
INTO THE ROOF CONSTRUCTION.
HOUSE
4OPREVENTPEOPLEFROMFALLINGINTOTHE
BASEMENTCOURTYARDSFROMTHEmOORABOVE
STRONGNYLONNETTINGnSIMILARTOFOOTBALL GOAL
NETTINGnWILLEVENTUALLYSPANTHESESPACES
HORIZONTALLY4HISSTURDYWEBBEDMATERIALCAN
SUPPORTUPTOKGPERM!CENTRALCORRIDOR
LENDSACCESSTOTHEBEDROOMS4HEGROUNDmOOR
HOUSESTHEMAINLIVINGANDDININGAREASASWELL
ASTHEKITCHEN4HETOPmOORISINTENDEDASA
LIBRARY
4HEPICEDERSISTANCEOFTHEDESIGNISA
STRIKING M HIGHATRIUMTHATINTERSECTSTHE
HOUSELINKINGALLTHREEmOORSANDOPENINGOUT
ATTHEGARDENLEVEL"ECAUSETHETHREEmOORSARE
DIFFERENTSIZESWITHDIFFERENTLAYOUTSTHESPACE
OCCUPIEDBYTHEATRIUMHASNOTBEENALIGNED
PRECISELYATEACHLEVELnSLIGHTSHIFTSOCCURFROM
mOORTOmOORnBUTTHEREISADEGREEOFOVERLAP
4HETOPmOOROPENSTHEHOUSEQUITEDRAMATI
CALLYTOTHEELEMENTS)TISHERETHATTHEATRIUM
NOWABITOFFCENTRESEEMSTOPUSHTHROUGH
THEROOFANDBECOMEANOUTDOORSPACEWHICH
MEASURESXMANDISANOTHEROFTHE
DESIGNSHIDDENARCHITECTURALGEMS@)FITRAINS
ITRAINSLAUGHS!IRES-ATEUS0RESUMABLYIN
ACITYMOREFAMOUSFORITSSUNSHINETHANFOR
INCLEMENTWEATHERTHEFAMILYDOESNTHAVETO
WORRYVERYOFTENABOUTRAIN&ROMTHEOUT
SIDETHEREISLITTLEINDICATIONOFWHATTHEROOF
LEIRIA . PORTUGAL
AIRES MATEUS
HOLDSINSTORESAVEFORA@CUTOUTTHATHINTSOF
SOMETHINGINTRIGUINGWITHIN4HEOVERALLEFFECT
ISBOTHWHIMSICALANDTOYLIKE
4HEBIGGESTTECHNICALCHALLENGEACCORDING
TO!IRES-ATEUSWASTOGIVETHEOUTSIDEOFTHE
HOUSEAHOMOGENEOUSAPPEARANCE@7EWANTED
THEROOFANDWALLSTOLOOKIDENTICALTOBLURINTO
ONESOWEPAINTEDEVERYTHINGWHITE7EUSED
CONCRETEANDBRICKSCOVEREDIN2OOFMATEINSU
LATIONFOAMFORALLEXTERIORSURFACESANDADDED
ACOATOFIMPERMEABLEWHITEPAINT
3PURNINGSTYLISTICMANNERISMSTHEARCHI
TECTSFOCUSEDONSPACELIGHTANDMATERIALSTO
PRODUCEANINTERIORWITHA*OHN0AWSON LIKE
QUALITY)NSPITEOFITSMINIMALISTDESIGNHOWEVER
PINEmOORSINLIVINGAREASANDLIMESTONETILES
INTHEBATHROOMGENERATEAWARMATMOSPHERE
THROUGHOUT!LONGWOODENDININGTABLEAND
7ISHBONECHAIRSDESIGNEDBY(ANS7EGNER
FURTHERENHANCETHEFEELOFAWELLCONSIDERED
ANDINVITINGSPACE
4HEWAYINWHICHTHEVARIOUSINTERIORELE
MENTSOFTHEHOUSEnINCLUDINGTHEATRIUMIN
PARTICULARnMEETANDINTERSECTCREATESSOME
UNUSUALLYEYE CATCHINGANGLES!SPECIALFOCAL
POINTISTHENARROWSTAIRCASEWITHITSSLIMLINE
WOODENTREADS/NTHEGROUNDANDUPPER
mOORSWHERETHESTAIRWAYISONLYCMWIDE
ITSPROXIMITYTOOTHERRATHERGENEROUSmOWING
SPACESPROVIDESASTRIKINGCONTRAST)NTHEBASE
MENTWHICHHASALARGERFOOTPRINTTHESTAIRCASE
WIDENSTOCM
!SWEGOTOPRESSTHEHOUSEISSTILLVERY
MUCHAWORKINPROGRESS!IRES-ATEUSISHELP
INGFAMILYMEMBERSLEARNTO@USETHEIRNEW
HOME@7HENTHEYMOVEDINLAST3EPTEMBER
THEYHADONLYADININGTABLESOWEVEBEENSUG
GESTINGIDEASFORFURNITURE7EREALSOLANDSCAP
INGTHEGARDENANDBUILDINGATREEHOUSEFOR
THEIRCHILD4HESEPEOPLETRULYLOVETHEHOUSE
ANDTHEYTAKECAREOFITWHICH)REALLYLIKETO
SEE
4HEARCHITECTUREPRACTICEHASANUMBEROF
PROJECTSINTHEWORKSINCLUDINGTWOIN,ISBON
THEDESIGNOFAHOUSENEXTTOANARTIlCIALLAKE
ANDTHEHEADQUARTERSOF0ORTUGUESEELECTRICITY
GROUP%$0i
WWWAIRESMATEUSCOM
133
134
MARK No 31
LONG SECTION
WHAT WEVE CREATED IS A SENSE OF

BEING PROTECTED; YOU CAN COMPARE
THE HOUSE TO A COCOON
n-ANUEL!IRES-ATEUSn
OPENINGS IN THE FLOOR AT GROUND

LEVEL STILL HAVE TO BE COVERED BY
WHITE NYLON NETTING, WHICH WILL
PREVENT ACCIDENTAL FALLS INTO THE
COURTYARDS BELOW.
HOUSE
LEIRIA . PORTUGAL
AIRES MATEUS
135
136
MARK No 31
LONG SECTION
01
03
02
01 LIGHT ENTERING THE BASEMENT

THROUGH AN 11.5-M-HIGH ATRIUM
ILLUMINATES THE CORRIDOR THAT
LENDS ACCESS TO THE BEDROOMS.
02 CHILDS BEDROOM.
03 ONE OF THE FOUR COURTYARDS
EXTENDING BEYOND THE HOUSE ITSELF
IS SHARED BY TWO ROOMS.
LEIRIA . PORTUGAL
HOUSE
AIRES MATEUS
BASEMENT
02
05
04
01
01
01
03
01
04
02
02
04
01
02
03
04
01 BEDROOM
02 BATHROOM
03 HALL
04 PATIO
05 GARAGE
04
137
MARK No 31
138
LONG SECTION
06
06
02
04
03
06
05
01
03
01
03
02
06
01
02
01 AROUND THE LONG WOODEN DINING
TABLE ARE WISHBONE CHAIRS DESIGNED
BY HANS WEGNER.
06
01 KITCHEN
02 DINING ROOM
03 LIVING ROOM
04 STUDY
05 PATIO
06 VOID
02 THE NARROW STAIRCASE, WHICH IS

