BigMat International Architecture Award’21 by BigMat

BIGMAT INTERNATIONAL ARCHITECTURE AWARD GRAND PRIZE XDGA – Xaveer De Geyter Architects

SPECIAL MENTION SMALL-SCALE SPAIN NATIONAL PRIZE Estudio Arturo Franco

NATIONAL PRIZES CZECH REPUBLIC Petr Janda / Brainwork FRANCE Exercice ITALY Onsitestudio srl PORTUGAL Carrilho da Graça Arquitectos SLOVAKIA PLURAL

FINALISTS BELGIUM Gofart Polomé Architectes CZECH REPUBLIC ATELIER 111 architekti s.r.o. FRANCE LAN (Local Architecture Network) ITALY Toffoli Architetti PORTUGAL Bak Gordon Arquitectos SLOVAKIA n-1 SPAIN Peris+Toral Arquitectes

SPECIAL MENTIONS Matador BSR bureau Anna & Eugeni Bach

INDEX

BIGMAT INTERNATIONAL ARCHITECTURE AWARD FABRICE MAUD

A TIME-HONOURED AWARD JESÚS APARICIO

22 COMMENTS OF THE JURY

WINNING PROJECTS

BIGMAT INTERNATIONAL ARCHITECTURE AWARD GRAND PRIZE. BELGIUM Melopee School XDGA – Xaveer De Geyter Architects

SPECIAL MENTION SMALL-SCALE SPAIN NATIONAL PRIZE Casa O Fieiro Estudio Arturo Franco

NATIONAL PRIZES

CZECH REPUBLIC Prague Eyes – Revitalization of Prague Riverfront Area Petr Janda / Brainwork

FRANCE 104 Kervalet Exercice ITALY 114 Pirelli Learning Center Onsitestudio srl PORTUGAL 124 Lisbon Cruise Terminal Carrilho da Graça Arquitectos. SLOVAKIA 134 New Synagogue PLURAL

FINALISTS BELGIUM 146 Hangar à Sel Goffart Polomè Architectes CZECH REPUBLIC 152 White Shed ATELIER 111 architekti s.r.o. FRANCE 158 Maillon Theater LAN (Local Architecture Network) ITALY 164 Panta Rei Beach Toffoli Architetti PORTUGAL 170 Bar & Pavilion in Belém Bak Gordon Arquitectos SLOVAKIA 176 New Park in Leopoldov n-1 SPAIN 182 Viviendas Sociales en Cornellà Peris + Toral Architectes

SPECIAL MENTIONS 190 TOIT & MOI Matador 196 Enrico Fermi School BDR Bureau 202 Mies Missing Materiality Anna & Eugeni Bach

208 SELECTED PROJECTS 232 BIOGRAPHIES

ENGLISH

BIGMAT INTERNATIONAL ARCHITECTURE AWARD

BMIAA’21 will be a special event due to the exceptional circumstances surrounding this year’s edition of the awards. Firstly, the unprecedented health crisis has transformed the concept of housing around the world. And secondly, the BigMat International Group is celebrating its 40th anniversary in Europe. These events have prompted us to innovate and to give a twist of sorts to our great international architecture award by focusing on small-scale projects. Despite their modest size, immense talent and ingenuity have gone into these buildings, which provide supreme quality of life for their inhabitants. A challenge for everyday housing, though also a symbol for the BMIAA and our brand, as it lies closer to the needs and specific traits of the local architects who drive our sector and our profession.

FABRICE MAUD BIGMAT INTERNATIONAL PRESIDENT

With more than 1,000 projects entered into the competition, this year’s edition is once again a fine testament to the pedigree of European architecture. This diversity and quality is readily apparent from the sheer variety of scales, styles and innovations on display, ranging from ephemeral installations to large-scale urban interventions. And the success of this year’s edition has been our greatest recognition and the greatest source of pride for all partners of our brand. An unrivalled success with a record number of entries and huge interest among the international architectural community. Since 2013, the BigMat International Group has been proud to reward and give visibility to architectural works of all scales and categories that contribute to the splendour of contemporary architectural culture across the seven countries in which the BigMat brand is present. And what better place than Paris to present the Grand Prize for Architecture in a year that also marks BigMat’s 40th anniversary! The birthplace of our brand, where urban planning is synonymous with architectural grandeur. Make no mistake: this edition will mark a turning point in the history of the BigMat International Architecture Award.

FABRICE MAUD BIGMAT INTERNATIONAL PRESIDENT

INTERNATIONAL ARCHITECTURE AWARD

FRANÇAIS

ČESKÝ

BIGMAT PRIX INTERNATIONAL D’ARCHITECTURE

BIGMAT MEZINÁRODNÍ CENA ZA ARCHITEKTURU

Le BMIAA’21 restera une édition « hors-série », au regard du contexte exceptionnel de cette édition 2021. D’une part, une crise sanitaire inédite, qui a bouleversé la conception de l’habitat pour l’humanité entière. D’autre part la célébration du 40ème anniversaire du groupe BigMat International en Europe.

