J d r vq

f:,
r't

sheltersfor meditation
KielderBelvedere
England
Northumberland,
Softroom

'Shroud{or Bathing'
NewOrleans, us,t
Eskew+

Tea Houses
Made to Order
S h i g e r uU c h i d a

S a u n aP a v i l i o n
N,4assachusetts, usA
ArlifactDesign+ Construction

Studio Pavilion
Palm Beach, Austral a
DawsonBrown Architecture

' G u c k l H u pMf 'o b i l eL o o k o u t

Austria
Ny'ondsee,
HansPeterWorndl

'PointLookoutObseruation
Tower
Portable
RichardHorden

-
-r"a
:
ParkLodges --
HogeVeluewePark,TheNetherlands
MVRDV :-n
-51054)

t ya i l b oEx n c l o s u r e
C o m m u n iM -9 ,-,
Cranbrook, us,a. E!-lo5al
DanHoflman
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Newspaper Kiosk
Frankfurl,
Germany

MetroStops
Hanover,
Germany
DespangArchitekten

ModularShelters
Stanford,usn
Jones,Partners:
Architecture

PublicLavatories
HyogoPrefecture,
Japan
ShuheiEndoArchitectlnstitute

Cellular RelayTower
Telephone
Michigan,usn
GunnarBirkerts

Bridge-Master's
House
Purmerend,TheNethedands
UN Studio

WaterTower
MiyagiPrefecture,
Japan
AtelierHitoshiAbe

ThamesWaterTower
L o n d o nE, n g l a n d
BrookesStaceyRandall

GardenShedandWorkshop
Oslo,Norway
Holmebakk
Carl-Viggo
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shelters
for
medltatlon naturehuts
eyriesandinspiring
Lookouts,
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hereso appealing. Concerned withleaving the smallest footprint,
thesedesignsaspiretowardthe compactto heighten the
perceptron of the surroundrngs, particularly the presence of
water,whichalwaysprovides a senseof limitlessness and
'belvedere', which
grandiosity.Somestructures, likeSoftroom's
overlooks the barrenexpanse of KielderWaterin the northof
Horden's 'PointLookoutl designed for
England, andRichard
obirvationof beaches, werecreatedspecifically for water-
relateduse,Themirror-sided belvedere servesas a resting
placeandbeaconfor walkersawaiting ferries, whileHorden's
gracefullyangledobservation toweris intended for useby
rescuecrewsandnaturelovers.
Employing theviewof thewaterio orientandcomplement
theirstructures, Austrian architect HansPeterWorndlsethis
' G u c k l H u p f ' ot hneb a n ko f t h eM o n d s eRe i v e ra,n d
multiplaned
RobertBrowncreateda studioon stiltsto takein vistasof
Australia'sPalmBeachandthe PacificOcean, Worndl's wood
boxis actually a mobileunitthatcanbe disassembled and
reconstructed withrelative ease,andoncefullyerected, the little
structurecanbe configuredthroughan arrayof opening and
closingplanes. Theideawasto createnota staticobjectbutone
capabieof transforming itselfwithinan ever-mutating setting'
to acknowledge
Similarly, man'sintrusion uponwildsettings,
 'uorldaored uoico+Ioos;onuof, E onquB3oln+f,nt+s e
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 shiningstar
KielderBelvedere
Northumberland,England
Softroom

An unexpected of
sparke in the landscape
Northumberland,the shelteroverlooksKielderWater,
the largestman-madeake in northernEurope. turningits
backto the vastNorthumberland forest.The belvedere
offersrefugefor walkersin inclementweatherandserves
as a waitingpointfor ferrypassengersduringthe sumrner
months,TheyoungLondon-based practiceSoftroom
won a competition sponsoredby the KielderPartnership,
whichhadestablished a vrsualaris programme to create
suchsheltersin the area.The structuretookonlyten
monthsto produceandwas nominated for British
Buildingo{ the Year2ooo- gl tteringtestimonyto the
worthwhile causeo{ pub ic f undingfor the arts.
Approaching thejewel-iketriangular volumef romthe
park,onefirstencounters the planes of the two etched-
steelmirrorwallsthat reflect the foresicanopy and are
joinedby a curveddoorat the apex.Insidesitsa'golden
circularchambel(stainless-steel wallswerepowder-
coatedgold),whichis top-litthrougha colouredskylight Acrossthe centreof the lakesidefaqaderunsa band
so that a warm,invitingglowcounterbalances the thatfollowsthe lineof the innerdrumand appearsto
polish.
exteriolsreflective The thirdside of the triangle, beltthe convexshapeintothe two billowingtriangles.
whichfacesthe lakeside, resembles a bulbous square Whenseatedon the benchinsidethe structure, one can
that hasbeenpulledin at the middle to produce a convex enjoya panoramic viewof the lakethrougha glazed
one atopthe other.
surfaceof two trianglesposiiioned slotwithinthe beltso that,whilewarmand protected
 ', -: e. a.ol L U o .pl jo [ , r ^3 i o r ] / . -r o +s o d L U oi l . 1 L] rr o - l E , - - ;a - : ,
: . . - - - - - : - J 3 . . 1 + uoql q+ sr ^ u seu,rof,3q + q6noq+ "]olEMpu+saro+ Lf s -o :o i,:;1;
q . - < , e . J p\JJ q +ur0, eql .ror.r LUo] lnq prof,3uMo.req+ +o+nop-';-:
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. _ : - . , s , . t ae+q so q l s l E a s u oof ,s l 'oosspuelln]Uaq+o] pe]3oUuo-l .-
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aq] laq o+sreoddP]ql 6urzel6+o pueq
pa^rn3e sarnlea] uolle^alaoplsa)91
aq1 lsa6ed snol^ald PUemolaq]
'aunlo^ rPln6u"ul aq+ulqllmJoquieql
ielnsi3 aq+lea^ars6ulMelp aql lual]
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Water,light,gauzyIabric,naturalwood - Eskew+
has assembledthe ingredientsfor the moderngrotto,
replacingdark,damp and kitschywith dappledand
mellow.Commissioned to producea privatepool and
meditatronroom,the designersseizedon the association
of the areawith rainfalland humidityto createthe'shroud
for bathing',The waterdrop becamea guidingprinciple
for invention
of form.
The roof leaks,but onlyafter the fabrig specially
wovenelasticlatexmembranethat containstitanium'for
reflectivequalitiesand strength',becomessaturated.
Then the specialweaveof the fabricallowsit to expand
so that a verticalsack graduallydistendsas it fills,letting
waterdrip gentlyinto the pool below.A comfortable
size(6 x 3.6 metres,r,2 metresdeep)for wadingand
the pool is not largeenoughto suggesta
meditation,
rigorousset of laps.Surrounding the wateris a structure
composedof stackedcypressslatsthat Jilterlightwhile,
from within,the bathercan glimpsethe gardeninto
whichthe pavilionhasbeenso artfullyinserted.
A stair
has been'woven'intoone sideof the woodboxto give
accessto the roof membrane. ln an act of visualsleight
of hand,the apparentlydelicatefabricthat allowswater
whenthe weatheroutside
to seepin is in fact structural:
is good,the surfaceis flat,intendedfor walkingon
or for sunbathing,
Settingthe shallow,poured-concrete poolwithinthe
unusualwoodandfabricenclosure achreves bothprivacy
and escapefromthe New Orleansheat.Althoughthe
hanging,drippingfabricimpartsa cavelikefeeling,
the transparentqualityof the materials
ensuresthat
the senseof beingoutdoorsis not compromised. With
the pooldug intothe earth,lightand air passingbetween
the woodplanksand rain-water permeating the roof
structure,the batheris neverfar removedfrom the
elements. in bodvor mind.
_o

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In the sixteenthcenturythe Japanesetea ceremony
of the
beganto exertan influenceon the architecture
house;an intimateroomdedicated to the appreciation
of
tea andthe harmonyoJthe utensilsbecamea mustfor
dwellingsof wealthymerchants
and nobilityto entertain
and impresshonouredguests.Fivehundredyearson,
aestheticof the
ShigeruUchidahas'translated'the
modernJapanesetea roomfor a modernEuropean
audience. principles
Becausehe feelsthatthe discipline,
and philosophyof the Japanesetea ceremonyhaveno
parallelin Westernculture,he hasdesignedthreestand-
alone,cube-shaped structuresin texturedsurfacesof
bambooandwoodto illuminate, quiteliterally
as theyare
lit fromwrthin,the importance
of the ceremonyandthe
soacein whichit is oerformed.
Thetea houses, thoughappealingin purityof form
and beautyof detail- theirdelicateconstructions bringto
mindthe craftof paperlanterns- aresubservient to the
ceremonyitself.lt is Uchida'saim to draw attentionnot
io his objectsbut to the spacecreatedby the object.The
purposeof the ceremonyis to focusihe mind,andas
Uchidaargues,'the shapeof the roommustnot divert
from it.'Eachdesign,labelledJi-An,So-Anand Gyo-An
(for'senseand perception','concept and composition'
and 'willand memory'),hasits own rangeof essential
elements,such as brazier,ketile,tea bowl and scoop,
lamp,vaseand cushion, and eachhasa specific
placement in the house,whichincludes, according to
tradition,separateentrancesfor host and guest.Though
the modularform and easyassemblyappearmodern
and European, the concentrationon spacemore
thanstructure,the dominationof physical form by
metaphysical contemplationlocatesUchida's scheme,
if not in Japanesehistory,
then in a moredrscreet
consciousness
thancontemporary
buildingtrends
usuallysuggest.
 *72-

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Uchidaclaimsto designnot'isolated objectsbut

thespaceitselfin whichtheteaceremony willbe
performed',Hisfocusis on 'reductioni
inthiscase
reducing andmetaphysical
the cultural encryptions
in theteaceremony potentform,
to a simple,

O?O che lcrs fnr ned tation

 ( , , & o u a u p u e l l r Mp, u , u o r + r s o d e o s
p - p I d J f u o l . , , o r ] d e l , J dp u Pa s u a s . )
uv-o^9 puB uv-os 'uv-rf palloql
ere s .6 s3o erLla l ql ltrorsql
'+las+i duouJaraf,
P a +a q r r o Jp a p e J u s l r s u a l aa q l
o] uMop pau6rsap{llenptntput
a r e s a s n o Le a l 3 3 . q t a L I [ l t e I
 lookandfeel of a smallmountain
It hasthe immediate
cabinof the kindthat hasbeenbuiltin ihe regionfor
centuries,butthat is to its creditas a modernbuilding
granderarchitectural
wrthdistinctly The small
aspirations.
saunapavilion designedby SalTranchina and Chris
Kilbridgeof Artifact Design * Construction sitsquietly
in a picturesque lakesidesetting that is skirted by the
Aopalachian Trailin the Berkshire Mountains of
Massachusetts, lts restrainedlow profileand cedar
planksoffset its moderncredentials, whilean inventive
useof materials - coppercladdtngin the steamroom,
split-faceconcreteblockfor the retainingwall and windowsto insulateheat- suggests
quadruple-glazed
thatthereis beyondthe vernacular
something lurking
behindthe trees,
On closerinspection the components reveala
buildingthat is as inspiredarchitecturally it is by the
as
beautyof the naturalenvironment. The rectilinearform
andglassplanesrecallthe Style,andthe
International
the deckandthe'gangplank'
darklypolishedinterior,
towardthe lake havemorethan a hint of
cantilevering
the masterof Fallingwater.
Yet this structureis itsownjustification.
The design
featuresaz.4x 2.4-meIre saunachamber, dressing
area,outdoorshower,storageand a walkway-cum-diving
 'uorlr3aj0oe
len+nur
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ssel6aq+'alel oq+ie^o lno s>loolllEMs,uroorEuneseql
qOnolqlpoqoundMopurM alenbsel6ursV sroqleem trrse
s6urpunornsoq+oluroulr+ JaAopualq11t,ttreddoceq1
q1r,r,n
6uoleqorqMlepoJ ]o epeuroslesrlueld6ue6eq1
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'a1e1s ueer0ere slool+roralurladdoc ur pelJ+nqiepac
por ur paurlsreuneseq+:aloqM o^rsnrlurunpue+uejoqoJ
e urreq1e6o1 qf,a01sleue}euJ
eu.rocieql ,{1rnr1oe
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uOrsapoq11osnrue6aql'alel 6urloocaq1ur se^loslueql
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labove] The schematic drawing shor's

t h e s a u n ab u i l d i n gs e t w e l l w i t h i nt h e
surroundingvegetation,with the cedar
' g a n g p l a n k ' e x t e n d i ntgo t h e e d g e o l

the lake. [top] The exploded form.