ONLY 80 CM WIDE AS IT ASCENDS TO THE
UPPER FLOOR, PROVIDES A STRIKING
CONTRAST TO THE RATHER GENEROUS,
FLOWING SPACES NEARBY.
03 AIRES MATEUS IS STILL HELPING THE
FAMILY TO PICK OUT FURNITURE.
HOUSE
LEIRIA . PORTUGAL
GROUND FLOOR
AIRES MATEUS
139
140
MARK No 31
LONG SECTION
HOUSE
LEIRIA . PORTUGAL
AIRES MATEUS
FIRST FLOOR
WE WANTED
THE ROOF
AND WALLS
TO LOOK
IDENTICAL,
SO WE
PAINTED
EVERYTHING
WHITE
n-ANUEL!IRES-ATEUSn
01
01
04
04
02
02
02
03
01
01 HIGH, MONASTIC SPACES BENEATH THE

ROOF CHARACTERIZE THE UPPER FLOOR.
02 THE ATRIUM PROVIDES A VIEW FROM
THE ROOF TERRACE ALL THE WAY DOWN
TO THE BASEMENT OF THE HOUSE.
01 BEDROOM
02 BATHROOM
03 ROOF TERRACE
04 VOID
141
142
SUN JIWEI.
PHOTO MNICA CARRIO
MARK No 31
LONG SECTION
CITY PLANNING
JIADING . CHINA
SUN JIWEI
-!*/2
&/2#%3
SUN JIWEI, MAYOR OF SHANGHAIS

JIADING DISTRICT, USES HIS
EXPERIENCE AS AN ARCHITECT TO
TACKLE THE PROBLEMS OF HIS CITY.
4EXT"ERTDE-UYNCK
143
144
MARK No 31
3UN*IWEITHEMAYOROF3HANGHAIS*IADING$IS
TRICTTRAINEDTOBEANARCHITECTATTHECITYS4ONGJI
5NIVERSITY!TTHEBEGINNINGOFHISCAREERHESU
PERVISEDTHECONSTRUCTIONOF8INTIANDIAPEDES
TRIANSHOPPINGAREAIN3HANGHAI!FTERWARDSHE
BECAMETHEVICEDIRECTOROFTHE1INGPU$ISTRICT
OF3HANGHAIWHEREHECOMMISSIONED#HINAS
MOSTPROMISINGYOUNGARCHITECTSn$ESHAUS3CE
NIC!RCHITECTURE-!$!SPAMAND,IU*IAKUN
!RCHITECTSAMONGOTHERSnTODESIGNANUMBER
OFPUBLICBUILDINGS4ODAYHEISFULLYENGAGEDIN
PUBLICADMINISTRATIONANDPLOTTINGTHEFUTUREOF
ADISTRICTWITHMILLIONINHABITANTSABOUTAN
HOURSDRIVEFROMTHEHEARTOF3HANGHAI*IADING
ISNO#URITIBA"OGOTOR,JUBLJANAWHEREMAY
ORSWITHARCHITECTURALASPIRATIONSn*AIME,ERNER
%NRIQUE0EALOSAAND:ORAN*ANKOVI RESPEC
TIVELYnHAVEBEENGIVENMANDATESBYTHEPEOPLE
)N*IADINGASINTOWNSANDCITIESALLOVER#HINA
THEMAYORSERVESTHE0EOPLES'OVERNMENT
7HATCHALLENGESIS*IADINGFACINGTODAY
4HESTRATEGYWEREUSINGFORURBANDEVELOPMENT
ISSLIGHTLYDIFFERENTFROMEARLIERONESASTODAYWE
FACEALOTOFPROBLEMSINTHECENTRALAREAOF*IAD
ING4HESEARERELATEDTOEXCESSIVEPOPULATION
DENSITYTRAFlCANDPOLLUTION4HEYARESIMILARTO
THEONESOTHERINTERNATIONALCITIESNEEDTODEAL
WITH/NALARGERSCALETHE3HANGHAIMUNICIPAL
ITYANDGOVERNMENTREALIZETHEIMPORTANCEOF
NEWSATELLITETOWNSASPARTOFALARGERURBAN
DEVELOPMENTSTRATEGY!MAJORPROBLEMIS
HOWTOBUILDANATTRACTIVEEXTENSIONTOTHECITY
THATINCLUDESPUBLIC SERVICEINFRASTRUCTUREAND
SUPPORTSSOCIALSTRUCTURES&AILURETOSOLVETHIS
PROBLEMIN*IADING.EW4OWNWILLLEAVETHEOLD
COREOF*IADINGOVERWHELMEDBYTRAFlC)FWE
BUILDTHERIGHTKINDOFINFRASTRUCTURETHOUGH
PEOPLECANLIVEINCITIESFARTHERFROM3HANGHAIn
SUCHAS3UZHOU+UNSHANAND7UXInANDHAVEA
COMMUTINGTIMEFROMHOMETOCENTRAL3HANGHAI
EQUALTOTHATOFPEOPLELIVINGIN*IADING
'ENERALLYSPEAKING#HINESECITIESAREASSESSED
ONTHEBASISOF'$0GROWTHRATEANDSPEED
OFDEVELOPMENT9OUFOCUSONTHEQUALITYOF
ARCHITECTURALDESIGN7ASTHISTHEREASONFORYOUR
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#OMINGFROM1INGPUTO*IADINGWASANORMAL
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ANDINDUSTRIALDEVELOPMENTANDPOPULATION
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7ERETHESEPROBLEMSALSOPARTOFDISCUSSIONSON
URBANTOPICSWHENYOUWEREASTUDENTAT4ONGJI
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CONSTRUCTION)EXPERIENCEDTHERAPIDDEVELOP
MENTOF3HANGHAIFROMMANYPERSPECTIVES-Y
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OURURBANCONDITIONBUTALSOONTHINKINGAND
REmECTINGONITnANDlGURINGOUTHOWTOMAKE
ITBETTER
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)TSDIFlCULT4HE#HINESEEDUCATIONALSYSTEM
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INFORMATIONONARCHITECTURE)NEVITABLYTHIS
RESULTSINTHEINABILITYOFTHEPUBLICATLARGETO
APPRECIATETHEAESTHETICSOFARCHITECTURE
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153
154
MARK No 31
Housing Block 6
LONG SECTION
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156
MARK No 31
LONG SECTION
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TYPICAL FLOOR.
Housing Block 7
2004
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158
MARK No 31
LONG SECTION
BEFORE: 125 UNITS

TYPICAL FLOOR.
Housing Block 8
Halle-Neustadt / Germany
2010
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163
164
MARK No 31
DIFFERENCES IN HEIGHT MAKE THE

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165
MARK No 31
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SPACE A BRIGHT, OPEN ATMOSPHERE.
HOUSE
167
168
MARK No 31
LONG SECTION
01 ENTRANCE
02 GUEST BEDROOM
03 GUEST BATHROOM
04 HALL
05 MASTER BEDROOM
06 MASTER BATHROOM
07 KITCHEN
08 LIVING ROOM
09 GARAGE
10 GARDENING EQUIPMENT
11 CHILDRENS BEDROOM
12 CHILDRENS BATHROOM
13 ROOF TERRACE
14 LOGGIA
11
11
12
04
13
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FIRST FLOOR.
06
05
10
04
01
08
03
07
02
09
GROUND FLOOR.
SECTION.
HOUSE
INTERIOR AND EXTERIOR OVERLAP IN