BMIAA’21 zůstane “speciálním vydáním”, vzhledem k výjimečnému kontextu, ve kterém se ročník 2021 uskutečnil. Na jedné straně bezprecedentní zdravotní krize, jež narušila koncepci bydlení celého lidstva. Na druhé straně oslava 40. výročí založení skupiny BigMat International v Evropě.

Des circonstances qui invitent à innover et à insuffler un élan de nouveauté à notre grand prix d’architecture international en portant une attention affinée aux projets de petite échelle. Des contributions qui ont su, en dépit leur taille réduite, apporter, avec talent et ingéniosité, des espaces de qualité à leurs habitants au profit d’un mieux vivre et d’un mieux être.

Okolnosti, jež vybízejí k inovacím a k tomu, aby naše Velká mezinárodní cena za architekturu dostala nový impuls tím, že se bude věnovat mimořádná pozornost projektům malého rozsahu. Dílům, jež navzdory své malé velikosti dokázaly díky talentu a vynalézavosti svých autorů poskytnout obyvatelům kvalitní prostory pro lepší život a pohodu.

Tout un enjeu pour l’habitat du quotidien, mais aussi tout un symbole pour le BMIAA et notre enseigne, puisqu’au plus proche des besoins et des contraintes des architectes locaux qui font vivre notre secteur et notre métier. Avec plus de 1 000 projets présentés au concours, cette édition a démontré, une nouvelle fois, le niveau d’excellence de l’architecture européenne. Eventail d’échelles, de style et d’innovation, réalisations éphémères mais aussi grandes interventions urbaines, la diversité et la qualité des projets candidats en est une parfaite illustration. Et notre plus belle reconnaissance, notre plus grande fierté pour nous tous, adhérents de l’enseigne, est le succès de cette édition. Un succès sans précédent avec un record d’inscriptions et un intérêt appuyé de la communauté architecturale internationale. Depuis 2013, le groupe BigMat International s’engage à récompenser et à mettre en lumière les œuvres d’architecture, de toute échelle et catégorie, qui participent au rayonnement de la culture architectonique contemporaine dans les sept pays où la marque BigMat est présente. Et pour remettre le grand prix d’architecture, l’année des 40 ans de BigMat, quel meilleur endroit que Paris ! Ville berceau de notre enseigne où l’histoire de l’urbanisme s’associe avec splendeur et grandeur à celle de l’architecture.

Je to velká výzva pro každodenní bydlení, ale také symbol pro BMIAA a naši značku, protože odráží potřeby a překážky místních architektů, kteří udržují náš sektor a naši profesi při životě. Tento ročník soutěže, do níž bylo přihlášeno více než 1 000 projektů, opět prokázal vynikající úroveň evropské architektury. Různorodost a kvalita kandidátských projektů dokonale ilustruje škálu měřítek, stylů a inovací, efemérních projektů i velkých urbanistických zásahů. A naším největším uznáním, největší pýchou pro nás všechny, členy skupiny, je úspěch tohoto ročníku. Nebývalý úspěch s rekordním počtem přihlášek a velkým zájmem mezinárodní architektonické komunity. Od roku 2013 se skupina BigMat International snaží oceňovat a vyzdvihovat architektonická díla všech měřítek a kategorií, jež přispívají k rozvoji současné architektonické kultury v sedmi zemích, kde je značka BigMat přítomna. A kde jinde než v Paříži by se měla v roce 40. výročí existence společnosti BigMat udělovat Velká cena za architekturu! Rodišti naší značky, kde se historie urbanismu snoubí s historií architektury v nádherné a velkolepé podobě. Jsme přesvědčeni, že tento ročník bude v historii BigMat International Architecture Award přelomový.

Une conviction : cette édition marquera un point d’inflexion dans l’histoire du BigMat International Architecture Award. FABRICE MAUD PREZIDENT BIGMAT INTERNATIONAL FABRICE MAUD PRÉSIDENT DE BIGMAT INTERNATIONAL

FABRICE MAUD BIGMAT INTERNATIONAL PRESIDENT

ITALIANO

PORTUGUÊS

BIGMAT PREMIO INTERNAZIONALE DI ARCHITETTURA

BIGMAT PRÉMIO INTERNACIONAL ARQUITETURA

Il BMIAA’21 verrà ricordato come un’edizione “fuori serie”, per via dell’eccezionale contesto di questa edizione 2021. Da un lato, una crisi sanitaria inedita, che ha stravolto la concezione dell’habitat per tutta l’umanità. Dall’altro, la celebrazione del 40º anniversario del gruppo BigMat International in Europa.

O BMIAA’21 irá manter-se como uma edição “fora de série”, tendo em conta o contexto excecional desta edição 2021. Por um lado, uma crise sanitária inédita, que alterou fortemente o conceito de habitat da humanidade inteira. Por outro lado, a celebração do 40o aniversário do grupo BigMat International na Europa.