Iright and prevlous]The earlhy tones
of the materials* cedar,copper,green
slate - and their naturaltendency to
weather allow the structureto blend
harmoniouslywith the lush
s u n o u n d i n g sw h i l e p r o v i d i n gt o r t h e
necessitiesof privacy,insulationand
hardlness,

:--=::Tslcrmedtiaton
/to

! o ] f , n r l s u o 31 u 0 s a 6 : : e . - y
Restorationwork doesn'tusuallyallowmuch roomfor
inventionbut RobertBrowndidn'tneed much roomfor
this remarkabletimberstudio.In the refurbishmentand
repairof a 1g2oscottage on a beacfrnorth of Sydney,
the architectcreatedan eyrieon stiltsthat sits like a
treehouseamongdensefoliageand naturd rock shelves.
The'delicateyet sturdy'pavilionis accessedby a bridge
that spansthe cottagepool,enhancingthe senseof
seclusionbut anchoringthe smallstructureto the rest
of the scheme.Althoughconservation was the focus of
the cottageitself,the studiois not an isolateddeviation
from the earlierbuilding,but a cleveract of historic
interpretation
and synthesis
Materialsand methodpay homageto the natural
and architecturalsettings.Scissor-trussleg supports
allowthe studioto be set againstthe hillsidewith minimal
on the site,andthe useof naturaltimberon
intrusion
the studiostructureand bridgealloweachto blendwith
the greensurroundings. Meanwhile,a subtlegeometric
patterntypicalof tgzosbuildingdesignin the region
cottage.The
tiesthe new buildingfirmlyto the'existing
studio'sexposedstructural elementsreflect'therobust
characterof these earlyhouses'.
The curvedcopperroof with projectingcopperhood
is reminiscentof the cottage'soutlinebut affirmsthe
pavilion'sdebtto contemporary Australiandesignin
one nicelyarchedstroke.The wholestructure- scissor-
legsand all- maybringto mindtraditional lifeguard
towers,butthe studio'swarmwoodinteriorand
viewof the PacificOceanthroughnativebanksia
treeswouldmakeit difficultfor anv lifequardstationed
hereto leavein a hurry.
 [left] The sxetch ano elevationshow
t h e s c i s s o r - l e gt ru s s s u p p o r t sc a p p e o
by the angle of the cantilevered roof
a n d t h e w a l k w a yt h a i c o n n e c t st n e
s l u d i ot o t h e m a i n h o u s e ,
] h e s l u d r or s c l a d
[ b e r o wa n d o p o o s i t e T
in black-painled plywood, a reference
to the existing house'swalls.Wndows
in the wood interiorlook out to the
P a c i l i ca n d P a l m B e a c l -t h r o u g h
v e . o a n rn a i i v ev e g e t d l i o n .

s de e evation

: 1tT nreo Ialron

{i
On the banksof the MondseenearGuglhup{Hill,Hans
PeterWorndlbuilta cubistconstructionof plywood
panelsthat is all about movement.Designedas part
of the Regions',
of the UpperAustrianiFestival
which encouragedthe erectionof cultural,artisticand
architecturalobjectsaroundthe region,'GucklHupfis
a calm havenand a questionmark in the landscape,
'morable
Describedas adheringto the principlesof
furnitureand the mobilehome',the hut makesuse of
shiftingplanesto allowthe inhabitantsto change,modify
or eliminateviewsand lightaccordingto their'needs.
Thoughit is sympatheticallyfaced in timber,fte
constructionst4ndsout as a visitoron the greensite
'strangeand familiar,
so that the tensionbetween
quietand movement,llvingand travelling,homeand
awayfrom home'are expressedin responseto the
f estival'stheme,'Stran ge(r)'
Definitionsare as flexibleas the turning,foldingand
tilting planesin this design,whose namederivesfrom
Gucklhupf,an Austriancake usuallyeatenon Sundays,
the nameof the hillon whichii wassited
and Guglhupf,
The architectalso refersto the verbsgucken,meaningto
watchor observe,and hupfen,to hop,so that the building
alsorepresents the ideaof 'hoppingup anddownin an
attemptto find a bettervantagepoint',onlyin this case it
As the GucklHupf
is a matterof openingand closing.
was builtby Worndland two colleagueson site,it evolved
duringconstruction and is intendedto'remainin a state
of permanenttransformatron', as 'a metaphorfor travel'.
It is perhapsfitting then that,deniedpermissionto remain
on the site,the GucklHupfnow liesdismantled waitingto
beholdoasturesnew.
t
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ower-levelplan upper evel plan

I no n es e n s et h eG u c k l H u pi sf a s i m p l e w o o d e nc u b ew i t hl o t s
o f q u i r k yo p e n i n g isn;a n o t h ei rt i s a n e x e r c i sien a m b i g u i t y
positioned somewhere between architecture andsculpture and
r e g i o n ablu i l d i ntgr a d i t i o n s ,
t e a s i n g lhyo v e r i nogu t s i d e

she ters for med tation

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 out of the blue
'PointLookout'ObservationTower
ronaDte
RichardHorden
RichardHordenand histeamof studentsin Munich
haveachieveda remarkablefeat of compaci,holistic
They haveaddressedthe needsof sea
architecture.
observationand of lifeguardswho traditionallyspendtheir
time in somewhatbulkierwoodentowers.After studying
rescuestationsusedon the Bavarianmountainlakes,
the Hordenteam developed'PointLookout',a portable
observationstructure.Here againthey exploitthe
structuraland lightweightpropertiesof aluminiumto
createan objeit that is adaptableand fully portable.
Like previousHordendesigns,PointLookout
useslengthsof aluminium for supportand bonows
from techniquesused in boatconstructionfor simple
connectionsand a slender,gracefulprofile.Also,
the legs are the usualHordentripodof strength.The
wholestructurecan be brokendownintomanageable
components andwithan entireweightof only7o
kilograms,it can all be packedinto two bagsand carried
by as few as two peopleto locationsas inhospitableas
the Arctic or as well-travelled
as the Californiacoast.
The easilyassembled unitconsistsof a raised
platformandshadecanopywith an 'integralhigh-level
tent'that can be usedas a bivouacin remotelocations.
Large,triangularmetalfoot platesdistributethe weight
oversoft sandor coral.Hordenbelievesthat each project
is'a sensitiveinvestigation
of landscaping,
space,light,
newtechnologies, fun andfunction'.
PointLookout
certainlyspeaksto thoseelementsin a waythat,like
manyof hisdesigns,resonateswithwhat is becoming
a familiar,
thoughalwaysinspired,
eloquence.
 :,1:r- "r

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f-:

[opposite andprevious]PointLookout
is designed to be usedbyexplorers,
cameracrewsandrescueteamsin
remotelocations. The7o-kilogram
structurecanbe fullydismantledandfit
intotwo 'ski-type'bags.
[thispage]Heightsandlevelsare
adjustable witha framethatworkslike
a cameratripod.Thefabricis acrylic
canvas, andthe aluminium supports
arecoatedwithheavyduty,marine-
qualitypaint,

,/A\

view trom above 18 r"

,.'.''!
,rl;i',, ,t

shelters Jor meditatron

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createstructures thatwerein keeping withthevernacular idea
of the DanishGardenColonyHouse, whichbeganlifeas an
unglorious allotment shedat theendof the lastcentury and
h a sn o wb e c o m teh el a t e sitn h i g hd e s i g n '
Whatunitesallthestructures in thissectionistheir
tendency towardbecoming sculptural objects, despite thefact
t i t ha s p e c i f ipcu r p o sien m i n dI,n d e e d ,
t h a tm o s tw e r eb u i l w
manyaredeliberately referential, notin the pastiche postmodern
m a n n eor f s t y l i z ehdi s t o r idce t a i l i nbgu ti n q u e s t i o n i nogr
distortion of original forms,Theparklodgesbuiltbyvvnovin
the Netherlands, for example, marrythe idyllichutformwith
itslogical semi-urban site:the publicpark,Here,mythicorigin
combines withfunction to provide sensible andsensitive
housing for publicamenities, Whentheworkdayis overand
the lodgesareclosedup,theybecomesculpture ratherthan
shelter, highlighting thedivision andoverlap of attributes,
AlliedWorks'Maryhill Overlook is situated on a hillside on
ihe Columbia RiverGorge, a beautiful butstarksetting, Here,
boldconcrete slabsarein directconfrontation withnature,
establishing a deliberate dialogue between the builtandunbuilt
environment. Although theysharea sculptural disposition with
the Maryhill Overlook, DanHoffman's community mailbox
enclosure andstorytelling pavilion engagetheirsurroundings
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A walk in the park isn'twhat it usedto be at Hoge Veluwe
NationalPark in the Netherlands- it's an architectural
experience.Dutchfirm MVRDV's competition-winning
schemesfor three porters'lodgesat the park'smain
entrancesmakevisitorsawarethat natureis only part
Museum
of the attractionhere.With the Kroller-Mi.iller
designedby Henryvan de Veldeand Sint Hubertus
Castleby HendrikBerlageon the grounds,the architecis
soughtto makethe lodgesrepresentativeof the park's
naturaland man-made wonders.
Eachlodgeis made{rom a materialthat is directly
correlaiedto the essentialfeaturesof the site.The
for
structureat the entrancein the villageof Rijzenburg,
with an exterioro{ red
example,is the mosttraditional,
cedarthat reflectsthe woodedenvironmentThe Otterlo
lodgepayshomageto architeciureand buildingwith its
whilethe most
brickandconcreteconstruction,
building,
contemporary the Hoenderloolodge,is made
of Cor-Tensteel,whichthe architectsemployedas a
reference to the modernart in the Kroller-Mtille/s
Allthreestructures
collection. arecomposedentirelyof
theirspecifiedmaterialand can be completely closedup
to becomesculptural objectsin the landscape.
The irregulargeometrythat inspired this sculptural
'the
qualitywas achievedby startingwith the shapeof
archetypal lodge,the littlehouse',andthenskewingit
to meetthe demandsof the site,for exampletraffic or
nearbycar parks.Eachform is then furtherdistorted
so ihat it appearsto be stretchingin greetingtoward
lt is onlywheneachsculpture's'flaps'
incomingvisitors.
areopenedto exposeinformation windowsthatthe true
objects'is revealed.
natureo{ N/vRDV's'mysterious
 [above]The archiiectureof the historic
buildingsin the park is retlected in
Otterlo lodge's brlck and concrete
-'. construction;while [opposlte]the
Hoenderloo and Rrlzenburgodges,
y' ,--='-- rocnorlivo v ra{or +n mndorn o*
/----\ f f'' / r
i ! i ! ! v

.i----/l
. \ J +t--1 l+ through the use of steel,and the
v\ naiural setling,through wood.
r---
[{ar left] The derivationof the forms
----\l
begins with a conventlonalhouse
before being distorted.
[left] Each lodge can be'unfolded'
schematic surface d agram into a two-dimensionalplane.

oblects n the landscape

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TheAmericanmailboxhasnotyet gainedstatusas a Craftsmovement,By the tgzos,Cranbrookcameto bear
designicon.But if Dan Hoffman'scommunitymailbox the indelible
marksof FinnishdesignerElielSaarinenwho
enclosure, Academy
designedand builtfor the Cranbrook gracedthe campusfor twenty-fiveyearswith his own
campus,is anythingto go by,this is not a long-lasting designsmoretunedto innovation
thansty isticdefinition.
stateof affairs. Now,the CranbrookAcademyencompasses a
The CranbrookAcademyin Michiganis legendary as primaryand secondaryschoolas well as an lnstituteof
a seatof designinspiration The original
and instruction. Scienceand Arts academy.Dan Hoffmanbecamehead
art schoolwasfoundedjust afterthe turnof the century of the architecture
department in 1986,workingwith his
by GeorgeBooth,publisher
oI Ihe DetroitNews studentsto,as he says're-esiablish the importance of the
newspaper,who was heavilyinfluenced
by the Artsand buildingartsin architecture',
In tgg4 Hoffmanand a group
of Cranbrookgraduates formeda'designand buildstudio'
calledthe Cranbrook Architecture Officeto work on
projectsaroundthe campus.Amongthe worksexecuted
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lprevious]The mallbox enclosure
retains a position close io the road for
l n t h eC r a n b r o ot rka d i t i oonf
a c c e s s ,b u t s L e l l e ' sL h er a l b o / e s ^ a
light,invitingfolly-likestructure.
i n n o v a t i yv e tl a s t i n d
g e s i g nH, o f f m a n
lopposite and above] The rough-sawn
cedar slats providea sturdy,protective hasinstalled a newstructure, an
pavilionthat still allows abundant llght
io the interior. e n c l o s u rf eo rt h ec o m m u n i t y ' s
mailboxes, thataddsthe benefits
of bothshelterandtransparency,

t:: t lne anoscape

\? - -t-L - "i3:...;&*e*+<';@+*-#&_;
+. ...