FLUENT HARMONY.
MODEL OF THE OLD BUNGALOW.
MODEL OF THE NEW HOUSE.
169
170
BEFORE.
AFTER.
MARK No 31
LONG SECTION
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171
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172
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TWOYEARSAFTERTHESUPERMARKETCLOSEDITS
DOORSTHEPREMISESWEREOCCUPIEDBYYOUNG
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SPATIALGENEROSITYOFTHEFORMERSALESAREAn
ANDTODOITSENSIBLYn%.-SPLITTHEEXISTING
01
02
01 ROOF VOLUMES PLAYFULLY RECEDE

AND PROJECT, ENHANCING THE CHARACTER OF THE RECTANGULAR BUILDING.
02 THE EXTERIOR WALLS OF THE NEW UPPER STOREY HAVE BEEN PLASTERED IN A
SLIGHTLY DARKER GREY THAN THOSE OF
THE EXISTING BUILDING.
HOUSING
ONE STOREYBUILDINGINTOTWOLEVELSBUTONLY

INTHEBEDROOMSANDOTHERSUBSIDIARYROOMS
4HEMAINLIVINGSPACESHAVESOARINGCEILINGS
0ORTIONSOFTHEBASEMENTCEILINGWEREREMOVED
TOGUARANTEEPROPERROOMHEIGHTSONALLLEVELS
@4HEBIGGESTCHALLENGEWASDECIDINGHOWWEgD
DIVIDEUPTHEBUILDINGSAYS(OLLE4HECOM
PLETELYDISTINCTIVEDESIGNSOFTHEFOURCORNER
UNITSANDTHECENTRALAPARTMENTnWHICHRANGE
INAREAFROMTOMnARETHERESULTOF
VARIEDALIGNMENTS"UTALLINTERIORSAREBASED
ONTHESAMEPRINCIPLESTHEENTRANCELEADS
EITHERDIRECTLYORVIAAVESTIBULEINTOACENTRAL
AREAnWHICHTHEARCHITECTSCALLA@HALLnTHAT
ACCOMMODATESKITCHENDININGROOMANDLIVING
ROOM"EDROOMSBATHROOMSANDREMAINING
SPACESARESTACKEDINTHESPATIALLAYERBEHIND
THISCORETHESEROOMSARESTAGGEREDFROMTHE
ENTRANCELEVELANDCONNECTEDBYASTAIRCASE@4O
GIVEEACHHOUSEONEORTWOADDITIONALROOMS
ANDAROOFTERRACEWEADDEDARECESSEDUPPER
STOREYWITHATIMBERPANELCONSTRUCTIONSAYS
(OLLE
)TISNOTONLYTHEHEIGHTOFTHE@HALLTHAT
CREATESASENSEOFLUXURYINTHISLANDSCAPEOF
EM2N
173
SINGLE FAMILYAPARTMENTSWHICHREPRESENTS

ATYPOLOGYTHATSOOFTENSEEMSREGIMENTED
,IKEPICTURESASTAGGEREDARRANGEMENTOF
INTERIORWINDOWSMARKSTHE M HIGHWALL
-ARC(OLLECALLSTHIS@THEINNERFAADE!SA
RESULTTHESPLITLEVELSOFEACHAPARTMENTENTER
INTOASPATIALRELATIONSHIPWITHTHEMAINLIVING
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CHILDRENINTHEIRROOMORTALKTOMYHUSBAND
INTHEWORKROOMWHEN)gMINTHEKITCHENSAYS
ARESIDENT7INDOWSORSLIDINGELEMENTSDIVIDE
CERTAINROOMSFROMTHELIVINGAREAPROVID
INGACOUSTICCONTROLASWELLASADDEDPRIVACY
.ATURALLIGHTENTERINGTHESESPACESINDIRECTLY
GENERATESACONSTANTLYCHANGINGATMOSPHERE
THROUGHOUTTHEDAY
4HEPRINCIPLEOFTHEINNERFAADECONTINUES
ONTHEOUTSIDEOFTHEBUILDING@7INDOWSIZES
AREMIXEDASWEDIDNTWANTACLEARDIVISION
BETWEENLIVING ROOMANDBEDROOMWINDOWS
SAYS(OLLE9OUCANTREADTHEVARIOUSINTERIOR
FUNCTIONSOFTHESEAPARTMENTSFROMTHEOUTSIDE
ONLYTHEPANORAMICWINDOWSOFCORNERUNITS
ACTASSTABILIZINGELEMENTSANDCREATEACLEAR
RELATIONSHIPWITHTHEGARDEN7ALLSANDCEILINGS
AREPUNCTUATEDBYSKYLIGHTSANDSTAIRWELLS
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INDIRECTLY@4HISSIMPLEINTERVENTIONGIVESTHE
TOWER LIKELIVINGAREAANEVENMORESPACIOUS
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NEWUPPERSTOREYTOBECOARSERTHANTHATON
THEEXISTINGBUILDINGSINSULATEDBRICKWALLS
4HELINEARTEXTUREISMORENOTICEABLEONTHE
OUTERWALLSOFTHEUPPERmOORANDDEPENDING
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OUR@7ITHTHISSIMPLEMETHODWEADDEDVALUE
TOTHEBUILDINGWHOSEEXTERIORDIFFERENTIATES
THISAPARTMENTCOMPLEXFROMMANYSTANDARD
EXAMPLESw
174
MARK No 31
LONG SECTION
!LTHOUGHEACH@HALLHOUSEISBASEDONTHE
SAMEPRINCIPLESTHEEXTENTTOWHICHINDIVIDUAL
UNITSDIFFERFROMONEANOTHERBECOMESOBVIOUS
INTWOEXAMPLES4HENEWRESIDENTSOF5NIT&OUR
LIKEDTHESUPERMARKETgSRIBBEDCONCRETECEILING
SOMUCHTHATTHEYWANTEDTOKEEPITEVENAFTER
THECONVERSION4ODAYTHESUPPORTINGSTRUCTURE
HASANINDUSTRIALCHARMTHATSEEMSALMOSTNOS
TALGIC@4HEEFFORTINVOLVEDINLEAVINGTHECEILING
EXPOSEDHOWEVERWASENORMOUSSAYS(OLLE
@4HEREWASALOTOFSPACKLINGANDPAINTINGAND
ATTHEEDGEOFTHECEILINGPIECESOFCORKFROM
THEFORMERINSULATIONAPPEAREDWHICHHADTOBE
PRIEDAWAYWITHGREATCARE&ORTHESKILLEDWORK
ERSINVOLVEDINTHEOPERATIONITWASLIKEWRITING
ADISSERTATION&ORNOWTHECEILINGIN5NIT&OUR
REMAINSARELICOFTHEFORMERSUPERMARKET)N
THERESTOFTHEBUILDINGDROPPEDCEILINGSCONCEAL
THEORIGINALCONSTRUCTION
!NOTHEREXAMPLEISTHENONSTANDARDCOLOUR
SCHEMECHOSENBYTHEPEOPLELIVINGIN5NIT
4WOWHOWANTEDSOMETHINGDIFFERENTFORTHEIR
INTERIORWALLS(AVINGWORKEDWITHARTISTAND
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CAUSECOUPLESOFTENHAVEDIFFERENTIDEASABOUT
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VERTICALLYOVERTHEWALLS
HOUSING
01
03
04
02
01 THE COLOUR SCHEME USED IN UNIT