Circostanze che invitano ad innovare e infondere uno slancio di novità nel nostro gran premio d’architettura internazionale, mettendo in particolare in rilievo i progetti di piccola scala. Si tratta di progetti che hanno saputo, nonostante le dimensioni ridotte, creare con talento e ingegno spazi di qualità per i loro abitanti, con l’obiettivo di vivere meglio e con maggiore benessere. Una vera e propria sfida per l’abitazione quotidiana, ma anche un vero e proprio simbolo per il BMIAA e per la nostra insegna, che si avvicina ulteriormente alle necessità e alle limitazioni degli architetti locali, che fanno vivere il nostro settore e il nostro mestiere. Con oltre 1000 progetti in lizza, questa edizione ha dimostrato ancora una volta l’elevato livello di eccellenza dell’architettura europea. Un ventaglio di scale, stili e innovazioni, realizzazioni effimere, ma anche grandi interventi urbani: la diversità e la qualità dei progetti candidati ne è la perfetta illustrazione. E il nostro più bel riconoscimento, il nostro più grande orgoglio come soci dell’insegna, è il successo di questa edizione. Un successo senza precedenti, con un numero record di iscritti e un grande interesse da parte della comunità dell’architettura internazionale. Dal 2013, il gruppo BigMat International s’impegna per premiare e mettere in luce le opere architettoniche, di qualsiasi scala e categoria, che contribuiscono alla diffusione della cultura architettonica contemporanea nei sette paesi in cui è presente il marchio BigMat. E per consegnare il gran premio d’architettura in occasione del 40º anniversario di BigMat, non c’era posto migliore di Parigi! Città culla della nostra insegna, dove la storia dell’urbanismo si associa con splendore e grandiosità a quella dell’architettura. Ne sono convinta: questa edizione rappresenterà un punto di inflessione nella storia del BigMat International Architecture Award.

FABRICE MAUD PRESIDENTE DI BIGMAT INTERNATIONAL

INTERNATIONAL ARCHITECTURE AWARD

Circunstâncias que convidam para a inovação e a promoção de um impulso de novidade no nosso grande prémio de arquitetura, dando uma atenção particular aos projetos de pequena escala. Contribuições que souberam, apesar do seu tamanho reduzido, contribuir com talento e engenhosidade, com espaços de qualidade para os seus habitantes em prol de um melhor viver e um melhor estar. Um verdadeiro desafio para o habitat quotidiano, mas também um autêntico símbolo para o BMIAA e a nossa marca, ficando mais perto das necessidades e dos constrangimentos dos arquitetos locais que fazem viver o nosso setor e o nosso negócio. Com mais de 1.000 projetos apresentados ao concurso, esta edição demonstrou, mais uma vez, o nível de excelência da arquitetura europeia. O leque de escalas, de estilo e de inovação, realizações efémeras, mas também grandes intervenções urbanas, a diversidade e a qualidade dos projetos candidatos são prova disso. O nosso mais belo reconhecimento, o maior orgulho de todos nós, aderentes da marca, é o sucesso desta edição. Um sucesso sem precedente com um recorde de inscrições e um forte interesse da comunidade arquitetural internacional. Desde 2013, o grupo BigMat International empenha-se em recompensar e realçar as obras de arquitetura, de qualquer escala e categoria, que participam na influência da cultura arquitetónica contemporânea nos sete países onde a marca BigMat está presente. E para a entrega do grande prémio de arquitetura, no 40o aniversário da BigMat, nada melhor do que Paris! Cidade berço da nossa marca, onde a história do urbanismo está, com esplendor e grandeza, ligada à da arquitetura. Uma convicção: esta edição irá marcar um ponto de inflexão na história do BigMat International Architecture Award.

FABRICE MAUD PRESIDENTE DA BIGMAT INTERNATIONAL

SLOVENSKÝ

ESPAÑOL

BIGMAT MEDZINÁRODNÁ CENA ARCHITEKTÚRY

BIGMAT PREMIO INTERNACIONAL DE ARQUITECTURA

BMIAA’21 bude neopakovateľným ročníkom vzhľadom k výnimočnej situácii podujatia v roku 2021. Na jednej strane, nevídaná zdravotnícka kríza, ktorá zmenila pojem bývania na celom svete. Na strane druhej, oslava 40. výročia skupiny BigMat International v Európe.

El BMIAA’21 será una edición «fuera de serie» con relación al contexto excepcional de la presente edición 2021. Por un lado, una crisis sanitaria inédita que ha transformado el concepto de la vivienda en todo el mundo. Por otro lado, la celebración del 40º aniversario del grupo BigMat International en Europa.

Okolnosti, ktoré nás inšpirujú inovovať a zmeniť kurz našej veľkej medzinárodnej ceny architektúry a sústrediť sa na projekty malej škály. Príspevky, ktoré napriek svojmu rozsahu, vedeli vďaka talentu a kreativite vytvoriť kvalitné priestory pre osoby, ktoré v nich bývajú na dosiahnutie vyššej kvality života.

Circunstancias que invitan a innovar y a dar un giro a nuestro gran premio de arquitectura internacional centrándonos en proyectos de pequeña escala. Contribuciones que, a pesar de su tamaño, han sabido crear, con talento e ingenio, espacios de calidad para sus habitantes en beneficio de una mayor calidad de vida.