' @ *
At the end of the nineteenthcentury,the Danish
governmentleasedparcelsof landoutsideCopenhagen
as garden or park allotments.Factoryworkers and other
city dwellershad the opportunityto exchangetheir
crowdedurbanconditionsfor greensuMivisions,
each with its own temporaryshelter or she4 in the
Kolonihaven,or 'gardencolony'.Throughyears of use
and decorationthe sheds haveevolvedinto symbolsof
individualexpressionand of the gardencolonyideat.
To mark Copenhagen'syear as EuropeanCapital in
1996,a groupof internationallyrenownedarchitectswere
invitedto reinterpretthe belovedkolonihavehus(guden
colonyhouse')for Copenhagen's firstarchitecturepar(
by Danish-bornarchitectKirstenKiser.Thoughthe
kolonihavehusisa cherishedform of Danishvernacular,
Kiserbrokewithtraditionby enjoininga broadspectrum
of architectsto producedesignsfor a typical6-square-
metrestructure,to be set in an old orchardin
Vallensbaek, aboutlorty minutessouthof Copenhagen.
The resultssignala new globalchapterin the storyof
the humbleDanishshed:FrencharchitectDominrque,
Perraultencloseda tree in four glasswalls.Finnishstudio
Heikkinen-Komonen
produceda boxystructurewith two
levels,
whiteuponblack,highlighting darknessand light.
JosefPaulKleihuestook the boxformto its logical
conclusionin his perfecteight-footcube.RichardMeie/s
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Moscowis not a placeyou want to be stuckwaitingfor a
bus in the winter,even if it is the town in ruralldahoand
not the Russiancapital.On a steepsite with viewsacross
rollinghillsat the foot of MoscowMountain,two Seattle
architectsconstructeda bus shelterfor schoolchildren,a
welcomeretreatduringthe harshwinfers.lts pleasant
simplicityof form and functionis an exercisein economy
of designand materials. The shelter'sbulgingshape,
whichthe architectsreferto as an'impregnatedvessel',is
essentiallya curvedplywoodbox faced in heavy-gauge
sheetaluminiumthat has beenoverlappedlike shingles.
Viewedfrom the roador surroundingwoods,the bus
shelterlooks more like a high-techtent for fufuristic
campersthan a secured,permanentstructure.
. Eachsideof the buildingwascut froma singlesheet
of curved6.3-millimetre-thick structuralplywood.The
sheetswere then fixed with screws and brackets,with no
additionalbracing,so that the exterioralsoformsthe
(although
interior a vapourbarrier between the metaland
the woodreducescondensation effects).Inside,childsize
seatsare attachedto stringersthat rest on two beams
andstepup the hill'sslope.The beamsthemselves are
attachedto concretepilings, allowingthe enclosedskin
to appearto be hoveringoverthe site.
The entireassembly was completedoff site,'using
techniques moreakinio furnituremaking- moulded
plywoodand structuralskin - than architecture',which
atteststo the compactand portablenatureof this
innovative Described
structure. as something'half
spaceship-halffish' becauseof its silveryscaley
appearance, the projectwas viewedby the architects
as 'a vehicleto studyform in the landscape',
the difficult
terrainand concisestructurebeingan inspiration
for
'unusualconstructionmethods'.
The firstschoolchildrento arriveat the finished
sheltergaveit unanimoushighmarks,callingit'cool'and
'awesome',an enthusiasticreceptionthat shouldappea
to architectsfrom ldahoto Siberia.
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qcea q}m'poomrild luaq 1o pasoduoc
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A concreteGreek key unfoldingoverthe aridterrainof
the ColumbiaRiverGorge,the MaryhillOverlookcuts a
distinctivedivideacrossan undevelopedlandscape.
Ratherthan functioningas a physicalblockade,however,
the viewingplatformsmanifestthe ideaof boundaries,for
the perpendicular planesof concreteencourage more
interactionthan they prevent,Boundarieshere havemore
to do with aestheticdivisionsbetweenart and
architecture,betweenbuildingand sculpture,between
naiuraland man-made.The physicalobjectitself
suggestsmoreopennessthan closureand generously
allowsthe visitorto perceivethe settingaroundand

throughit ratherthanforcingconcentration on the space

withinit or the struciureitself.
'sitings',
a
MaryhillOverlookis the firstin a seriesof
conceptdeveloped by BradCloepfil, principalof Allied
Works,with his architecturestudentsat the Universityof
Oregon.The ideawasto erect'smallbuildings or rooms'
on fivesitesin the UnitedStates'Pacific Northwest
regionwhichwerechosento displaythe builtand unbuilt
environments typicalof the region,In additionto Columbia
Gorge,a highdesertsite,thereareconstructions in
forested, suburbanand urbansettings.
agricultural,
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074 oblects n the landscape
q/o

s + l J + r q l r vs : r o M p J r v
Now dubbed'PicklePlace'by the childrenwho make use
of its magicalambience,Dan Hoffman'sstorytelling
pavilionis one of numerousprojectsexecutedunderthe
CranbrookArchitectureOfficeformed by Hoffmanand
CranbrookAcademygraduates.Set on a smallislandin
a streamthat runs alongsidethe BrooksideSchoolat
Cranbrook,the pavilionwas builtto compensatefor the
fact that the formerriversidestorytellingspot had been
pavedover by development. To continuethe traditionof
usingthe streamas a storytimesetting,Hoffman
designedthe pavilionto iake in the vistaof the water
throughan open-endedshapebut alsoto blockout the
view of the new parkinglot.The islandis accessedby a
specially designedbridge,alsoby Hoffman.
In responseto the legendof a battlethat took place
betweena localnativeAmericantribe and European
settlersat a nearbysite,Hoffmanwantedto'evokethe
memoryof the nativepeoples',as 'the legacyof the
Europeansettlerswas alreadywell represented'by the
existingschoolbuildings. Carved-wood poleswrappedin
cedar-shaketiles contributeto a structurethat conjures
the nativeAmericanteepeeand addsthe tantalizingair
of legendto the alreadyplcturesquesite.
Thisis notthe onlytime Dan Hoffmanhasturnedhis
attentiontowardthe childrenof Cranbrook: hisdesigns
for bentwoodJurniturefor the localkindergartenmake
use of methodsof workingwith mouldedplywoodthat
CharlesEamesdeveloped with Eliel'sson EeroSaarinen
while both were at Cranbrook.lt seemsfittingthat it is
now time for anotherlegacy,artisticratherthan warlike,
to hauntthis partof Michigan.
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p a v i lo n , n i c k n a m e d' P i c k l eP l a c e ' b y
l o c a ls c h o o l c h l l d r e ni s, s e t o n a s m a l l
i s a n Cl v i t h i f a s t r e a m ;a b r i d g e
prov des access.
l a b o v e ]T h e d e s i g no J p o l e a n d c e d a r
s h l n g l er e c a l l sn a t i v eA m e r i c a n
- l - t , r e - ,o l e l - ^ n , - l o t * e * - ' o , o j
the area.

rblears n the ardscape

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Adaptablearchitectureor poseablesculpture?Japanese
architectHiroshiNakao'sexperiments withlighi,form'
spaceand movementseem to hoveron the convergence
-
of manypaths andthat is just what he intends.
Witha limitedpaletteof materials- black-stained
plywood,ash,concreteand steel- he has createda pair
of structuresthat pose morequestionsthan they answer,
'Black Maria'is a seriesof rectangularwallson steel
wheelsthat couldbe mistakenfor mobilepackingcrates
or a portabletheatricalbackdrop,but behindthe wallsa
hollowrectangleforms a platformhemmedin by vertica.
steel rods.The platformand the rodsseemto beckon
visitorsinside,to walkthroughthe narrowandstrangely
open but subtlyarticulatedspace.
On closerinspection the walls'curvatureis more
apparent,as is the structure's Wallscan be
flexibility.
drawntogetherto form a dark,closedhollowor opened
so thatthe hollow'folds backon itself,likea gloveturned
insideout'.'BlackMaria'wasthe nicknamegivento the
film studiobuiltfor Edison'sKtnetoscope,whichallowed cameraeye,the restrictionand abundanceof light.
movingpicturesto be viewedthrougha peephole. lt lf 'BlackMaria'is aboutthe manipulation of space
a widervision
is the ideao{ a holeof lightproviding aroundlight,'Gisant/Transi' the
brings focus intothe dark
that Nakaoseizedupon,'BlackMaria'hasparticular The namerefersto a kind of tomb art that appeared in
of the
withthe dilationand contraction
similarities Europein the wakeof the BlackDeathand depicted the
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 hairyhouse
'Sitooterie'Gazebo
Northumberland, England
ThomasHeatherwick

Froma distanceyou mightthink a curiouslylarge

hedgehogwas sunningitselfon the lawn,but on closer
inspectionyou woulddiscoverthe curiouslytexfural
creationo{ ThomasHeatherwick.Invitedalongwith
elevenother architectsand designersto producea place
for quietcontemplationfor the gardensof BelzayEstate
Heatherwickrespondedwith true
in Northumberland,
aplomb.EnglishHeritagesponsoredthis celebration
of the'sitooterie',a Scottishterm meaning,literally,
'sii-outerie'that suggestssomethingakinto a gazebo
or folly,Heatherwickjumpedat the commissionas an
opportunityto experimenton a smallscalewith the idea
of givinga buildinga tactilequality.'lwas interestedin
the textureo{ buildings,how they might be different
shapes,someare curvyor straight,but textureis usually
hard-edged,'he explains.
So he madea perfectcube of plywoodpaintedblue
'lt'sa structurethat weighsfourtonnesand is
fascinating:
and then piercedthe volumewith 5,tooash stavesthat
are a metrelong and 9o millimetressquare.The staves supportedby stakesthat you can breakwith your hands,'
servea rangeof functionsbesidesgivingthe buildingits The stavesalso provideinteriortexture,since
Thoseon the bottomactuallysupport
pricklyappearance. Heatherwickalsohas a penchantfor what he calls
'seeingthingsthrough.'The stavespenetratethe interior
the structureand makefor a springy{loor,which is
anotheraspectof the buildingthat Heatherwick finds providing
by about5 millimetres, the texturalequivalent
of
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ourstreetsanddailYlives
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whatstreetfurniture shouldlooklikeandexplore whatit can
looklikeandhowit mightbe useddifferently whileperforming
underthetoughdemands of citylife,
Thestructures included hereareexceptional in howthey
contribute to the cityscape in smallbutveryperceptible ways.
Forinstance, although advances in self-cleaning, automated
flushing andtapflowmakethe maintenance of somepublic
toiletsmoremanageable, introducing suchbuildings as objects
of innovative andcreative thinkingis stillan anomaly. We may
notwishto celebrate thefunction of thesefacilities, butwe can
workto achieve higheraesthetic, aswellas utilitarian, standards.
W h e na b u i l d i nfgo ra n e wp u b l i tco i l ew
t a sp r o p o s eidn
westLondonanda neighbourhood groupobjected to its
design, CZWGArchitects werecalledin.By rethinking theentire
pedestrian areain whichthefacility wouldbe placed, instead of
justconcentrating on the loos,theyaddressed localconcerns
andincluded trees,bicycle racksandbenches intheirscheme,
aswellas newparking arrangements anda flowerkiosk,Also
thinkingbeyond the brief,the landscape architecture andurban
planning firmWestB redesigned a marketsquarein Rotterdam
to resolve problems of spaceandpowersupplies to thevendors,
Revitalizing thesquareas a publicmeeiingplace, complete with
electrical 'trees' as powerpoints,proveda significant benefit.
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 shipshape
GatewayStructure
MiamiBeach,usn
WoodandZapata