TWO ACCENTUATES THE SPACIOUSNESS
OF THE INTERIOR.
02 AN INTERIOR WINDOW CREATES A
SIGHTLINE BETWEEN THE CHILDRENS
ROOM AND THE LIVING AREA.
03 UNIT THREE, SITUATED AT THE CENTRE
OF THE OTHER FOUR APARTMENTS, IS THE
ONLY DWELLING WITH EXTERIOR WALLS AT
BOTH FRONT AND BACK.
04 A VOID WITH SKYLIGHT INTERRUPTS A
LONG SIGHTLINE IN UNIT THREE.
/NECANSAYWITHCERTAINTYTHATTHISBUILD
INGDOESNOTREPRESENTAHISTORICALLYVALUABLE
ASSET@7ENEVERWOULDHAVEBUILTITNEWLIKE
THISSAYS(OLLE4HECONTOUROFTHEBUILDING
WITHITSINDENTATIONSANDPROTUBERANCESDOES
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QUALITYINVOLVEDBYAPPLYINGALOGICOFRECESSES
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CREATURESOFHABITHOWEVERSOITgSNOTSURPRIS
INGTHATLOCALSCANOFTENBEHEARDASKINGNEW
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WWWEMNCH
EM2N
175
MARK No 31
176
LONG SECTION
WE WOULDN'T HAVE OPTED FOR

SUCH DIMENSIONS IN A NEW-BUILD
COMPLEX OF THIS TYPE
-ARC(OLLE
01
02
01 THE OWNERS OF UNIT FOUR ARE THE

ONLY RESIDENTS WHO CHOSE TO LEAVE
THE ORIGINAL CEILING BEAMS EXPOSED.
02 A SHORT FLIGHT OF STRAIGHT STAIRS
CONNECTS THE STAGGERED ROOMS OF
EACH APARTMENTS SPLIT-LEVEL AREA.
HOUSING
EM2N
01 UNIT 01
02 UNIT 02
03 UNIT 03
04 UNIT 04
05 UNIT 05
CROSS SECTION BEFORE RENOVATION.
LONGITUDINAL SECTION.
01
CROSS SECTION AFTER RENOVATION.
03
02
04
05
GROUND FLOOR.
SECOND FLOOR.
BASEMENT.
FIRST FLOOR.
177
178
JOHN ENGLISH.
PHOTO CALEB COPPOLA
MARK No 31
LONG SECTION
PRESERVATION
LOS ANGELES . USA
JOHN ENGLISH
179
CONSERVATIVE
ACTIVIST
,! BASEDARCHITECTUREPRESERVATIONIST*OHN
%NGLISHSELLSPEOPLEONTHEIDEATHATBUILDINGS
AREWORTHPROTECTING
4EXT+ATYA4YLEVICH
180
MARK No 31
LONG SECTION
IMMENSELYIMPORTANT7EDONTHAVEALOTOF
PUBLICSPACESIN,OS!NGELESSOWETRIEDTO
SAVEATLEASTONE7EWEREUPAGAINSTBIGPOLI
TICSBIGDEVELOPERSANDBIGMONEYANDITSA
TESTAMENTTOEVERYONEINVOLVEDTHATWELASTED
FORTHREEANDAHALFYEARS)DIDNTEXPECTITTO
GOONTHATLONGBUTNEXTTHING)KNEW)WAS
MEETINGCITYOFlCIALSDEVELOPERSPOTENTIALBUY
ERS)WASGOINGTOCITYHALLORGANIZINGPEOPLE
INTHECOMMUNITYWRITINGPRESSRELEASESTALKING
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ORFOURDAYSAWEEK!TONEPOINT)SAID@4HIS
FEELSLIKEAJOB%ITHER)HAVETOSTOPDOINGTHIS
BECAUSE)MNOTREALLYPAYINGTHERENTOR)
HAVETOSEEWHETHER)CANMAKEALIVINGOFFOF
IT.OW)MACONSULTANT0EOPLETHINK)RESTORE
OLDHOUSESBUT)DONT7ESURVEYLARGEAREAS
ANDASKWHATSOUTTHERE7ELOOKATHUNDREDS
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ESTABLISHMENTRECOGNIZEDIT&INALLYPEOPLESAW
THE 1958 HOLIDAY BOWL ON CRENSHAW BOULEVARD IN LOS ANGELES,

CALIFORNIA, WAS DESIGNED BY ARMET
& DAVIS ARCHITECTS. THE REMAINS OF
THE BUILDING HOUSE A STARBUCKS.
PHOTO DEAN CHENG
)ONCEWATCHEDADOCUMENTARYON&RANK,LOYD
7RIGHTWHICHEXPLAINEDTHAT&,7WASABAD
FATHERTOHISCHILDRENBECAUSEHEREGARDEDHIS
ARCHITECTUREASHISREALPROGENY-AYBE&,7
WASNTALLWRONG)MEANRAISEYOURHANDIF
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TUNATEREMODELS,OS!NGELESCOUGHCOUGH
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&OLLOWING&,7SLOGICWEMIGHTREGARD
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BUTVERYOFTENTRAINWRECKS3UCHARCHITECTURE
ISPRONETOPLASTICSURGERY@)LOOKNOTHINGLIKE
)USEDTO FEELINGSOFALIENATION@)F)MSO
SPECIALWHYWONTANYBODYBUYMEANDORIN
VESTINMYUPKEEP BANKRUPTCYSEEPREVIOUS
PARENTHESIZEDCOMMENTS ANDPREMATUREDEATH
4OTHERESCUE,!SARCHITECTUREPRESERVATION
ISTSTHEHIGH PROlLEINTERVENTIONCOUNSELLORSIN
THISALREADYOVERSTRETCHEDANALOGY
-EDIASAVVYANDUPINARMS,!SPRESERVA
TIONISTSAREFAMOUSFORTHROWINGTHEMSELVESIN
FRONTOFSTRUCTURESINPERILnANDSOMEAREACTU
ALLYCELEBRITIES$IANE+EATONFORONE WHILE
OTHERSAREQUOTEDSOOFTENONTHENIGHTLYNEWS
ANDINTHENEWSPAPERSTHEYMIGHTASWELLBE
"UT)MCURIOUSTOHEARWHATTHEPRESERVATION
ISTSSAYWITHTHELOUDSPEAKERSOFF)TSNOTALL
3CHINDLERSIT INSANDSHAKINGlSTSATDEVELOPERS
PRESERVATION
LOS ANGELES . USA
JOHN ENGLISH
181
THE 1953 MCDONALD'S RESTAURANT ON

LAKEWOOD BOULEVARD IN DOWNEY,
CALIFORNIA, WAS THE THIRD FRANCHISED MCDONALD'S BUILT AND IS THE
OLDEST SURVIVING MCDONALD'S.
PHOTO SUSAN REEP
I GOT INVOLVED IN PRESERVATION

BECAUSE I SIMPLY GOT TOO FRUSTRATED
WATCHING THINGS DISAPPEAR
n*OHN%NGLISHn
THEIMPORTANCEOFTHE#ASE3TUDY0ROGRAMAND
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"UTWHATABOUTTHECOMMERCIALBUILDINGS
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LIVEINTHEMYOUSPENDYOURDAY TO DAYLIFEIN
THEM4HESEBUILDINGSAREPARTOFOURCOLLECTIVE
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RYONELOOKSATTHEMASPRIVATEPROPERTY7HEN
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182
PHOTOS ANDREW MEREDITH
MARK No 31
LONG SECTION
LETTER FROM WESTON-SUPER-MARE
$%!2
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!002/!#().'7%34/. 350%2 -!2%

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DEAR MARK
183
184
MARK No 31
LONG SECTION
THEN)TURNACORNERANDSOMETHINGSTRANGE
OCCURS/NMYLEFTSOMETREESLEANATANALARMING
ANGLETOWARDSTHEROADASIFTURNINGAWAYFROM
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A LARGE ROAD SEPARATES SEAFRONT