Je to veľká výzva pre každodenné bývanie, ale tiež symbol pre BMIAA a našu značku, nakoľko sa nachádza bližšie k potrebám a špecifikám miestnych architektov, ktorí impulzujú náš sektor a našu profesiu.

Todo un reto para la vivienda del día a día, aunque también todo un símbolo para el BMIAA y nuestra marca, ya que se encuentra más cerca de las necesidades y las especificidades de los arquitectos locales que impulsan nuestro sector y nuestra profesión.

S viac ako tisíckou projektov prihlásených do súťaže, tento ročník opäť dokázal úroveň excelentnosti európskej architektúry. Rozmedzie škál, štýl a inovácia, efemérne zákroky, ale aj veľké mestské zásahy, rôznorodosť a kvalita zúčastnených projektov to dosvedčujú. Naším najväčším uznaním a najväčšou hrdosťou pre všetkých partnerov značky je úspech tohto ročníka. Nebývalý úspech s rekordným počtom prihlášok a záujmom medzinárodnej architektonickej komunity. Od roku 2013, skupina BigMat International s potešením zviditeľňuje a odmeňuje architektonické diela všetkých škál a kategórií, ktoré prispievajú k veľkoleposti modernej architektonickej kultúry v siedmych krajinách, kde je značka BigMat prítomná. A aké lepšie miesto na odovzdanie Veľkej ceny architektúry v roku, kedy BigMat oslavuje 40 rokov, ako Paríž! Mesto, kde sa zrodila naša značka a kde sa história urbanistiky spája s veľkoleposťou a slávou architektúry. Jedna vec je jasná: tento ročník bude prelomovým momentom v histórii BigMat International Architecture Award.

FABRICE MAUD PREZIDENT BIGMAT INTERNATIONAL

Con más de 1000 proyectos presentados a concurso, esta edición ha demostrado, una vez más, el nivel de excelencia de la arquitectura europea. Abanico de escalas, estilo e innovación, realizaciones efímeras, aunque también grandes intervenciones urbanas, la diversidad y la calidad de los proyectos candidatos es una prueba de ello. Y nuestro mayor reconocimiento y nuestro mayor orgullo para todos los socios de la marca es el éxito de esta edición. Un éxito sin precedentes con un récord de inscripciones y el interés de la comunidad arquitectónica internacional. Desde 2013, el grupo BigMat International se congratula de recompensar y dar visibilidad a obras arquitectónicas, de toda escala y categoría, que contribuyen al esplendor de la cultura arquitectónica contemporánea en los siete países donde la marca BigMat está presente. Y para entregar el Gran premio de arquitectura, el año de los 40 años de BigMat, ¡qué mejor lugar que París! Ciudad cuna de nuestra marca donde la historia del urbanismo se asocia con esplendor y grandeza a la arquitectura. Una cosa está clara: esta edición marcará un punto de inflexión en la historia del BigMat International Architecture Award.

FABRICE MAUD PRESIDENTE DE BIGMAT INTERNATIONAL

FABRICE MAUD BIGMAT INTERNATIONAL PRESIDENT

JESÚS APARICIO PRESIDENT OF THE AWARD

In this year’s edition, the Panel I had the honour of presiding over comprised Adrien Verschuere, Ines Lobo, Pavol Paňak, Alexandre Theriot and Nicola Di Battista. Acting as secretary of the panel was Jesús Donaire García de la Mora. The Panel short-listed 14 works of architecture as the finalists, including the special mention for small-scale architecture, all located in the countries of Europe that are eligible for this edition. In addition to the finalists, three projects received a special mention from the panel. Works featuring all manner of budgets, concepts and uses. Works affecting both landscape and cityscape. Works enhancing existing architecture or new construction. Yet they all have one thing in common: they are magnificent representations of 21st century architecture.

Conceived 16 years ago, this year marks the eighth incarnation of the biennial BigMat International Architecture Award (BMIAA). The host cities of Madrid in 2007, Santiago de Compostela in 2009, Valencia in 2011, Granada in 2013, Berlin in 2015, Florence in 2017 and Bordeaux in 2019, have provided unforgettable settings and venues in the past for the BMIAA ceremonies, which seek to reward the finest architecture of the 21st century found within the eligible countries. This year’s awards gala will be held in Paris. In this edition, the call has specifically sought out small-scale architecture projects, establishing a special mention for this category of projects. The award is open to architects who work within the territory in which the BigMat Group operates. The age limit for the projects is set out in the rules and regulations. This year’s edition of the BigMat International Architecture Award has attracted an astonishing 1,000 entries, with all of the projects built in one or other of the European nations eligible for the award: Belgium, Czech Republic, France, Italy, Portugal, Slovakia and Spain. Past events have excelled not only in terms of the number of entries but also the quality of the works submitted, and this year has been no exception. Indeed, the projects entered this year and their creators provide a magnificent show of the quality to be found within the spatio-temporal circumscription set out in the competition rules. This is an immensely prestigious award, largely due to the unconditional support of the BigMat Group, which protects and respects the intellectual autonomy of the award, though also because of the calibre and pedigree of the individuals who make up the international awards panels for each event.