Everybigcityhasits heydayand MiamiBeachhashada to minda greatwingedseabirdor a speedboatcutting

few.Havingbecomesynonymous with pastel-shaded Art throughthe ocean.As such,it is a structurethat is rich
Deco,the resortboastslayersof a moresophisticated withallusions andyet devoidof weightyarchitectural
architecturalheritagethat encompass notlust buiidings reminders, glidingprisminvitingviewsof
a f loating,
sheltersand pedestrian
but streetfurniture, areas.In their Miami'scolourful pastand glistening f uture.
projectfocusingon LincolnRoad T| |Lt E^ {t a^L^t rrULt a^t rrL a . -' ^ ^ ^ ,L o f a s c h e m et o r e s t o r e
three-year restoration tt r J r J
Par

and its pedestrian mall,whichhadsuffereddecadesof an areaonceknownfor its cohesiveplan,whichincluded

n e g l e cat n d{ a l l e ni n r oa m o s t6 6 - p l e t ed i s r e p a rt h
r ,e elementsalongrtspedestrian
decorative zones,
Bostonarchitecturalfirm of Wood andZapalaresponded suggeststhat lookingbackbeforegoingforwardcan
workof MiamiBeacharchitectMorris
to the influential be an educational liberating
and surprisingly practice
Lapidus, who laidout sheltersand plantingsalong {nr rrrhqn do<innorc

the roadin the tg6os.As the flnalelementof the

area'srenewal, the gatewayf unctionsas a centre
for visitor
information.
The pavilionis madeup of vertrcaiplanesof glass
toppedby a steeland aluminium roof.Supportedby
columnsandstabilized by tensorcables,the roof recalls
the form of a tautlystretched in keepingwiththe
sail,
historicseasidesetting.Despltethe solidityachievedby
suchfirmanchorage, roofand shardlike
the cantilevered
glasssectionscoherein an extremelypleasant,slight
but dynamicprofileof a bodyin mot on,
Set betweentwo rectangular pools,withone glass
wallrisingup directlyfromthe water,the form alsobrings
k
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Ur

h
 LrightlWith allthe tapering lines of a
racing yacht,the structure tilts foMard,
while interiorcables and columns
anchor the structure earthward.Pools
of water play off the dramaticallY
cantileveredrooi.
Ibelow] The computer model and plans
demonstratethe dynamismof the
collidingplanes againstthe pools,
G l a s sa n d a l u m i n i u me l e m e n t s
emphasizetransparencyand
naturallight.

c o m p u t erre n d enr g s

roofand floorplans

nnA
f u r n r s h i n gt h e c r i y
 l!l

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 linear,durable- rarelydo trainstattonsin
Functional, fieldsalongthe other.The structurehadto offersheltered
outlyingsuburbsexhibitimagination or finesse.Enter waitingareasand bicyclestorage,andthe skin,rangingin
of corrugatedsteel neededto withstand
thicknessf rom2.7Io 7 millimetres,
ShuheiEndoand his constructions
logicashapes heavysnow.lt seemedan appropriate projectfor the
Likesomekindof balloonsculptortwistrng
Endohasstretched an ndustrial materialthat Endohaspreviously and successfully
from unlikelybeginnings,
alchemized intosuchdistinctiveforms.
materialandthe commuterrnindto newd mensions
The site,a formerrailroadsiding,is narrowand In this planthe archiiectlimitedhimselfto threebasic
linearwith housesLining one sideand paddy forms:a simplecantilever withone sideof the steelplate
spectacularly
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Theveritable playground of curves
impartsa lightanduser-friendlY
to the industrial
quality material
whileproviding allthe practical
advantages,

f u r n r s h i n gt h e c i t y
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Streetmarketsand publicsquaresare an integral,if semi-
'
transient,
componentofthe Europeanurbanlandscape.
The demandsof thesespacesarequitespecificand
essentiallytwofold:to allowspacefor vendorsto erect
stallsat leastonce a week,creatingthe kind of carnival
atmosphere
that animatesan entireneighbourhood;
and
io remainsomehowappealingon non-marketdays,
managingto Iookexpectantratherthan abandoned.
Althoughthe refurbishment
of the Visserijplein
marketsquarein Rotterdamwas requestedon a very
modestbudget,{ortunately for the planners
and publicat
large,landscapearchitectsand urbanplannersWest 8
engineereda solutionthat excelledin creativityand
practicalityif not in cost.
A neglectedsquarewith littlepublicspaceand
narrowpathsbetweencrampedstallsthat were easy
targetsfor thievesarid pickpocketswas transformedinto
an 'intimateterracefor the community'with generousstall
areas,wideraccess,cleadydemarcatedbordersand an
extrarow of trees.Carswere also banishedfrom the
square,addingthe feelingif not the realityof more
space.But perhapsthe most remarkablefeatureo{ the
revitalizing
plan is West B'ssolutionto the powersupplies
for indivjdlelmarketstalls.Electricalcabinetswere
producedas's.urreal steeftrees'andplacedthroughoul
the square.Despitebeingmadeof standardmaterials
andwith'almostno opportunity
for detailing'because
o{ budgetconstraints, the electricitymastsare distinctive
pointsof interestin a schemefull of imaginative
problem-solving.
The residentsnow havea definedneighbourhood
square;the marketvendorshavea traditionalmarketwith
a modernfeel and,more importantly, convenientaccess
to necessarypowerpornts.But the Visserlplerndoes
morethan fulfillthe needso{ localorganizations.However
modestin materialand detail,tf e vibrantsculptural
electricitymastsensureihat even uninhabited,
the square
is a livingpublicspace.
i u r n i s hn g t h e c i t y
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8 }SAM
 loo - public
services,ladies,gents,lavatories,
Facilities,
toiletsby any other nameseemto conjurea universally
malodorous experience
of a supremelyuninviting
urban-
necessity.LucindaLambtonhas calledthem'Templesof
Convenience', and architectsczwc havecertainly
latchedon to this moreelevatedperceptionin their
designof a lavatorybuildingin west London,going so
far as to includespacefor a flower kiosk a blatant
rejectionof everythingwe havecometo associatewith
publictoilets.
Thisgrandervisionencompassedthe rearrangement
of the site itself,so that a new triangularislandwas
createdand dottedwith trees,benchesand bicycle
stands;an inefficientcar parkwas reorganizedin the
process.The resultingplan presentsa brightface on
publicamenities - including a largeclock- whichusually
appearas nondescriptafterthoughtsof urbanplanning.
is enhanced
The wonderfullogico{ the arrangement
by the detailing.
Cladin turquoise-glazed
brick,the
lavatorystructureis a smallertriangleset withinthat of
the island.Continuous horrzontallouvreslinethe top of
the wallsto orovideessentialventilationbut alsoto serve
as a decorativebasefor the translucent,fan-shapedroof
that recallsthe vividArt Nouveaudetailsof the Paris
m6tro.Plateglassinsertedinto the glazed-brickplinthat
the pointof the triangleformsthe flowerkiosk,wherethe
turquoisemakesa strikingbackdropfor floraldisplays.
Lavatoryentrancesat the baseof the triangleare marked
by'dancingsilhouettes'on steelentrancedoors.The
architectssay that the figures'advertisethe building's
use ... and celebratethe yearlypassingcarnival',but one
is more inclinedto see the happyposesas a sign of the
joy one mustfeel in encounteringa facilitylikethis during
a momentof need.
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It is not uncommonto findtemporary
structuresthatare
modelledon theirmorepermanent cousins,but it is less
commonto find designsinspiredthe otherwayaround.
JorgJoppien'sschemefor a newspaper and magazine
standin Frankfurttakesitsformf romthe traditional
temporary f ruit.andvegetablestandslocatedin the
nearbySchweizer Platz.
Essentially a glasscubecoveredwithsteel-gridded
panels,the kioskaddresses securityissueswhile
maintaininga pleasingaestheticpresence.The glass
cubeat the coreputsthe entirecontenisof the 5-square-

metrepremiseson displayduringworkinghours,but is
completely
coveredby the'protectiveskinof movablegrid
panels'thatare attachedbothvertically
andfromthe roof.
The cube'sgriddedsurfaceis alsoresistant
to graffitiand
moredestructiveformsof vandalism.
Whenopened,the panelsslide,fold andtip to
minimizetheirintrusionin an otherwisehighlytransparent
design.The griddedplanesthen becomea dynamic
designfeature:verlicalpanelsfold backneatlyintothe
cornersliketraditional
foldingscreensor shutters,while
L-shapedroof-anchored gridsswingup to givethe kiosk
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u a r d d o p6 r o 1
,
'Urbanspaceb not alwaystreatedverykindly,'says
MartinDespang,who,with his fathe/s firm,won a
competitionto designthirteentram platformsand waiting
facilitiesfor a new urbanrail lineservingthe rxpo zooo in
Han.orrer. Yet these grace{ulsteel-framedsbuctures are
as kind.on the eye as on the traveller,protectingwaiting
passengersfrom the r:oadtraffic and prwiding chunky'
'holisticapproach'tolfie functional,
generousseating.In a
technicaland economicparameters, Despangcreateda
.-.^:.F:?;}'\
systemof verticalrectangularblocksthat could be
coveredin a rangeof materials,and to whichcould be
'attire'.In his effort to
addedthe structure'sindividual
strikea'dialoguewith the surroundingurbanspace',
Despangconceived differentcladdingsandfinishingsin
responseto eachfacility'simmediatesurroundings.
At the Haltestelleand Freundalleestops,for example,
wherebrickis the neighbourhood's prevailing
building
material,the structuresare givendry-pressedbrick
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featuresstonecladdingreminiscent of Therepeated blocksmade
the oldvillagenearby, Theglass
c l a o d i nogf t h eK r L g e ' s k a mspt o pr s useof modular efficiency,
o c c a so n a y ' i l l e dw i t h' a m i s t - r , L e
vapour'as partof an art installation. whilesite-specific detailingat
At the Bultstopsaiin-finished glass
blockswereused. eachstopconveys the luxury
lopposite] Uniquedetailing giveseach
blockindividual character. o f u n i q u de e s i g n .
lbelow]Tl'e sixvariarions usedal each
stopincorporate elements for display,
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ModularShelters
Stanford,
usn
Jones,Partners:
Architecture