BUILDINGS FROM THE WATERS EDGE.
THE BIG WHEEL STANDS MAROONED ON
A TRAFFIC ISLAND.
DEAR MARK
185
186
MARK No 31
THE GRAND PAVILION ON THE 330-M-LONG

PIER (DATING FROM 1904) REOPENED
LAST NOVEMBER AFTER BURNING DOWN
IN 2008.
LONG SECTION
DEAR MARK
187
188
MARK No 31
THE 351-M-LONG BIRNBECK PIER, BUILT

IN 1867 AND NO LONGER OPEN TO THE
PUBLIC, CONNECTS WESTON-SUPERMARE TO BIRNBECK ISLAND.
LONG SECTION
OPPORTUNITY.OTJUSTBRINGINGBUSINESSTO"RITAIN
BUTRIGHTACROSS"RITAINDRIVINGNEWGROWTHIN
THEREGIONSANDHELPINGTODELIVERTHEREBALANCING
OFOURNATIONALECONOMYTHATISSODESPERATELY
NEEDED!SFORME)MHEREIN7ESTON SUPER
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AREASON
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TOWNS'RAND0AVILIONLOCATEDONITS M LONG
PIERHADREOPENEDTOSOMEFANFAREANDACOSTOF
MILLION AFTERBURNINGDOWNIN6ISITORS
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TOBETHElRSTTOSETFOOTINSIDE"UILTINTHE
ORIGINALPAVILIONVAGUELYRESEMBLEDAN)NDIAN
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DOWNINTOBEREPLACEDBYALARGERBUILDING
WITHAN!RT $ECOFAADETHATNEVERTHELESS
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ANEFFORTTHATHASTHROWNUPATLEASTONEANOMALY
4HATSEASIDESTAPLEnTHEBIGWHEELnHASBEEN
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DEAR MARK
189
190
MARK No 31
LONG SECTION
HAVEVIVIDMEMORIESOFCRACKINGMYHEADONA
PANEOFGLASSAS)TRIEDTONEGOTIATETHEMIRROR
MAZEANDHELPINGMYYOUNGERSISTERWITHHERMAT
ASWECLIMBEDUPTHEHELTER SKELTERnANDPARTLYTO
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THEWAYOFCATERINGHEEXPLAINS@7HATWEVE
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'RANT'IBSON
BRITISH SEASIDE RESORTS ARE

COLLECTIONS OF WINTER GARDENS,
PIERS AND PROMENADES.
DEAR MARK
191
192
MARK No 31
SERVICE AREA
WILLIAM STOUT
ORAMBRA
193
Ser
c
via ee
BROWSE, BUY,
BUILD
194
MARK No 31
SERVICE AREA
BOOKMARK
WILLIAM STOUT
@"//+ 3%,,).'
)3-5#(
%!3)%24(!.
!2#()4%#452%
AFTER REALIZING HOW MUCH ANGER
IS PRESENT IN THE ARCHITECTURAL
COMMUNITY, WILLIAM STOUT SWITCHED
TO COLLECTING, SELLING AND PUBLISHING
ARCHITECTURE BOOKS.
4EXT-ICHAEL7EBB0HOTOS,ESLIE7ILLIAMSON
WILLIAM STOUT.
195
196
MARK No 31
!SACOLLECTORSELLERANDPUBLISHEROFARCHI
TECTUREBOOKS7ILLIAM3TOUTHASBECOMEA
3AN&RANCISCOINSTITUTION'ROWINGUPINTHE
WILDSOF)DAHOHEKNEWHEHADTOGETAWAY(E
PRACTISEDASANARCHITECTONBOTH53COASTSBUT
SOONREALIZEDTHATTHEPROFESSIONWASANUN
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AHISTORIANANDTEACHEROFARCHITECTUREWHILEIN
DULGINGAPASSIONFORRAREANDBEAUTIFULOBJECTS
(ISBOOKSTOREAT-ONTGOMERY3TREETIN
3AN&RANCISCOHASRECENTLYBEENJOINEDBYSATEL
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INTERVIEWWITH&RANK,LOYD7RIGHTANDBEING
ASTONISHEDBYHISJARGON!RCHITECTSSEEMEDTO
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WOULDLETMECONSULTHISBOOKSONTHEORYAND
OCCASIONALLYLENDMEACOPY(EPERSUADEDME
THATARCHITECTSLIKELAWYERSSHOULDHAVETHEIR
OWNLIBRARIESFORINSPIRATION)DIDNTHAVEMUCH
MONEYATTHETIMEBUT)STARTEDBUYINGBOOKS
OUTOFTHECATALOGUEOF'EORGE7ITTENBORNIN
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TOACQUIREMORETITLES)OPENEDFORTHREEHOURS
ADAYPROVIDEDASERVICEFORLOCALARCHITECTSAND
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7HEN)LAUNCHEDTHEBOOKSTORE)REALIZED)
COULDSTILLBEINTOUCHWITHARCHITECTUREMEET
SERVICE AREA
ARCHITECTSANDCOMMUNICATEWITHTHEMWITHOUT
HAVINGTOCOMPETEFORJOBS4HERESSOMUCHAN
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ANDMETPUBLISHERSWEARESTILLWORKINGWITH
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THEWORLD(ISBASEIS#OLOGNEBUTHENOWHAS
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)VEBEENABLETOHOLDONTOTHERARESTBOOKS
/NECOPYOFEVERYNEWTITLEWEORDERISHELD
BACKANDIF)LIKEIT)TAKEITOFFTHEINVENTORY
ANDKEEPITFORMYSELF)RANOUTOFSPACEINMY
APARTMENTON4ELEGRAPH(ILLANDASTHEBOOK
STACKSGREWHIGHER)WONDEREDWHENTHEFLOORS
WOULDGIVEWAY
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NOTCLAIMTOHAVEREADEVERYBOOKINMYLIBRARY
3ELLINGGAVEMEANOTHERJUSTIFICATIONFORTHE
HUNT'OINGTOOBSCUREBOOKSTORESINDIFFERENT
COUNTRIESALSOPROVIDEDANOPPORTUNITYTOLOOK
ATBUILDINGS.EW9ORKINTHESWASAREV
ELATIONFORAKIDFROM)DAHO4HECULTURALSCENE
WASBOOMING)LOVEDVISITING'EORGE7ITTEN
BORNANDAFTERHEDIED*AAP2IETMANWHOWAS
KNOWNFORHISWONDERFULARTBOOKSASWELLAS
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INGFORSOMETHING!MERICACOULDNTGIVEME
%UROPEANPUBLISHERSTAKEMORECHANCESAND
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4HEBOOKSTOREISALEARNINGEXPERIENCE
FORMEASWELLASFORTHECUSTOMERS"UYING
LIBRARIESHASKEPTMYINTERESTALIVE7ETRYTOw
WILLIAM STOUT PICKS TEN PERSONAL