INTERNATIONAL ARCHITECTURE AWARD

BELGIUM We have two finalist projects from Belgium. Firstly, a service building used as a salt warehouse. It is a work featuring the bare essentials; a wooden plinth on a concrete foundation, made stable by buttresses on the outside and slopes on the inside to allow for salt collection and storage. A wooden structure is built on the wooden base with a sheet metal roof and a vertical translucent polycarbonate enclosure that makes the structure vibrate in the landscape. The other finalist is a multi-purpose building located on the edge of a canal, whose light galvanised steel structure becomes the defining element of a creation in which the overall perception of space combines with the vertical stacking of the various functions required of it. In short, it is a building in which the protagonists are the sum of the functions that take place within it and the open air that unites those activities. CZECH REPUBLIC The first finalist from the Czech Republic is an agricultural shed. The jury was impressed by how this project manages to transcend what is essentially an object for everyday use. Geometric proportions, light and materials work in harmony to create this economical yet exquisite building, which is a far cry from the run-of-the-mill architecture often found in this type of structure. The second finalist is a building that lies on the banks of the Vltava in Prague. It is a project that is both respectful of what already exists in the vicinity and incisive in its proposal. To succeed in this task, it takes contemporary architectural elements (large portholes, movable doors, etc.) made of steel and embeds them in pre-existing openings in the stone wall running down the slope of the riverbank, which this project revitalises. FRANCE The two finalists from France are like chalk and cheese. In one of them, the panel was impressed by the versatility of what is a sizeable theatre. It is a project where neutrality

ENGLISH

A TIME-HONOURED AWARD

is the dominant theme through the structure, the devices and the colour (black) used. With the architect’s control of these abstract decisions, the space allows for versatility within a black box; a boîte à miracles if you will, in which anything can happen, this being something intrinsic to theatre settings. The other finalist is a small extension of a single-family house, which achieves an architecture of unquestionable value with minimal resources. The project features sliding doors in galvanised steel sheets, aluminiumframed doors featuring glass elements, a support and a lightened steel beam, a wooden roof structure, block enclosures and a concrete floor, all of which effectively transform the relationship between the original house and the garden. ITALY The first finalist project from Italy is a beach bar that effortlessly combines the various uses of this type of building. The panel was swayed by the two personalities of a building which, over the months of the year when it is closed, becomes a sort of compact, wooden box, while in the summer months, when the walls unfold into canopies that provide respite from the sun, it extends over the horizontal surface of the beach. Its positioning, orthogonal to the promenade, makes its presence subservient to the sea, which remains very much the main protagonist for passers by and customers alike. The second project selected by the jury is a teaching staff building for a large company. The panel praised the way in which the new building fits within the block where it is located, thus overcoming the urban development side of things by successfully giving the building its own identity while allowing it to live in harmony with the existing buildings. The architects also relied on structural modulation and the various aspects of materiality to make the institutional character of this piece of architecture shrine through. PORTUGAL Once again, a bar makes it through to the finals, sitting on a cobbled esplanade found within a landscaped parking area, somewhere between a museum and the Tagus estuary. A sloping roof featuring a rectangular structure of white reinforced concrete, cantilevered at all its corners and with two parallel central supporting walls, contains a trapezoidal area enclosed in glass, where the services are located in what one might call a stainless steel box. Outside the deck area there is just one waste disposal location. The panellists marvelled at how this simple and obvious approach manages to achieve the three essential areas of any refreshment area: the inside space, the covered terrace space, and the uncovered space. The other short-listed Portuguese project lies at the opposite end of the spectrum: a cruise terminal on the Tagus. The panel held a positive view of how the structure deftly complements the majestic

Tagus as it passes through Lisbon and the scale of the city’s outer edges, in a building that cleverly combines the public function of a square with that of a jetty. The use of stacking within a golden concrete container that opens out at each end and the inside of which opens onto a courtyard, and the avoidance of planes and horizontal cornices on the outside, all help to give the structure meaning, shape and the right scale and prevent it from competing with the horizontality that already exists in the location. SLOVAKIA In Slovakia, one of the finalist projects is a new park built on the site of a former cemetery. The panel adored the transformational effectiveness of this simple proposal in the form of playground objects; some simple follies where children will learn many physical aspects of life. The project cleverly incorporates sensory learning by having each of the play objects constructed from a variety of materials. In terms of its connection with the city, the project transforms the perimeter of the park. In the second project to make it through to the final, the panel was wowed by the architectural and social quality of the restoration of the Žilina Synagogue, built back in 1928-1931 by German architect Peter Behrens, to now house a modern art gallery. It is a work financed by private donations, in which the new project respects the existing architecture, which possesses immense heritage value, yet succeeds in transforming it to enable its new use a century later. SPAIN Two finalist projects were selected from Spain, both for residential use. The first of these is a collection of houses in which the panel was impressed by the reticular structure of wooden panels which, together with the communications hubs and bathrooms and kitchens and the galleries on the façade and in the block courtyard, make up a game board for the dwellings to sit upon. A set of game rules that allows for total freedom on how to live in one’s own home. For this versatility to succeed, the panels feature sliding doors, thus multiplying the possibilities for modulating the spaces. The second finalist project is a house that has been fused with an existing one, constructed with stone walls that work structurally under compression. The action involves dry intervention with changing elements that work in both traction and flection, namely straps and wooden planks. The exposed installation work is superimposed on the stone walls. The jury was delighted by the structure’s ability to establish order within the space, somewhere in the void between stable and changing, existing and new, stone and wood.