It'sa coffeeklosk,a busshelter,a bicyce rack,a projecting

wings.The coffeekioskcontainsa bench
mechanical screen.WesJones's'flexiblekioskprototype' and counter,as wellas the coffeevendor's'production
grewout of a briefto designa coffeestandfor Stan{orc module',The bicyclesheltersportsa doublerow o{
University,an institution
Jonesdescribes as 'consistently columnswith racksbetween;themechanical screen
v e s l e di r c l a s s i c i s m
an' , de x p a n d e ad s - - c h n s t ye a s variation
presentsa singlerowof fivecolumns,
a single
in the rangeof itsfunctions. eaveo{ roo{ano screensbetweenthe bays.The bus
At f rstsightthe finisheddesrgnmaynot appearto be shelteris the mostpareddownof the forms,comprising
rootedin the campusvernacular, althoughthe tre lrsroof two columnsthat supportthe roof'sflyingf ramework.
s e c t i o ni s a f a i " ta l r u s . otno t h e p a nc u a ' o r a ^ do ' ln hic nroalinn n{ a nrnlntrrna fnr nlhar clrr rnlr rroc

SpanishColonialstye p oneeredby
northernCalifornia Jones'sfeat of architectural
origamiderivesfromthe
BernardMaybeck,Perhapst is the camp-ss heriLage primitive
hutform.Ratherthan performing a simple
combinedwiththe kiosk'smuscularmoduar versatility variationof forms,however,Jonesexplainsthat usingthe
that makesJones'ssystemso remarkable, Thethlck hut as a modelpermitsan 'interpretaiion
of an imagined
columns p r o f i l e s
a n dr h el o w - plched' o o f .
' e n o e r e o' ideal.,. So eachrediscovery is actuallyan invention,
paintedstee and site-castconcrete,mighthavebeen holdinga mirrorup to the discoverer,'
Complexdeas
qdnhe-eco
trae on n'ror tha tomn,alo nf tho o nr ,r,nod- expressed in simpleand,betteryet,beautif
ullyf unctional
f ramedprecursors aroundthe campus, and multipliable
forms,
By varyng the use3nl ngr[sp of standardzedroof,
columnand screenelements, the structureis thoroughly
f ex ble,ensuringthat no singlestyleis severelyadhered
-o,T-e bussheltersrarsed-angle roof oearsless
resemblance to California Missionstylethanthe plan
' o ' I h eb i k es h e ' t e ri n
, w h i c ht h ep i t c h e dr o o ' i si n v e r t e d
a v a l l e y' u n ^ i n gl e . g T h w
to produce s e b e t w e e 't w o
 b ke rack: elevation
ffi bus sheterielevatton coifee kiosk: elevatton

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 as
PeterEisenmanis knownas muchfor deconstructing
so it is no surprisethat h s des gn {or a
constructing,
bussheltercallsintoqueston the conventona deasof
shelter,indeedof the whereabouts of buses.Setseveral
metresf romthe curbsidein the m dd e of Aachens
centralplaza,it mightseemthat eventhe crses areto be
put off by Eisenman's particular andcontral,'vrson,Yel,
s i n c eu r o a ' s i ' e e tf u ' n i t - r es o ' t e d e sg - e o t o ' e s s t
destructron, one cannothelpbut we con e siructures that
c a r eL oo I f e ra m p l es h e l t e ' a n ds e a t g ' c o ^ u - c t i o '
with innovative design.In that context,PeterE senman
wasthe rightchoiceto redesrgn the bussnelterfor
r h ed e s r g n - m i ^ d eeds.p e ca l y s i ^ c er t r ep ' o e c ' , r a s
commissioned by JC Decaux,a Frenchcompanythat
specializes in streetf urnituremanufacture
Thisstructure's insectoidalform s the resut of a
seriesof triangular planesplacedat rncreasingly wide
(or narrowing) angles,The'{eet'ofthe shelterareformed M,C.Escher, Thetwo-tonegrey-and-gold finishsuggests
by the wioeend of verrcaltriangles, thougAro lrvoa'e a sortof nterior-exierior
dialogue,exceptthatthe grey
a i k ea n dt h ew h oe s a p l a yo f s l r l a c e sa. n ge s a n d oftenpeersfrom beneaththe gold,likebitsof
pe'spectives. As one movesrhroughthe bu ld ng. handkerchief that refuseto staytuckedinsrdethe breast
es n a d ' a w n g b y
f a c e t e dp l a n e s h i f tb e t o r e t h e e y a pocket,Glasspanesinsertedintothe roofand broad
 'urpellleseA,no^ uEsl
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 fleft and opposite,far right] The bus
challpr rc co1 n tho <n,,:rp < ronlro

insteadof near the street,lvhere lt

f u n c t l o n sa s a p u b l l cs c u l p t u r e
onrl n{{or< <lrrarl norcnan+ vo< n{

the c tyscape.
l b e l o wa n dr i g h tG
] l a s sp a n e l s
c6i 1,lr ' 'h6 hr:'. r q1^a r.,m6.ork

a l l o w a r u r a g r l I n l ot h e . h e T e , s
ample interiorspace,
[opposite,below] The drawings show
the triangulartorms that becoffrerooj
walls and supporting legs.

T h et w i s t i n pg l a n ea sre
r e m i n i s c eonftb r ani - t e a snig ,
i m e n s i o ngael o m e t r i c
t hr e e - d
puzzles, Onesuspects that
somehow i t c o u l da l lb e
workedneatlyintoa cube.

f u r ns h r n gt h ec t y
o

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functlonal
subllme
Celebrating utilitythroughbeauty, whetherin
a n u r b a no r n a t u r ael n v i r o n m e n t
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 Alsofacedwiththechallenge of minimizing the localimpact
of a tower,GunnarBirkerts devised a cellular telephone mast
thatnotonlybuckedthetrendfor unsightly technical spiresbut
embraced thevertical formassculpture capable of possessing
interest andexuding grace,lt nowranksamongthe Latvian
architect's manypositive contributions to the architectural
landscape of AnnArbor,Michigan,
Ratherthanminimizing thespectacle of the publicwater
supply, BrookesStaceyRandall architects createda barometer
in Londonthatcelebrates it,Theirtransparent towerenclosing a
stainless-steel vertical pipeallowssurgesin thecity'swater
pressure to be madevisible, sothatpedestrians anddrivers on
the Londonringroadcanappreciate function firsthand and
admirethecreative display of a mostlyunrecognized process,
Crafting an inspired structure froma mundane requirement
is a sharedaimof manyarchitects in thisbook,Inthe realmof
b lu i l d i n gi tsi sa n e s p e c i a lpl yo t e nct h a l l e n g e ,
s m a l fl ,u n c t i o n a
Whether thinkinglargeor small,however, thearchitects of the
Amsterdam-based UN Studiostrongly holdthatallpublic
architecture shouldbe a marriage betweenarchitects andcivil
engineers, between artandfunction, to produce buildings of
lasting value, Theirbridgeandbridge-master's housein
Purmerend performs allof the required f unctions - with
 'q+oq 6urOre;ue dn puapueuot+3unI
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Givena few sheetsof corrugatedsteeland a site to bend
themtoward,thereis littlethat ShuheiEndocannotdo.
What mighthavebeena utilitarianprojecthas becomea
delicateform in the landscape,In the mountainsof Hyogo
Prefecture,an hour'strainjourneyfrom the bustlinghub
of Osaka,a smallpark carvedout of a meagrespace
betweenprimary-and secondary-schoolbuildingshas
the somewhatgranderdistinction of beinghometo this
wonderfullyf lowingfacility.
Curvedstructuresthat givethe appearanceof curled
buttershavingsare arrangedto encompassthree rooms:
men'sand women'spubliclavatoriesand a park-keeper's
of{ice.As the sheetsof ribbedsteelcurveand twist,floors
becomewalls,interiorbecomesexteriorand fixedideas
aboutthe divisionbetweenthose elementsare calledinto
question.
Similarly, materials
the industrial themselves,
which mightseem bettersuitedio an urbansetting,
successfullyblendinto the site'sclose landscaping.
Slantedbackat a slightangle,the gentlyslopingcurves
echothe rollinghillsidebackdrop.
Describedby the architectas'halftecture'(half+
mple arrangementof
architecture),the deceptively'si
parts'exploresthe characteristicsof 'opennessand
closedness'. Derivedfrom shapescut from a sinewave,
the form is distinctly
open-ended,'suggesting the
possibilityof entrancefrom almostanywhere', while
issueso{ securityand privacyare addressedefficientty
throughihe additionof reinforcedauxiliarymaterials
 'suorlElcooxo
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a q +p u
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As a facility for general use',
saysthearchitect,'the park
itselfdefiesexpression of
anyregional character', His
u n d u l a t i ndge s i g nh a p p i l y
f i l l st h ev o i d ,

t h e f u n c t o n a ls u b l m e
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'alnsolf,ua

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Callthe'nthe newtelephonepoles,butthe fact that
cellular-phonerelaytowersare soonto becomeas
ubiquitousas theirland-line
counterparts
is something
morethana few peoplefind disturbing.The location
is generally
decidedby the distancerequiredfor
transmissionand doesnot necessarily coincidewiththat
of othertowers,structures
or infrastructure,
so their
appearance on the landscape can be evenmoTestartling
thana strandof powerlinesacrossan undeveloped
hillsideor alonga scenicdrive.
Responding to objections
to the indiscriminate
placement of suchtowers,the Airtouchcompanyhadto
lookcarefullyto find a sitefor theirmostefficientand lightning-bolt
shapeis immediately discernible
above
productivetowerin the university town of Ann Arbor, its 8-metre-deepsteelcason.The 5o-metre-tallstructure
Theychosea spoton propertybelonging
Michigan. to is illuminated
at night,whilethe fibre-optic
cableschange
ThomasMonaghan, ownerof the Domino'sPizzachain, colourduringthe dayto indicateweatherconditions.
who agreedto leasea parcelof land near his corporate A red cube at the foot of the tower is a steel-clad
headquarterson the conditionthatthe towerbe'a shelterfor electronicequipment; at the top is a'nest',or
memorable sculpturalobject'andthat it be designed cellularplatform.Guywiresattachedat structuraljoints
by GunnarBirkerts, the architectresponsible
for the securethe tower.
Domino'scomplex. As telecommunicationbecomeincreasingly
wireless,
The resulting'sculpture'takesitsformfrom 'an clearlythe earthbound
poleandwirewillbecomea thing
airbornesignal,reachingfor the earthwiththe speed of the oastas the sculoturalweathervanesof the future
and imageo{ lightning'.
Indeedthe cobalt-blue tower's maketheirlandinqs,
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 buildingbridges
House
Bridge-Master's
TheNetherlands
Purmerend,
UNStudio

whencivicarchrtecture
lncreasingly, producessomething p u b l i cf u n c t i o n s ,u c ha s l i n k i n ga n e wh o u s i n g
of aestheticqualitythe generalpopulationhasa feeltngof development to the mainroadand providing pedestrian
andthoughtfuldesign
gettinglucky,as if infrastructure and cycleroutesand one lanefor cars.The structurealso
wereat opposingendsof the bureaucratic deveopment allowsfor a cyclepathbelowand extraboatmoorings
spectrum.The architecis of UN Studiosee it differently alongthe river.
a n dh a v es e to u to n a d e l i o e ' a rpea t " t o u n i t ea r c L i t e c t s houseis a small,slightlyskewed
The bridge-master's
a n de n g i n e e risn m u n i c i p apll a n n i n gC,o n v i n c etdh a tt h e rectangularblockwhoseslenderprofile refrainsfrom
two professions'have to learnto worktogetherin a new, impedingviewsalongthe brldgeor waterfront.Inside,
theyalsofindthatquestions
relationship',
non-hierarchical the bridge'selementsarecontrolled with information
needto be addressedabout'howto opt mizethis gatheredby technicalfacilitiesa[ groundleveland
connection'andhowto effect'control and motivation
in a communicated upstairsfor the bridge-master;his
newand betterway of organizrng structures',
ui litartan quartersincludedomesticspacesandworkrooms. To
The BasculeBridgesprojectn Purmerend increasethe transparency of the bridgehouse,perforated
demonstratesthatthis ideais morethan pie-in-the-sky steelplateswereapplredaroundlhe concretecore,a
The bridgers lormedby threedecks
utopianmanifesto. solutionthat makesthe interiorof the house'slowerhalf
that openandclosein gracefulsuccessionto allowfor partlyvisibleand emphasizes of a clear
the architects'aim
But the designexcelsin an arrayof
passingwatercraft. andf ullyintegratedvisionof form and function.
 labove] Perforatedsteel plates and a
s l e n d e rp r o f i l er u n n i n ga l o n gt h e
waterway ensure that the bridge-
master'shouse embodiestransparency
ratherthan obstruction.
lleft] The house combines domestic
space with workrooms that receive
informationfrom technical equipment
at ground level.