FAVOURITES FROM HIS COLLECTION
Owen Jones, Grammar of Ornament (London:
Bernard Quaritch, 1910; rst published in 1856)
Jones was a painter who travelled widely and
produced this systematic analysis of ornament in different eras and countries.
Ausgefhrte Bauten und Entwrfe von Frank
Lloyd Wright (Berlin: Ernst Wasmuth, 1910/1975)
This collection of ten major buildings and
projects, illustrated in 100 drawings, achieved
a huge success in Europe.
H. de Fries, Frank Lloyd Wright (Berlin: Ernst
Pollak, 1926)
A portfolio of unrealized projects for a spectacular site in Lake Tahoe, northern California.
Bruno Taut, Ein Wohnhaus (Stuttgart:
Frankh'sche Verlagshandlung + W. Keller +
Co., 1929)
A small but detailed portrait of the house that
Taut built for himself in Dahlewitz, outside
Berlin, with photographs and a colour chart.
Eileen Gray and Jean Badovici, E-1027 Maison
en Bord de Mer (L'Architecture vivante #26,
November 1929)
An album on the vacation house that Gray
and Badovici built for themselves at Cap
Martin on the Cote dAzur.
BOOKMARK
WILLIAM STOUT
Arnold Whittick, Eric Mendelsohn (New York:

FW Dodge, 1956)
A career retrospective of the great Berlin
modernist, who spent his last years in the
San Francisco Bay Area.
Giovanni Fanelli and Ezio Godoli, Wendingen

(Milan: Franco Maria Ricci, 1986)
History of a pace-setting Dutch art and
architecture magazine published by Hendrik
Wijdeveld from 1918 to 1931.
Theodore M. Brown, The Work of G. Rietveld,

Architect (Utrecht: AW Bruna & Zoon, 1958)
A comprehensive overview of the Dutch masters innovative architecture and design.
Steven Holl, Juhani Pallasmaa, Alberto PerezGomez, Questions of Perception: Phenomenology of Architecture (San Francisco: William Stout Publishers, 2008; reissue of: A+U
Special Issue, July 1994)
Striking design allied to insightful essays.
Richard Saul Wurman and Eugene Feldman

(eds.), The Notebooks and Drawings of Louis Kahn (Philadelphia: Falcon Press, 1962)
Handsomely reproduced pages and sketches
accompanied by a perceptive introduction.
WILLIAM STOUTS BOOK STORE ON

OSGOOD PLACE, SAN FRANCISCO, IN 1982.
PHOTO WILLIAM STOUT PUBLISHERS
197
198
MARK No 31
SERVICE AREA
PAYAFAIRPRICEBUTTHEREAREALWAYSONEORTWO
SLEEPERSTHATAREWORTHASMUCHASALLTHEOTHER
TITLESPUTTOGETHER)TSLIKEGOINGTOANAUCTION
7EREABLETOSUPPORTTHESTOREWITHTHOSE
SPECIALFINDSBECAUSETHEYBRINGINTHEMORE
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NESS
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ONLINEDISCOUNTSANDFREESHIPPINGITWASTHE
DEATHOFQUALITYINBOOK SELLING4HERESNOTHING
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WASMANDATEFAIR TRADERULESASIN&RANCEAND
'ERMANYWHERECHAINSANDINDEPENDENTSMAR
KETBOOKSATTHESAMEPRICE)CANCOMPETEWITH
ANYONEWHODOESNTSELLTOSTORESFORLESSTHAN)
CAN7EARENOWWORKINGWITH!MAZONWHICH
ADVERTISESTHEBOOKS)PUBLISHAND)CHARGE
THEMAHIGHERPRICETOGIVETHEFEWREMAINING
STORESANADVANTAGE
9OURECENTLYOPENEDTWONEWSTORES
)TSANEXPERIMENTnWEARENOTENLARGINGOUR
OPERATIONBUTMAKINGOURSELVESACCESSIBLEIN
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STOREINDOWNTOWN3AN&RANCISCOISDEADAND
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THE BOOK STORE ON MONTGOMERY

STREET, SAN FRANCISCO, OPENED IN
2009.
200
MARK No 31
SERVICE AREA
ORAMBRA
WANTS TO PRODUCE BUILDINGS
TEXT STEVE PARNELL
PHOTOS ORAMBRA
THAT CAN CHANGE SHAPE
TRISTAN D'ESTRE STERK.
Like Ron Herrons Walking Cities, the

vision of moving, evolving buildings is
a fantastic, if far-fetched, idea. Watching buildings slowly change shape
in response to their surroundings is
still the stuff of science ction and
the architecture students thesis. But
Tristan dEstre Sterk and the Ofce
for Robotic Architectural Media and
Bureau for Responsive Architecture
(ORAMBRA) are working on making
shape-shifters a reality. Sterk studied
at The University of Adelaide in the
late 1990s, focusing on thermal
performance and digital design. After
working as an architect in London,
Chicago, Vancouver and Boston, he

set up ORAMBRA in 2000 (currently
located in Chicago). I was eager to
discover why and how these cybernetic dreams of the 60s and 70s were
still very much alive and to nd out
how much closer they are to reality.
How did your research into
responsive environments come
about?
Tristan dEstre Sterk: I was interested
in the simple but beautiful form follows function theory, although form
can never really follow function, of
course, because functions change
with the passage of time. I believe that

buildings have dialogues with their
surroundings and that digital technologies and responsive technologies,
in particular provide architecture
with a set of strategies for considering how people and spaces come
together. The ways in which a building
is affected by its context are bound
to change.
What are the inuences that led
to this type of architecture?
In the early 60s, Yona Friedman
noted that architects were producing
buildings for unknown occupants. He
questioned the methodologies used

by architects and stated that architecture should be a series of systems
built from software and hardware
components that could be given to occupants to use, thus altering the role
of the architect. Friedman wanted to
enable users to control the designs of
the spaces they lived in to manipulate such spaces to suit their personal
needs. His ideas resulted in what was
probably the earliest example of a
programmable architectural methodology. Friedman envisioned a type of
popular architecture by the people
and for the people one that would
PORTRAIT
A REDUCED-SCALE PROTOTYPE OF THE

ACTUATED TENSEGRITY STRUCTURE
USED WITHIN THE PRAIRIE HOUSE
PROJECT. THIS PROTOTYPE IS BUILT
FROM LASER CUT IDENTICAL BASEWOOD
COMPONENTS AND SHAPE MEMORY
ALLOY ACTUATORS THAT CAN TENSION
OR RELAX THE STRUCTURE TO CONTROL
ITS SHAPE.
let an individual act as client, occupant

and architect simultaneously.
Friedmans ideas were soon
embraced by other practitioners and
researchers, including Gordon Pask,
Andrew Rabeneck, Cedric Price, Allen
Edwards, Sean Wellesly Miller, Nicholas Negroponte, Charles Eastman and
Nigel Cross. Their subsequent work
laid the foundation for repurposing the
architects role as a designer to that of
a programmer.
One criticism of such visionary,
unconventional approaches is
that you are ignoring problems
ORAMBRA
201
Our work addresses the

divide between the digital and
physical worlds
4RISTANDg%STRE3TERK
that face contemporary architecture in an effort to solve problems that dont really exist. What
would be your response to that?
Conventional methods can be used to
produce lightweight buildings, and the
shape of a space can be optimized
to improve thermal performance, but
ORAMBRAs work tackles problems
beyond the subject of building performance. For example, a good chunk
of our work seeks to address the division that exists between the realm of
digital design and construction between the virtual and physical worlds.
This area of our research is aimed at
integrating computation into the fabric

of buildings to produce structures that
can quite literally change shape.
Static, boxlike forms function
well only when they are lled with
myriads of systems that compensate
for a buildings inability to alter the
performance of its physical properties.
What we should have are buildings
that can change shape according to
wind loads and the need for fresh
air inside, while their skins moderate
and adjust to provide occupants with
daylight and shade. Our objective is
an ultra-lightweight building that also
requires far fewer material and energy
resources for its construction. If society is to overcome the environmental