JESÚS Mª APARICIO GUISADO ARCHITECT PRESIDENT OF THE AWARD

JESÚS APARICIO PRESIDENT OF THE AWARD

FRANÇAIS

UN PRIX QUI RÉSISTE Après 16 ans de trajectoire, la biennale du Prix d’architecture BigMat atteint sa huitième édition. Les villes de Madrid (2007), Saint-Jacques-de-Compostelle (2009), Valence (2011), Grenade (2013), Berlin (2015), Florence (2017) et Bordeaux (2019) ont été les cadres inoubliables qui ont accueilli les cérémonies de remise des prix BMIAA destinés à récompenser la meilleure architecture du 21e siècle dans la circonscription du concours. Cette année, la cérémonie de remise des prix aura lieu à Paris. À l’occasion de cette édition, le concours a particulièrement recherché l’architecture de petite échelle en établissant une mention spéciale pour cette catégorie de projets. Le concours est ouvert à tous les architectes de la sphère territoriale du groupe BigMat et le règlement impose une limite d’âge des œuvres. Cette édition a reçu une grande participation et atteint 1 000 projets inscrits au BigMat International Architecture Award. Des œuvres construites dans les pays d’Europe où est organisé le concours : Belgique, République tchèque, France, Italie, Portugal, Slovaquie et Espagne. Suivant le résultat des éditions précédentes, le succès de ce concours ne réside pas seulement dans la quantité, mais aussi, et surtout, dans la qualité de la participation. Les projets de cette édition ont indubitablement permis de représenter dans toute leur splendeur l’architecture et les architectes de cette circonscription spatio-temporelle établie dans le règlement du concours. La réputation de ce Prix se doit notamment au soutien sans faille du groupe BigMat, qui protège et respecte magistralement l’autonomie intellectuelle du concours, mais aussi au professionnalisme des membres des jurys internationaux des différentes éditions. Pour cette édition, le jury que j’ai eu l’honneur de présider s’est composé d’Adrien Verschuere, d’Ines Lobo, de Pavol Paňak, d’Alexandre Theriot et de Nicola Di Battista. Jesús Donaire García de la Mora a assumé les fonctions de secrétaire du jury. Le jury a sélectionné 14 œuvres d’architecture finalistes, y compris la mention spéciale à la petite échelle, situées dans les pays d’Europe où le concours a lieu lors de cette édition. Outre les finalistes, trois projets ont obtenu la mention spéciale du jury. Des œuvres aux budgets, concepts et usages multiples, qui influencent le territoire et la ville, intervenant sur l’existant ou le nouveau, mais toutes des œuvres intenses de l’architecture du 21e siècle.

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BELGIQUE Deux projets finalistes de Belgique ont été retenus. Le premier est un bâtiment de services servant à entreposer le sel. Il s’agit d’un espace composé du strict nécessaire : un soubassement en bois sur des fondations en béton, stabilisées par des contreforts à l’extérieur et des talus à l’intérieur qui facilitent le retrait du sel. Une structure en bois est construite sur le soubassement avec un toit en tôle et une fermeture verticale en polycarbonate translucide qui fait vibrer l’espace dans le paysage. Le second est un bâtiment multiusage au bord d’un canal, dont la structure légère en acier galvanisé permet de définir un espace dans lequel se combine la perception totale de l’espace avec l’empilement vertical des diverses fonctions qui lui sont requises. Un bâtiment dont le rôle principal est détenu par les fonctions y étant réalisées et l’air libre qui relie ces activités. RÉPUBLIQUE TCHÈQUE Le premier finaliste de République tchèque est un hangar agricole. Dans ce projet, le jury a apprécié la façon dont un usage quotidien peut être transcendé. Les proportions géométriques, la lumière et les matériaux dans ce bâtiment économique s’allient pour former une pièce exquise qui vient remplacer un type d’architecture généralement banal. Le second finaliste est une œuvre à Prague, au bord de la Vltava. Il s’agit d’un projet respectueux de ce qui existe déjà, mais avec une proposition incisive, à travers des pièces contemporaines d’éléments architecturaux (grandes lucarnes, portes mobiles, etc.) fabriquées en acier et incrustées sur des ouvertures préexistantes du mur de pierre contenant le talus de la rive revitalisée par cette œuvre. FRANCE Les deux finalistes de France sont très différents. Dans l’un d’eux, le jury a été séduit par la polyvalence d’un théâtre aux dimensions considérables. Il s’agit d’un projet où la neutralité devient manifeste à travers la structure, les dispositifs et la couleur (noir). Grâce au contrôle de ces décisions abstraites de la part de l’architecte, l’espace permet la polyvalence dans une boîte noire, une « boîte à miracles », dans laquelle peut apparaître le contingent, caractéristique théâtrale. Le second projet sélectionné est un petit agrandissement d’une maison familiale ayant permis, à partir de ressources minimes, d’atteindre une architecture de grande valeur. Portes coulissantes en tôle d’acier galvanisé et d’autres vitrées à cadre en aluminium, support et poutre allégée en acier, toit à structure en bois, fermetures en parpaing et sol en béton sont les éléments qui composent ce projet qui permet de transformer le rapport de la maison originale au jardin.