:2 thef!nctona sub me
 o
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Thata structureis meantto hold136tonnesof water
at a heightof z7 metresnecessarilyimplresthe desire
for a substantial Yet
bulwark. HitoshiAbe's so ution,
strandsof
graceful spiralling mesh
stainless-steel
wrappingf unctional equipmentin a webbedcone,
createsa remarkably low-impact fromthe
projection
surroundrng undeveloped Seton a baseof
landscape.
reinforced concrete, steelframeprovides
the three-storey
stabilityneededof a
all of the verticaland horizontal
watertower,whileadheringto the rathercontrary
requisitethat it blendwiththe naturalsettng To
achievethesetwo distinctaims,Abe firstestablished
the physicalnecessity of the verticarectangleand
then 'recomposed' the shapeby breakingit downalong
the linesof force,softenrngthe overalloutlineto a
moresympathetic silhouette.
HitoshiAbe is knownfor eschewingsolidblockforms
for lighter,moreintricate assemblages. Thisparingdown kindof structural Abe says.To ensurethat
strip-tease',
o f t h e f u n c t i o n at ol a l l o wa b u i l d i ntgo b e s u b s u m e idn t o the buildingis fullyassim latedintothe landscapeof
rtssurroundings is something that he approaches wiih densefoliage,ivywillbe encouraged to growoverthe
un que interestandfinesse.The watertoweis form is'a stainless-steel skin,becoming, in Abe's words,'an
 ' s u o r l e + l a d x a ' a l +aq, ^osL U
. ^,h^
-.1 A^^,,, A
q l l Mr ts d l J l | J u+us u d+l ur u r d M o +
s o E U j J uo D n o q.l l o l a j D
"A-

ralMeql +ouorlu +opaql dn suodo,{lurelac reMo}r6^rr\j

oq]'op s sroqdloLu LuoorpoB ',oa6rl6ou
lrn13o+rq3r
 'Theuniformity of the
toweris weakened
as muchas possible
i tgs
w h i l em a i n t a i n i n
structu ralcapacities

fthispage]Thethree-storey tower
mustholdt36 tonnesof water,so the
neededreinforcing
verticalstability
widehorrzontal
througha sufficiently
base.Sectionsreveals thatthe cone
rsactuallyslightlyasymmetrical
[above,rightandopposite] Thetowels
structurallatticeworkreducesitsvisual
impactandwilleventuallY become
overgrown withvinesto furtherblend
thestructurewiththe natural
environment,

t h e f u n c t r o n asl u b l i m e
aqv qso|H ra alv
Surgesin the watersupplyhaveneverbeencelebrated panelsmountedon the
energyprovidedby photovoltaic
so wellor so beautifully as in BrookesStaceyRandall's too of the tower.
ThamesWaterTower wesi London.lt is one of the
in Considered a'modelof responsive the
building',
city'sthree verticaltower pipesthat accommodatesurges tower is locatedin a busyroundabout,partof a new,
in the watersupply,whichoccurdue to climaticPressure t3o-kilometre Londonringroad,and appearsto standin
changes. The ideaof makingthe functionvisible,
on saluteto that engineering achievement.Observers see a
was
displayas a publicbaromeier, proposed by Damien structurethat increases as it growsin
in sophistication
O'SullivanandTaniaDoufa,then studentsat the Royal height.At groundlevel,the plantand pumpmachinery is
Collegeof Art,London. encasedin matt-finished plate.Rising
stainless-steel
BrookesStaceyRandalldesigneda 16-metre tower above,the surgepipeitselfis cladin a mrrror-finished
eachwith itsown
that is dividedintofivesections, sheetingthat is visiblethroughthe
stainless-steel
arrangement that are linked
o{ waternozzles toughened glass cylinder. in fact,becamethe
Visibility,
electronically switchingdevice,The
to a barometer pointof the exercise, as the architects ensuredthat
barometerdetectspressurechangesand then controls surfacesand details were polished to reflectivebrilliance
the levelf romwhichthe wateris sprayedontothe glass. and choseblacksiliconesealant for its graphic effect.The
It then sets off spraysof speciallytreaiedand blue-dyed information-age Trajan'scolumn is topped by a solar vane
waterat differentlevelswithinthe toweraccording to the and lightningmast,functionalelementsthatsubtlycrown
pressure, The entiremechanism is solar-powered,with a structurethat is bothintelligentbuildingand art.
6
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When is a gardenshed not a collapsingtimberhut partly
coveredin overgrowth?When it's a three-storey
cylindricaltower designedby Carl-ViggoHolmebakkfor
his parents'housein Oslo.Thougha tower 6.5 metrestall
mightnot seemthe mostobviouschoicefor a utilityroom,
this structure'sverticalform derivesnot from whimsybut
from genuinepracticalconsiderations: a lackof spacein
a denselywoodedsite and a desireto keepthe many
maturepinetrees in the gardenlandscape, as well as a
needfor storagespaceand a workshop.
Holmebakk'sdesignoccupiesa modestfootprint
(undera metresin diameter) and consistsof a singlelayer
of half-bricklaid in stretcherbondand cappedwith an
arcingfibreglassroof.The brick-and-timber dialogueis
with doors of pine
horizontal boardsthat form
continued
an interlockingpatternwith the toothed-brickdoorframe
(achievedby leavingalternatingcoursesoJ brickto
protrudealongeachside).By not cuttinga doorwayand
by attachingan innerstructurecomprisinga galvanized-
steelstaircase,timbershelvingand benchesto the timber
'likea tea strainerin a teacup'- rather
roof supports-
than the walls,Holmebakkpreservedan elegantly
uninterrupted tributeto
brickskin,a perfectcylindrical
bricksand morlar.
Housinga workshopon the middlelevelwith
storagespaceaboveand below,the circulartower is
perhapsreminiscentof medievalfortifiedstructuresor
Romanesque towers,but the interioris bathedin natural
light,not at allthe darkandforebodingplacesuggested
bythosehistoricforms.Indeedthe generalimpression
is one o{ lightness,not only becauseof the roof's
translucence but becauseof its'floatlng'quality'
makingthis gardenmonolithsomethingof a gentle
giantamongcommonsheds'
 --:
l-: i - r e e - s t o r e ys t a r a n d
: - : . r s t ' r c t u r e i s i n d e p e n d e not f
-
--- ., " : L n < n n n # a r ] n c t p -o-r l JI y T - e
' : : ' ' . a m eT, h r o u gthh et r a n s p a r e n t
' - .t . A lirhl srrrrrseq -he snace.
':ppositel
Thetoothed-brick
ooorframe creates a woven effect with
the vert cal pine slats of the doors that
c o n tn u et h e n e so f t h e b r c k c o u r s e s .

c r o s ss e c t i o n

t h e f u n c t o n a ls u b l m e
 puEs>1f,llq
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 anytlFe,
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Collapsible, portable, made-to-order for
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a p o p u l a t i oi nnm o t i o n
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pro1ects areeasyto assemble, the morecomplex becoming self-

contained,energy-efficient units,
Richard Horden's Haus'and'SilvaSpider'
'Ski repfesent our
determination to inhabit the inhospitable andyet,havinglearned
the lessons of ourpastdetermination to invade the natural world,
His 'Fisch Haus'is alsoa
to leavelittletraceof ourinvasion.
gentleintrusion in the landscape, whetherattached to thetop
of thecarduringtransport or seton slender supports for a short
stay,Allthreeof thesestructures signifyholistic thinking:the
totalweight,numberof partsandassembly complywiththe
demand for easyconstruction anddismantling,
Withallof thesedesigns, it isthestructure thatdoesthe
adapting ratherthanthesite,Instead of gougingouta wider
roadfroma dirttrack,ihe onlyaccessto the location of hisHigh
Sierracabins, WesJonesmadesuretheshipping containers he
wasusingwereutterly transportable andcouldbe dropped in
by helicopter, Thecontainers themselves showan emphasis not
onlyon thetransportable butonthe idealof re-use,
OskarLeoandJohannes Kaufmann's designs for the
e x p a n d a b l e ' S ua- n Sdi F r e d ' a rsei m i l atro s h i p p i ncgo n t a i n e r s
in shapebutalsoin adaptability, allowing for simpleexpansion
or addition withoutthe needfor extensive construction so
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lf onlythoseeco-warriors, installingthemselvesin the
brancheso{ trees in an effort to saveforestgiantsfrom
the axe,had knownaboutlcos.Designedby Paris
architectGillesEbersoltto facilitatethe observationand
studyof the forest canopy,lcos is a twenty-sided,
aluminium-framed structurethat is droppedintoplace
usinga specially andJixedwithcables,
equippedairship,
Assembly, whichbeginson the groundand is finished
in situ,takestwo peopleabouttwo days.ThirtyDural
rodsare tied at twelveconnectionpointsto producea
geometricshapein a settingthai suggestsBuckminster
FullermeetsTarzan,but it is a marriagethat is strangely
The inherentstrengthof the geometryis . "
well-matched.
enhancedby the massivelivingbulwarkof the trees.
Oncelcoshasbeenfirmlytethered,modularfurniture
is hoistedup by ropeand attachedto the bearing
structure.Thenthe interiorspace,whichis no mereteni
in the trees,cantrulybe appreciated.Fourtriangles,
whichform the base oJthe havea floor madeof
structure,
multi-plywithone openingallowingaccessfor visitors storagepouches.The work terraceat the top is reached
ascendingby rope.Onceinside,theinhabitants enjoy via an interna*ladder.There,three swivelchairs,a safety
distinctspacesdedicatedto the functionsof work railand a mountfor opticalapparatusmakethe job of
(observation),
cookingand evena toiletfacility.
The the naturalhabitatat dizzying
recording heightsseem
cookingarea has a surfacefor food preparationand almostcomfortable.At the end of a day or nightof
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 squaringoff
'Su-Si'and'Fred'Transportable
Buildings
Madeto Order
Kaufmann96 Architektur

Theysoundlikea coupleyou mightinviteto dinner,and Su-Simodelor a downrightspeedytwo hoursfor all

indeedyou might.OskarLeo andJohannesKaufmann rB squaremetresof Fred,muchlesstimethan it would
havecomeup witha response to demandsfor instant taketo repaintthe diningroom,muchlessaddon an
space:'Su-Si buildings
and Fred',two transportable for extensron.
useas a single-person studio,officespaceor
dwelling, It's not quiteflat-packarchitecture,but almost.The
homeaddition, The designoffersthe ultimatein flexible framelessstructuresconformto roadtransportstandards
workingand livingand makesrelocation or expansion and havethe built-inbonusof modern,sophisticated
'asquickand uncomplicatedas possible'. design.The smallerversionexpandsfromg to tB square
The unitsare transportedby truck and erectedon site metresusingelectronically slidingwall
controlled
usinga mobilecrane.Production takesfiveweeks,but elements. Bothversionsfeaturekitchen,bathand
of your newoffice-extension-microhabitat
installation sleepingarea,andSu-Sican be placedon space-saving
takes a merefive hoursfor the 30- to So- square-metre stiltsso that a car can be parkedunderneath.
The pairare
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 [left] The Fred unit is put into place
with the help of a mobile crane.Once
on srte Fred can be fully assembled in
two hours.
Ibelow] The plan shows the expanded
and mlnimalconfigurationof Fred,
while the nterior view shows the
structure on stilts.
[opposrte]Fred expands from I io t8
square metres and, like Su-Si,is
availablein a varietyof materials The
furnished structure is an Inspiredhome
or office.