challenges its facing, smart buildings
are crucial.
In my opinion, the future of architecture should be driven by a desire
to produce better buildings. The most
pressing problems facing society today stem from the excessive stresses
that we impose on the environmental
systems that support us. I think the
future of architecture lies in the use
of responsive building technologies
to solve old problems in simple and
interesting ways. By examining the
architectural and environmental w
202
MARK No 31
SERVICE AREA
Buildings should become less

specialized products
4RISTANDg%STRE3TERK
problems at hand and applying

responsive technologies to them, we
can make new, relevant and challenging buildings.
But sustainability is a bigger issue
than any single building. Cities and
higher levels of density play a key
role. Because the residents of large,
crowded cities often have difculty
connecting actions to consequences,
its becoming harder and harder for
them to live responsibly. For example,
people often fail to recognize the link
between their water consumption and
the level of sanitation maintained by
their local or regional water supply.
They dont stop to consider the connection between the waste materials
they produce and the land or ocean
thats polluted when the waste is
dumped. People currently live in buildings that have very unforgiving relationships with the natural systems that
surround them. This situation needs
to change, which is why I believe its
important to improve the dialogue
between buildings and nature. By
enabling buildings to react to nature,
responsive architecture provides, at
least in theory, one way to bring about
this change.
The need to reduce energy con-
sumption is also incredibly important,

and responsive architecture satises this need in two ways. The rst
involves tying the shape and qualities
of a space directly to its performance.
This can be done by collecting sensor
data on a buildings environment and
using that data to generate benecial responses. My work focuses on
using environmental data collected
from sensors to control the shape of
a building. Shape change is relevant,
because it ties some of our professions oldest and most fundamental
knowledge the shape of a space
relative to its performance directly
to analytical processes that inuence

building form and performance in real
time. To achieve the desired control, I
adapted Buckminster Fullers theory
of tensegrity structures to produce
a new class of structures actuated tensegrity structures that are
extremely lightweight and able to
change shape thanks to variable and
controllable rigidity.
Technology is one thing, but to
realize your ideas you need political will and economic justication things that Buckminster
Fuller ignored. Have you thought
PORTRAIT
ORAMBRA
203
I adapted Buckminster Fuller's theory

of tensegrity structures to produce a
new class of structures
4RISTANDg%STRE3TERK
A FULL-SCALE PROTOTYPE OF AN ACTUATED TENSEGRITY STRUCTURE FOR USE

WITHIN A RESPONSIVE BUILDING ENVELOPE. THIS PROTOTYPE IS BUILT FROM
CAST ALUMINIUM PIECES THAT WERE
FIRST CAD-CAM RAPID PROTOTYPED. THE
STRUCTURE IS PROGRAMMABLE AND
RESPONSIVE TO ITS SURROUNDING ENVIRONMENT. THE STRUCTURE IS SHOWN
WITHOUT THE FINAL BUILDING CLADDING.
about tackling real-world issues?

Or am I missing the point?
I think the fundamental shift required
to justify responsive architecture politically and economically has already
taken place. In the 90s economists
and politicians began talking about a
new measure of economic success
that they called the triple bottom
line. The triple bottom line represents
a cultural shift away from a strictly
nancial denition of accountability
to include social and environmental
factors. Todays construction industry
recognizes this idea more quickly
when its seen as part of two other
considerations: life-cycle costing and

carbon emissions. Both are becoming
increasingly common topics, and both
support a move towards responsive
building technologies that is based
on their ability to reduce the costs of
energy and materials.
Your question raises another interesting point. The market is extremely
conservative in many respects, but it
is also full of examples of new technologies that have been successful.
Architecture is not a product that is
scalable or reproducible en masse,
however. Buildings are one-offs
designed for specic sites, uses and
clients. I would like to see this change,

to see buildings become less specialized products. If responsive architecture is to become the rst scalable
architecture, it will certainly demand
some serious consideration within
economic and political circles.
www.orambra.com
204
MARK No 31
SERVICE AREA
Prairie House
Chicago, IL, USA
2010
The Prairie House project features
actuated tensegrity systems, in
conjunction with new cladding
systems, in a dwelling designed
to emit less than half the carbon
of a typical house in Illinois. The
accompanying physical responses
enhance the environment with the
attractive qualities of parametric
architecture.
Mathematical simulations indicate that building skins capable
of changing colour from black
to white and vice versa by means
of thermochromic or photochromic
ink, for instance can realize a
combined annual savings of 0.45
per cent in the Midwest climate
zone. Combining colour with permeability can add 2.48 per cent to
that gure, and varying insulation
levels seasonally (between 5 and
30 cm in thickness) produces a
combined annual savings of 8.01
per cent.
Although impressive, these
gures are much smaller than
the savings provided by structural
systems that can change shape
and volume. Shape-changing
systems offer a combined annual
savings of 23.72 per cent in the
Midwest climate zone. During
hotter periods, such systems allow
buildings to expand, increasing
ceiling heights and reducing the
impact on internal heat gains,
while in colder periods the building
shrinks decreases in volume
reducing heating requirements.
EXTERIOR CABLE SYSTEM FOR ACTUATED

TENSEGRITY STRUCTURAL SYSTEM, WITH
INTEGRAL WATERPROOF MEMBRANE
(RAIN SCREEN)
AIR-MUSCLE ACTUATORS BETWEEN COMPRESSION MEMBERS
STANDARD COMPRESSION MEMBERS

PROVIDE NATURALLY VENTED RAIN
SCREEN (AIR GAP)
INTERIOR CABLE SYSTEM FOR ACTUATED

TENSEGRITY STRUCTURAL SYSTEM
INTERIOR FINISH OF ACTUATED TENSEGRITY RAIN SCREEN, WITH INSULATION

AND BARRIER SYSTEMS
DOUBLE ETFE PILLOW WALL PROVIDES
LIGHTWEIGHT FLEXIBLE FAADE WITH
HIGH THERMAL PERFORMANCE AND
DAYLIGHTING
INTERIOR PARTITIONS HOUSE MECHANICAL SYSTEMS AND PROVIDE LOFT

SLEEPING
PRECAST CONCRETE UNITS ON INSULATED POURED-IN-PLACE SLAB

PRECAST CONCRETE PANELS OVER INSULATED POURED-IN-PLACE STRUCTURAL
CONCRETE PRODUCE OPTIMAL THERMAL
MASS
PERMEABLE EXTERIOR CAPPING OVER

SOAKAWAY DRAIN RECYCLES WATER TO
LANDSCAPE
PORTRAIT
EXPLODED PERSPECTIVE OF CONVENTIONAL AND RESPONSIVE BUILDING

SYSTEMS. RESPONSIVE SYSTEMS ARE
IN WALLS AND ROOF SHELL, WHICH
CONSIST OF ACTUATED TENSEGRITY
STRUCTURES AND COMPOSITE THERMOCHROMIC PANELS.
ORAMBRA
205
The fundamental shift required

to justify responsive architecture
politically and economically has
already taken place
4RISTANDg%STRE3TERK
RENDERING OF THE PRAIRIE HOUSE. A

PARTITION SYSTEM AT THE CENTRE OF
THE 140-M2 BUILDING INCLUDES A STAIRWAY AND A LOFT. THE PARTITIONS HOUSE
MECHANICAL SYSTEMS AND SUPPORT A
SLEEPING SPACE ABOVE.
VIEW FROM THE BUILDING OF THE ILLINOIS PRAIRIE OUTSIDE. LIGHT REFLECTING OFF THE PILLOW WALL CREATES A
GENTLE DAPPLING EFFECT ON INTERIOR
SURFACES.
INTERIOR VIEW THROUGH THE BUILDING,