ITALIE Le premier projet finaliste d’Italie est un bar de plage dans lequel les usages de ce type d’édifice sont résolus de façon ordonnée. Le jury a apprécié la double condition d’un bâtiment qui, pendant sa période de fermeture, devient compact pour se transformer en boîte en bois et, en été, en déployant ses murs dans des marquises qui protègent du soleil, s’étend sur la surface horizontale de la plage. Sa position, orthogonale à la promenade maritime, minimise sa présence en faveur de la mer, qui conserve son rôle principal pour les passants et les usagers du kiosque. Le second projet sélectionné par le jury est un bâtiment d’enseignement pour une grande entreprise. Le jury a apprécié la manière d’insérer le nouveau bâtiment dans son environnement et ainsi de résoudre l’échelle urbaine en sachant combiner intelligemment l’identité du bâtiment et sa relation avec ceux déjà présents. D’autre part, la modulation structurelle et les différents aspects des matériaux ont su refléter le caractère institutionnel de cette architecture. PORTUGAL Un autre projet de bar/kiosque est finaliste. Il se situe dans un parking paysager, entre un musée et l’estuaire du Tage, sur une esplanade pavée. Un toit incliné rectangulaire en béton armé blanc, en saillie sur tous ses versants et doté de deux murs d’appui centraux en parallèle, abrite un espace trapézoïdal vitré, dans lequel les services se trouvent dans un box en acier inoxydable. En dehors, seule une pièce pour déposer les poubelles est présente. Le jury a apprécié comment cette opération simple et claire a permis de créer les trois espaces indispensables du bar : fermé, couvert ouvert et découvert. Le second projet finaliste portugais présente l’échelle opposée au premier. Il s’agit d’un terminal de croisière face au Tage. Le jury a apprécié la manière intelligente dont cette architecture prend en compte la grande échelle du Tage à son passage par Lisbonne ainsi que l’échelle du bord urbain de la ville, dans un bâtiment qui combine savamment la fonction publique d’une place et la construction d’un embarcadère. L’utilisation de l’empilement dans un conteneur en béton doré qui s’ouvre par ses extrémités et dont l’intérieur ouvre sur un patio et la non-utilisation de corniches et de plans horizontaux à l’extérieur aident à ordonner le programme, à apporter l’échelle adéquate au bâtiment et à ne pas concurrencer l’horizontalité déjà présente dans ce lieu.

SLOVAQUIE L’un des deux projets finalistes de Slovaquie est un parc sur un ancien cimetière. Le jury a apprécié l’efficacité transformatrice de cette proposition simple, grâce à des objets de jeu, des fantaisies simples où les enfants prendront conscience de divers aspects physiques de la vie. Le projet envisage intelligemment l’apprentissage sensoriel en faisant en sorte que chaque objet de jeu soit construit avec un matériau différent. Sur le plan urbain, cette œuvre permet de transformer le périmètre du parc. Pour le second projet finaliste, le jury a été séduit par l’attitude architecturale et sociale de la restauration de la synagogue de Žilina, construite entre 1928 et 1931 par l’architecte allemand Peter Behrens, pour héberger une galerie d’art moderne. Financée par des dons privés, cette œuvre a réussi à combiner l’intervention respectueuse d’une architecture à forte valeur patrimoniale avec la transformation nécessaire qu’implique ce nouvel usage un siècle plus tard. ESPAGNE Les deux projets finalistes d’Espagne proposent un usage résidentiel. Le premier, un immeuble qui a su convaincre le jury par sa structure réticulaire à panneaux de bois qui, avec les noyaux de communication et les zones humides ainsi que les galeries en façade et dans la cour intérieure, forme un plateau de jeu strict que doivent suivre les logements les uns après les autres. Des règles du jeu qui permettent une liberté totale de l’habitat. Pour que fonctionne cette polyvalence, des portes coulissantes sont ajoutées aux panneaux afin de multiplier la modularité des espaces. Le second projet finaliste est une maison construite en intervenant sur une existante, avec des murs en pierre qui fonctionnent structurellement sous compression. L’œuvre consiste à intervenir à sec avec des éléments changeants qui fonctionnent sous traction et flexion : des sangles et des panneaux en bois. Les installations apparentes se superposent aux murs en pierre. En définitive, le jury a apprécié la capacité de la structure à établir un ordre dans l’espace, en trouvant l’équilibre entre le stable et le changeant, l’existant et le nouveau, la pierre et le bois.