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Alpineconditions suggestlightweight
do not immediately
design.However,EnglisharchitectRichardHordenand
histeamof studentsin Munichaooroachtheirmicro-
'a
architecturewith fascinationfor the beautyof nature,
andthe eleganceand lightness withwhichaeroplanes
and yachtsmovethroughthe air,wind and wate/. This
attentionto aestheticqualityand mobilityhas resultedin
a numberof oortablestructuresthat are as beautiful
and lightas they sound,structuresthat makea virtueof
delicatecontactwith the site in accordancewith the
diktatto'touchthe earthlightly'.
The ideafor the ski hauswas conceived whilethe
architectwas out skiinglatehighin the Alpsand
wonderingif it wouldbe possibleto stay{or anylength it is probablybecauseit was modelledon the principles
of time in that settingcomfortably. This'mobilealpine of helicopterdesign,makingtransportationby air fast
hut'or'hardtent'wasdevelooed aftera seriesof and efficient.
sketches, weightcalculations and meetingswith Like manyof his 'microtecture'projects,it is also
helicopter pilots.lf the shapeof the ski hausis familiar, designedto standwithoutfoundations, usingits own
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H o r d e nb e l i e v esst r o n g liynf o r m i n g
r e l a t i o n s h iwpist ha n da d a p t i nfgr o m
industry, particularly vehicle manufacture.
Such ' t e c h n o l o g y
t r a n s f ehr 'e l p sh i ma n d
h i ss t u d e n ttso a d v a n cteh e i r ' l i g h t w e i g h t
b u i l d i ncgo n c e p tfso rf u t u r e - o r i e n t e d
formsof construction',

tqA a n y t m e ,a n y w h e r e
 outersphere
'La
Ballule' Inflatable Sphere
HOnaDte
G i l l e sE b e r s o l t

ParisarchitectGillesEbersoltspecializes in the the innersphereis accessedthrougha smalltunnel.

lightweight, andthe all-terrain
the inflatable but
structure, spherehas beendown
Althoughthe inflatable
his ideasof mobilitydifferfrom recentdevelopments in water{alls,
Ebersoltdoes not recommend a tripdown
transoortable modularunitsthat can be carriedto and NiagaraFalls.'Youhave to be very becausethe
careful
assembled in urbansitesor countryside,Ebersolt's'La Ballulecouldgo veryfast,'he warns.To be perfectly
Ballule'is notjust mobilein the senseof beingeasily protected,he advisesfillingit with Heliumgas,to giveit
assembled, it actuallymoves.The inflated
however, the sizeof the exteriorspherefor
morelift,or increasing
4-metresphere,withan innersphereof 2 metres,is made extrapaddingin particularly steepor roughterrains.
to rolldownmountainsides,sand-dunes or ski slopes. Thoughthe Balluleoffersa smallamountof
'for
EbersolthimselfdescendedMountFuiiwhilesafely insulation designed play'and
from cold,it is primarily
cushionedinsideLa Balluleand hassurviveddrops can onlyaccommodate one personat a time.Giventhe
of up to ro metres. from extremedownhill
amountof injuriessustained
elastic
the skinis extremely
Madeof polyurethane, sports,it is a wonderwe havenotye1seenthe safe
and can resisttearingfrom sharprocksandother Ballulesspringingup (or down)the slopesof Europe. This
hazards,Numerousblackindentations that makeLa veryadultversionof the oouncycastleseemsjustthe
Ballulelooklikea giantgolf ballareactuallypointsof shouldtheyfindthemselves
thingfor the intrepid, at the
connection betweenthe innerandoutersphere.Oncethe top of a seductiveinclineor just feelingthe needfor a
objecthasbeeninflatedusinga smallgeneratorpump, littleaddedorotection.
 Thoughit hastheappearance of a smallgolfballinsidea
an air-filled
golfball,La Balluleis actually
largertransparent
polyurethanespherecapableof sustaining dropsof morethan
to metreswitha personcushioned safelyinside.

anytime,anywhere
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Re-useand adaptabilityhavebecomewatchwordsof
twenty-first-century architecture. Fromloft apartments
to warehousegalleriesto power-stationart museums,
functionalstructuresare beingrecastto servenew uses.
In the mostsuccessful of theserecyclingprogrammes,
original
the newfunctionis enhancedby the building's
features.Suchis the casewiththe modified
purpose-built
6-metreshippingcontainers thatWes Joneshas
commandeered to serveas guest cabins.Theywere
designedfor two professors
originally at Stanford
Universitywho wantedto buildguestquartersand
outbuildingsfor studentsand staff on a 36o-acresite
amongforesiand meadowsin the HighSierramountain in the budgetfor numerousmodifications,whilethe
range.Sincetheywouldonlybe usedduringbriefperiods, standardized sizemeansthatthe entirethingcan be
the quartersneededto demonstrate extremedurability shop-fabricated,f urtherreducingcosts.The transportable
weatherconditions
with respectto security, andfire. natureof the containerswas of utmostimportancefor the
Giventhe portablenatureof Jones'sdesign,it'sclear untamedterrain.The onlyaccessis by a narrowdirt track,
thatthe containermountaincabinscan be usedfor so the unitsthemselvesare deliveredby helicopter.
just aboutanysite. Oncein situ,the'telescopingdesign'fitstogetherrather
likean explodedaxonometric - literally
explodingthe box.
Beinghardy,inexpensive and,as the architectpoints
out,'eminentlytransportable',shippingcontainers have Yet evenwith so muchfunctionalitypoppingout at
beenusedas temporary sheltersaroundthe worldand designfeatureis its
all angles,the mostextraordinary
offer a rangeof benefits;they are alsowell-suitedto a unchallengingattitudeto the beautyof the rugged
modularapproach. The low-costcontainers allowroom naiuralsurroundings.
#;4i $iffii if
:rii: ... 1. . ..iwj:

labove]Thecontainers canbe
delivered to the siteby helicopter, thus
avoiding the necessity of gougingout
accessroutes.
lleftlThe'telescoping design'and
shop{abricated elementsproduce
a neat,modular, inexpensive, site-
assembled unitthatassumes a varieiy
of formsandfunctions.
[opposite] Onceunpacked, the
e x p r o d ecdo n t a i ^ esre e n s' g L 1a r
e x p o d e d a x o n o m e t rc s / homein the ruggedterrain.
^^-^-f,,,
d ) ) c | | U y J c a u c L c

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ln the questfor reductivistdesign,temporaryshelters they lookedat spidersand asked'Whyeightlegs',with
offera fruitfulareaof experiment. RichardHorden the answerhavingsomething to do with a variationin
delightsin portable,holisticdesign,andthe seasonalor functionsthat a portableshelterneednot achieve.
site-specific of that aim,
structureis a logicalexpression Nevertheless, withthreef ullymovablealuminium
to fold itselfup and leave
when it endeavours
especially legs,the SilvaSpiderdoesemulatethe insectmodelin
anysettingvirtually
untouched. its manipulation of compression andtensionand in its
The FischHausandSilvaSpidermaydifferin their employment of the principle Thisremarkably
of tensegrity.
'accommodateitselfto any
but as iakeawayshelterstheyare in close
inspiration, adaptableframeworkcan
company. The formerwasderivedfromtraditional topography andwillfind a firmfootingevenin gorges
hutsusedby fishermenalongthe Danube.lnsteadof The plasticcabinis
and in gapsbetweenbuildings',
modifyingthe familiarwoodenboxon stilts,however, glass-fibre withan aluminium
reinforced, honeycomb
Hordenand hisstudentsmouldedaluminium andcarbon coreandacrylicglasswindowelements.Sideflapscan
fibreto form a'habitable car-topcabin',or'cuddlecabin' andthereis roomenough
be raisedlikesun canopies,
Once the folding
structure's leg supportshavebeen perhaps,
insidefor two:Spiderman, and his more
deployed, the car can be drivenaway.Whileatopthe comfort-mi ndedaccomplice.
car,the 4b-kilogram cabin can be accessed throughthe
car-roofwindowand uses energy from the cals power
system.At the end of a stay,FischHaus'slegsare
retractedfor the journeyto the next location.
The unfolded, {reestandrngFischHausresembles
itsdesigncousinin formas in principle, of a
consisting
roughlytriangular volumesupported by threealuminium
legs,Whendesigning the SilvaSpider,Hordenexplains,
1BB a n y ' t r m ea n y w h e r e
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fiom.theelevatedAustrianhutson the
D a n u b eL h aitn s p i r eidt .S , m i l at ro t h e
SilvaSp'der.rl consrsts of a two-oersor
cabinperchedon slenderaluminium
supports.
The45-kilogram car-topcabincanbe
accessed throughthe roofof the car.
Oncea.sitehasbeenchosen, the legs
unioloio producea free-standing
sti'lciure.Poweris obtainedthrough
lhb,Use of solarpanelsandfromthe
iar'q.baitery,
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lmaginea giant,flexible,hoveringFrisbee.Now imagine
sipping wine under its protective
canopyin a lightrain.
Thisis the'rotatingpneumatic the creationoJ
umbrella',
DominikBaumuller, who developedthe ideaof using
centrifugal force to stretcha membrane in space.
The mushroom-shaped'Rotation can actually
Pneu'
achievevariousforms dependingon the speedof rotation
andwindforces.Madeup o{ a doublemembrane, the
'pneu'is inflatedusinga caviiybetweenthe layers
that receivesambientairthroughinletspositioned near
the axis.Underrotation,air flows into the cavityand the
centrifugalforceinflatesthe membrane. The uninflated
shapeis that oJa toroid,whichgivesthe appearanceof
a ghostlyfloatingpresence,though it is anchoredwith
supportsat the top.A small,3oo-wattmotorattachedto
a plywoodcentrecausesthe deviceto rotate.As it does
so andthe forceof the airenteringihe membrane
the fabricspreadsuntilit reachesits full extent
increases,
as a spinning, disc-shaped umbrellathat can be usedfor
temporary shelteror as a marquee,or litfromwithinJor
or even usedas a projeciionscreen.
art installations
Weighingaboutt8 kilograms,Baumtiller'sprototype
has a 6-metrediameterand is madeof polythenefleece.
He claimsthat inflationis simplerthanwitha single-
membraneumbrellabecausethe air enteringthe
membraneonly hasto be acceleratedwith the help of ihe
'Pneu'is sensitiveto
motorto make it expand.Sincethe
highwind speeds,you mightin stormyweatherhaveto
find somewhereelseto sipyourwineandwatchthe
freeformin ihe distance.
spectreof the'pneu'hovering
 I
I
I

labove] Depending on the speed o{

roiation and wind velocity,the toroidal
(doughnut-shaped)'pneu'can assume
a varietyof forms,
lleftl The mushroom shape is the resull
of the ribbed structurethat connects
the two layers of fabric and permiis air
to flow between them,
[opposite]The f ully expanded'pneu'
can be used as a shelter or projection
s c r e e n t, h o u g h i t b e c o m e su n s t a b l ei n
strong winds.
r bbedstructure

as FreiOttoto use
earlyattemptsbysuchinnovators
Following
withoutthe useof solid
forcesto unfoldan umbrella
rotational
Baumuller
elements, hascreated free-floating,
a seemingly
somewhat pneumaticstructu
ethereal, re,