SHOWING LOW PRECAST WALL PANELS
DESIGNED TO RISE AND GENTLY ACCEPT
THE LIGHTWEIGHT RESPONSIVE SHELL
ARCHING ABOVE.
206
MARK No 31
SERVICE AREA
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WHEN ONE DOOR CLOSES, ANOTHER OPENS
MARK PROMOTION
DOORS AND FITTINGS
MOON
Rimadesio
www.rimadesio.it
rimadesio@rimadesio.it
DOOR WITH IBO DOORFRAME
B-1000
www.anywaydoors.com
info@anyway.be
www.astec-design.de
info@astec-design.de
Anyway doors
Astec
207
208
MARK No 31
SERVICE AREA
BARN-IN-THE-CITY
OOSTZAAN
www.bodor.nl
info@bodor.nl
www.bodor.nl
info@bodor.nl
Bod'or
Bod'or
CAVERE
Ingersoll Rand
www.normbau.de
info@normbau.de
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DOORS AND FITTINGS
SLIMDRIVE SL
SECRETSLIDE
www.geze.com
vertrieb.services.de@geze.com
www.brems.be
info@brems.be
GEZE
LINDNER DOOR
Lindner Group
www.Lindner-Group.com
doors@Lindner-Group.com
Brems
209
210
MARK No 31
SERVICE AREA
EUROFIX VERSA
MEDIATOR
www.artitec.com
adviesnl@artitec.com
www.effeff.de/mediator
sales@assaabloy.de
TASMANIA EPL31
RANGE 180
www.karcher-design.com
mail@karcher-design.com
www.hewi.de
info@hewi.de
Artitec
Karcher Design
Assa Abloy
HEWI
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LAVI
IOTA LEVER HANDLE
www.cebidesign.com
cebi@cebidesign.com
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MOVIE
OUTLINE
www.jnf.pt
miguel@jnf.pt
www.jnf.pt
miguel@jnf.pt
Cebi
JNF
iz
JNF
211
212
MARK No 31
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PIVOWALL LUMINA
SLIDO CLASSIC
www.kubik.co.za
dirk@kubik.co.za
www.hafele.com
info@haefele.de
Kubik
Hfele
FROST
Kubik
www.kubik.co.za
dirk@kubik.co.za
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TOURNIKET
LIVING
www.boonedam.com
doors@boonedam.com
www.lkmcollection.com
info@lkmcollection.com
Boon Edam
213
Olivari
DIGITAL LOCKING CYLINDER 3061 - SC

SimonsVoss Technologies
www.simons-voss.com
info@simons-voss.com
214
MARK No 31
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SELECT
DCS-IP-GATEWAY
www.siedle.com
siedle@strobeltext.de
www.gira.com
info@gira.com
Siedle
Gira
SCOPE
Siedle
www.siedle.com
siedle@strobeltext.de
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RADIO TOUCH
AURO
www.berker.nl
info@berker.nl
www.basalte.be
info@basalte.be
Berker
CP 155
Reynaers Aluminium
www.reynaers.com
info@reynaers.com
Basalte
215
216
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LINVISIBLE
COLOUR
www.linvisibile.it
info@linvisibile.it
www.randi.ingersollrand.dk
sales_randi@eu.irco.com
MOVI
KANDELA S26
www.thedoors.nl
sales@thedoors.nl
www.wacotech.de
info@wacotech.de
Portarredo
The Doors
Randi
Wacotech
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AGAHO 146
WICLINE 75 EVO
www.west-inx.com
info@west-inx.com
www.wicona.de
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NUOVE FORME
PBT20 LEVER HANDLE
www.pba.it
info@pba.it
www.pietboon.com
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WEST inx
PBA
Wicona
Piet Boon
217
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EXIT
EXIT
Erdos Museum
MAD Architects designed the 40,000-m2 Erdos Museum for the new Ordos City in Inner Mongolia, located 30 km from the old city. The urban
master plan, say the architects, projected a symbolic but empty image,
one that fullled the wishes of the government but showed no real
consideration for the urban space. The design of the museum reacts to
this: It takes the form of a natural, irregular nucleus, wrapped in polished metal louvers in an attempt to reect and fragment the planned
surroundings. This shell will enclose and nurture a new, incubated landscape, one that stands in contrast to the surrounding urban reality.
MARK No 32
JUNE / JULY 2011
PHOTO MAD ARCHITECTS
Also
A portrait of Paisajes Emergentes from Medelln, Colombia
Steven Holls Nanjing Museum of Art & Architecture
And
A house in Tbingen, Germany, by Bjrn Martenson and Atelier Nagel Theissen
A letter from Amman
Symbol of strength Even the smallest change has great potential

USM adds the expression to each transformation.
International: USM U. Schrer Shne AG, 3110 Mnsingen Switzerland, Phone +41 31720 72 72
USA: USM U. Schaerer Sons Inc., 28 30 Greene St., New York, NY 10013, Phone +1 212 371 1230
Showrooms: Berlin, Bern, Dsseldorf, Hamburg, New York, Paris, Tokyo
info@usm.com, www.usm.com

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MARK NO 31

design by Luca Nichetto

C F MLLER FALSTER 016

GO HASEGAWA NAGANO 028

AAT + MAKOTO YOKOMIZO TOKYO 070

KBBERLING/KALTWASSER BERLIN 086

Faculty of Architecture of Genova, Alessandra Parodi for Cersaie

20-24 SEPTEMBER 2011

Organized by EDI.CER. spa

Promoted by CONFINDUSTRIA CERAMICA

UNSTUDIO CHEONAN 100

SUPPOSE DESIGN HIROSHIMA 112

* valid only with a copy of your student registration form

T +31 161 457 800

Mark (ISSN#1574-6453) is published bi-monthly by Mark

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Euramax Coated Products is an international coil coating specialist that supplies

World Expo 2010 Culture Centre

Award, a Taipei-based architecture prize honouring innovation in Shanghai and

Facts about Sustainability

02 Imaginary House of Silence

01 Indigo Bio-Purication Tower

01 Russian Orthodox Centre

02 Russian Orthodox Centre

01 Centre for Promotion of Science

02 Vertical Theme Park

GO HASEGAWA & ASSOCIATES

stands on stilts to communicate

In the Japanese city of Nagano, Go Hasegawas

is partially glazed, allowing natural light to enter

Text Rafael Gmez-Moriana

You wouldnt know it from looking at the building in

EFTE pillows? Why isnt the building rising from a

look like slabs of marble la Barcelona Pavilion. It

Text Peter Dykes

A huge cantilever may seem like an inappropriate

sit among rows of trees that gradually fade into the

Could you tell us a little about the building

How did the location of the storehouse inuence the design?

land. I wanted the design to quote art and refer to

Text Cathelijne Nuijsink

reinforced-concrete structure that ares like a

the interior is the inverse of that of the garden. You

Text Masaaki Takahashi

Text Cathelijne Nuijsink

plays with light

Is it a hobby that has gotten out of hand? No, you

slits have been sliced into the corners without this

NAF ARCHITECT & DESIGN

Text and graphic Theo Deutinger and Kit Chow

iron silk road

With China on the rise and Europe standing strong,

Road project, China is not only establishing a high Lisbon

ancient silk road

rail gauge sizes:

trans-siberian railway (diverted into trans-mongolian & trans-manchurian)

Black Sea & Caspian Sea harbour

major local railway network (Europe & China)

Eurasian railway network

baikal amur mainline

Ho Chi Minh City

Travel time London - Beijing

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