o,1 a n , / tm e , a n y w h e r e
The Dutch havelong been knownfor their affinitywith
water and all things maritime.In the spiritof this tradition,
JapanesearchitectFumihikoMaki designedafloating
pavilion,a concretebargewith a spirallingcanopythat
can be used to host a wide range of live performances,
from concertsand playsto poetryreadings.
The key wordsthat inspiredhis creation,whichwas
executedin collaborationwith the city of Groningenand
Antwerp-basedproducerDoravan Groen'were'silence,
space,movement,play,dream,water,changeand
freedom'.Madeof whitetranslucentpolyestercanvas
'a web of lightsteeltubes
stretchedover double-helical
and cables',the delicatecanopyis attachedto a t5o-
square-metrebargethat also housesdressingrooms,
bathroomsand storagefor performersin its z8-metre
depth.Thb audiencecan be seatedon the bargeitselfon
oerforatedsteel benches,orthose same benchescan be
tippedto makethe entireship a theatricalbackdrop.
As it wends its way throughthe countrysidethe
billowing silhouettehasthe qualityof a spiritrisingfrom
the mists.Cast'againstthe greenof the forest it reminds
the architectof a'whiieswan'.llluminatedfor evening
performances, its form assumesthe lesselevated
appearanceof a nocturnalsnail.Maki seemsless
concernedwith such earthlycomparisonsthan with the
changing'reciprocal createdamong
relationships
environment,citizensand architecture'asthe pavilion
adaptsto location,functionand audience.Versatility
beingan admirabletrait of any performer,viewersare
boundto be lost in awe of such a dynamicachievement.
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the studioTimeZone, liveand designby the maximthat
less s more.Forthem,however, it is not a statementof
the sublimebeautyof m nimalismbut of the abi ityto
c h a n g et h ef a c eo f t h e r g i d u r b a nl a n d s c a pteh r o u g ht h e
d e v e l o p n e notf s m a l lT. e ^ 1 p o r as'ty' u cr - ' e . t h a ra r eb y
def nition,compact,utilitarian and non-monumental. Their
' m a i s o n - v a l ies m
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f r o r a d e s i ' er o ' e s o l . et h e
d ffp'cnephpiwecnihc ei+v'sstaticarchtect-ralfabrc
andthe essentially
transientnatureof the human
population
and experience,
lr ^r r ,r ^u^a^u+r /^u^r r 4- ^g-di hr r^r+J L +r u
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of anever-changin pg o p u l a cw e i r ^a n e ' s r n g u r b a n
fabricor creatingstillmoreimmovable structures,
PetetinandGregoirec.eateda rooile ur r tharadapts
t o i n d i v i d u oarl f a m i l y. e q u i r e m e a rBse, c a u s er - e ya r e
unanchored
structures,
the totalnumbern anygiven
c o n t e xct o u l dc h a n g ea c c o r d i ntgo r h e^ e e d so ' a c r y ,
The modelwas exhibitedin Berlin,a cityof frenzied
buildingbut alsohometo the nomadc groupsthat partly separation
of the domesticspaceof the homeandthe
i^.p redthe architects to constructrheirexpandable nr rhlre snaee nI lhc ctrect thc ereh tcntc hnne ln qoa

- o b i l e u n i t sB
, u tt h e r a i mi s n o t - u s t o h o u s et h e maison-valises
springingup in the developed
commercial
homeless. Spurredby the notionof 'abandoning the strict zonesratherthanconfinedto therrown caravanpark
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It is a houseso basicit onlyhasone room,so easyto use
it requiresno assembly and so portableit fits in your
pocket.MartinRuizde Azdaset out to designa dwelling
that defiedthe moderndemandfor productsthat satisfy
our everydesireand addressedinsteadthe basicneedfor
that maintaina moredirectrelationship
shelter.'Cultures
withtheirenvironment showus thatthe habitatcan be
understood in a moreessentialand reasonablemanner'
he argues.lf his inflatable
housedoesnotconvince
peopleto paredowntheirlivingrequirements, it at least
remindsus that life neednot be as complicatedas we
sometimesbelieve.
Ruiz'sdescriptionof the BasicHousecomesacross
like a manifesto:'l orooosean almostimmaterialhouse
that expandswhen triggeredby bodyor solarheat.A
houseso versatile that,by turningit ontoone sideor
the other,it protectsfrom cold or heat,so lightthat it
floatsand,moreover.that can be foldedand storedin a
pocket.'In short,'having
it allwhilehardlyhavinganything.'
What the basichousedoes haveis an interiorarea
of 8 cubicmetresmadefrom double-sided metallic
polyester.The reversiblefabricis gold on one sideto
protectagainstcold,and silveron the otherto insulate
againstheat.Onceyou havemadeyour choiceof interior-
exteriorclimatecolour,the tidy bundle,whichweighsin
at zoo gramswhen deflated,can be inflatedsimplyby
allowingair intothe fabric.
As airentersthe circularaperturein the'floo/,the
houseinflatesand the inhabitantcan enjoya fully
enclosei'environment, which,thanksto the translucent
material,is brightand allowsfor pleasantlyfiltered
panoramic views.The feelingis of beinginsidea tent,but
withoutanycumbersome framingelements. The essential
differencecomesat sunset,as the'house'gradually
deflatesto becomean envelopingblanket,whichyou
can inflatethe nextdav or oocketand moveon.
:] :
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'GucklHupf (ppo4z-o+s) ElaineDidyk,
Nathaliede VrieswithJoostGlissenaar,
Client:Worndl,AutomatenComp. Jaapvan Dijk
Size: z4 m' Structure:ABT,Velp.Buildingphysics:
DGMR,Arnhem.
Architect: Hans PeterWorndl Contractor:Wolfswinkelbv,Hoenderloo
Productionteam: ClaudiaDias,Christian Eppensteiner,
MichaelKarassowitsch, Antje Lehn,RichardMlynek, CommunityMailbox Enclosure(ppo58-o6r)
Elisabeth
Semmler Client:Cranbrook Community
Size:zt m',3.7m(height)
Point Lookout (ppo+6-o+9) PatriciaRoyer,
Architect: Dan Hof{man;assistance:
Exhibit MountLoftyArchitecturalConference SandraWheeler,
JasonVollen
Size: variable
Architect: RichardHorden.Australiancrew:Scott Read, CopenhagenArchitecturePark (ppo6z-o65)
RussellJones,BillCuneo,AndyEdwards, ChrisExner, Kirsten
Organizer: Kiser
SarahMcCadhy Size:6b m'(each)
Designteam: SarahForbesWaller,RichardHorden, Architects: MarioBotta,MichaelGraves,RalphErskine,
RusselJones,SarahKirby Heikkinen-Komonen, Aratalsozaki,
JosefPaulKleihues,
Construction:FormulaSpars,Lymington LeonKrier,HenningLarsen,RichardMeier,EnricMiralles,
Dominique Perrault,
RichardRogers,AldoRossi
Park Lodges(ppos+-osz)
Client:The HogeVeluweNationalParkFoundation School Bus Stop (ppo66-o69)
S i z e : 3 om ' ( e a c h ) of NearinqRoad
Client:Schoolchildren
Competition design: MVRDV- Winy lVaas,Jacobvan Cost: $r,4oo
Rljsand Nathaliede Vries,withElaineDidyk Size:3.3m'
Design: MVRDV- Winy Maas,Jacobvan Rijsand GregTew
Architects: MichaelCulpepper,
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Electricity Masts (pproz-o5) Newspaper Kiosk (pprro-rg)
Client: GemeenteRotterdam ClientAliHussein
Cost: nre 600,000(marketsquare,detailsand circularroad) Cosil DMloo,ooo
Size:3.rm (height) S i z e : 5m '
Architects:West B LandscapeArchitects& Uban Architect:JorgJoppien
Architekten
Planners:AdriaanGeuze,ErikOverdiep,Dirryde Bruin,
LeonEmmen Metro Stops (ppr+_r9)
Client:USTRAHannoverscheVerkehrsbetriebe
AG
Public Lavatoriesand Flower Kiosk (ppro6-o9) Cost DMt6,9million
Client: The RoyalBoroughof Kensingtonand Chelsea Architects:Despang
Architekten- GuntherDespang,
Cost:9rgo,ooo MartinDespang,MarcWiese,NicolaUthe,Martina
S i z e : 6 om ' Ludewigs
Architects:CZWGArchitects;executiveproiect Projectmanagement: TransTeC-bau;construction
architects:Siansfeld& Son engineering:
OveArupandPartners;special
construction
Structural engineer: DewhurstMacfarlaneand Partners. Bergmann
engineering: + Partner;
lighting:
Fahlke
+ Dettmer
Quantity surveyor:OrbellAssociates
Main contractor: R.MansellLimited;brickmanufacturers: Modular Shelters (pp tzo- zg)
Shawsof Darwen;brickworkers:M.Gibbons;structural Client:Stanford University
steelwork:MetalsGaloreLimited;glazing:Alan
Hone Gost:$6,oooperbay
Limited;aluminium
clockandcastaluminiumandtimber Size:g to rrz m'
benchesr
lF Architects: - WesJones,
Jones,Partners:Architecture
DougJackson, MichaelGough,Bernard
Chang,Bob
Sheoherd. JimRhee
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 GardenShed and Workshop (pprs+-sz) team:Ken Boyd.
Architect:RichardHorden:design
Client G,and l-S,Holmebakk RichardHorden,SarahKirby,BenjaminKnight;testcrew
Size:65,5m (height);
4 m(diameter) designteam:MarcoBomio(mountain guide);Daniel
Architect:Carl-ViggoHolmebakk Brunner(helicopter
pilot)
Construction:BarientSparcraftand Amalgam
'lcos' Obsentation Structure (ppr6z-65)
Client:madeto order
'La Ballule'(pprzB-Br)
Cost: estimateon request Client:madeto order
Size:3.2m (diameter) Cost: FFr68,ooo
Weight:roo kg (including
fittings) Size:4 m (exterior z m (interior
diameter); diameter)
Architect: GillesEbersolt Architect: GillesEbersolt
Manufacture:GillesEbersoltwithC audeLeblois Manufacture:PTS France
Technical
School
MountainCabins(pprBz-e5)
Su-SiandFred(pp166-7r) Client:LambertusHesselinkand DeniseKroll
Client:madeto order Cost: $3bo,ooo
ATSexcl.vnt
Cost: Su-Si:1,ooo,ooo Size;27-t4g m'
Fred:6oo,ooonts excl.v,qt - Wes Jones,
Architects:Jones,Partners:Architecture
Size:Su-Si:3o-bo; Fred:9-t8m' DougJackson,MichaelGough,BernardChang,Bob
Weight:Su-Si:B-rztons;Fred:4tons Jim Rhee
Shepherd,
Architects:OskarLeo andJohannesKaufmann
'5ilva Spider'
Iprototype](pp rB6-Bg)
'Ski Haus' Size:b,3m2ii.4m(height)
[prototype](pp t7z-77)
Size:r3.5m';2.4m(height) Weight:r3o kg

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 ardritectinformation
AtelierHitoshiAbe
3o-3oTakimichi, Aoba-ku
Sendai,Miyagi
g8tJapan
tel:+8r(o)zzz7BBB54
fax:+Br(o)zz2777933
AlliedWorksArchitecture
Inc.
2768tlwThurman
Portland,Ore!on97zro
USA
tel:+15o32271737
fax:+t 5032276509
ArtifactDesign+ Construction
tztW.zTthStreet, Suite7o5
NewYork,NY1ooo1
USA
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artifactonline.com
DrDominik Baumr-iller
Pappenheimstrasse 7 Ruckg.
8o335Munich \
Germany
tel/fax:+49 (o)Bgsss 4t
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GunnarBirkerts Architects
Inc.
tB3oE.Tahquamenon
BloomfieldHills,Michigan
483o2
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tel:+1248626566t
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Architects
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NewHibernia House
WinchesterWalk
Londonsrt gno
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ArizonaStateUniversity JorgJoppienArchitekten
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Tempe,ArizonaB5zB7r6o5 Germany
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Carl-Viggo
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RichardHorden
HordenCherryLee ArchitectsLtd KirstenKiser(CopenhagenArchitecture
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34 BrutonPlace kirstenkiser@arcspace.com
Londonwl 6nn
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