JESÚS Mª APARICIO GUISADO ARCHITECTE PRÉSIDENT DU PRIX

JESÚS APARICIO PRESIDENT OF THE AWARD

ČESKÝ

CENA, KTORÁ ODOLÁVA Po šestnácti letech existence se bienále BigMat Ceny za architekturu dočkalo svého osmého ročníku. Města jako Madrid v roce 2007, Santiago de Compostela v roce 2009, Valencie v roce 2011, Granada v roce 2013, Berlín v roce 2015, Florencie v roce 2017 a Bordeaux v roce 2019 se stala nezapomenutelným dějištěm a svědkem slavnostního předávání cen BMIAA, jejichž cílem je ocenit nejlepší architekturu 21. století v oblasti působnosti této ceny. Letos se slavnostní předávání cen uskuteční v Paříži. V tomto ročníku se výzva zaměřila zejména na drobnou architekturu a zavedla pro tuto kategorii projektů zvláštní čestné uznání. O cenu se mohou ucházet architekti působící v některé ze zemí skupiny BigMat, přičemž věkové omezení prací je stanoveno v pravidlech. Do letošního ročníku se přihlásilo velmi mnoho projektů, celkem 1 000, které se ucházely o mezinárodní cenu za architekturu BigMat. Tyto projekty byly postaveny v evropských zemích, kde se cena uděluje: v Belgii, České republice, Francii, Itálii, Portugalsku, na Slovensku a ve Španělsku. Po výsledcích předchozích ročníků byl úspěch tohoto ročníku nejen číselný, ale především kvalitativní. Lze bezpochyby potvrdit, že mezi projekty a díly přihlášenými v tomto ročníku je v časoprostorovém vymezení stanoveném pravidly soutěže zastoupeno velké množství architektů a staveb. Renomé této ceny je dáno především bezpodmínečnou podporou skupiny BigMat, která chrání a respektuje intelektuální nezávislost ceny, a dále vysokou odbornou reputací členů mezinárodních porot jednotlivých ročníků. Porotu, které jsem měl tu čest předsedat, v tomto ročníku tvořili Adrien Verschuere, Ines Lobo, Pavol Paňak, Alexandre Theriot a Nicola Di Battista. Jesús Donaire García de la Mora působil jako tajemník poroty. Porota vybrala mezi finalisty čtrnáct architektonických děl, včetně zvláštního uznání za stavby malých rozměrů, umístěných v zemích Evropy, kde je cena v tomto ročníku udílena. Kromě finalistů získaly tři projekty zvláštní uznání poroty. Práce všech rozpočtů, koncepcí a použití. Práce, které ovlivňují území a město. Práce, které zasahují do stávajících nebo nových budov. Všechny však mají jedno společné: jsou to intenzivní díla architektury 21. století.

INTERNATIONAL ARCHITECTURE AWARD

BELGIE Za Belgii byli vybráni dva finalisté. Prvním z nich je servisní budova, která slouží jako sklad soli. Budova se skládá z nezbytně nutného dřevěného podstavce na betonovém základu, jenž je zvenku stabilní díky opěrákům a zevnitř se svažuje, aby se usnadnil sběr soli. Na dřevěném podstavci je postavena dřevěná konstrukce s plechovou střechou a svislým průsvitným polykarbonátovým krytem, díky němuž dílo vibruje v krajině. Také byla vybrána také víceúčelová budova na břehu kanálu, jejíž lehká pozinkovaná ocelová konstrukce se stává určujícím prvkem prostoru, v němž se celkové vnímání prostoru spojuje s vertikálním uspořádáním různých funkcí, které jsou od něj vyžadovány. Stručně řečeno, jedná se o budovu, jejímiž protagonisty je součet funkcí, které se v ní odehrávají, a otevřeného prostoru, jenž tyto činnosti spojuje. ČESKÁ REPUBLIKA Prvním finalistou z České republiky je zemědělský přístřešek. V tomto projektu porota posuzovala, jak lze překonat každodenní použití. Geometrické proporce, světlo a materiály se v této úsporné budově stávají spojenci, kteří tam, kde se obvykle objevuje vulgární architektura, vytvářejí nádherné dílo. Druhým finalistou se stal projekt v Praze na břehu Vltavy. Jedná se o projekt, jenž respektuje stávající stav a zároveň je pronikavý ve svém návrhu. Za tímto účelem vkládá současné architektonické prvky (velké průzory, pohyblivé dveře atd.) z oceli a zasazuje je do již existujících otvorů v kamenné zdi, jež obepíná svah nábřeží, který tento projekt oživuje. FRANCIE Dva finalisté z Francie jsou velmi rozdílní. V jednom z nich porota ocenila všestrannost divadla značných rozměrů. Jedná se o projekt, jehož struktura, zařízení a barva (černá) jsou neutrální. Díky tomu, že architekt tyto abstraktní volby ovládá, umožňuje prostor polyvalenci v černé skříňce, boîte à miracles, kde se může objevit náhodný výjev, což je něco typického pro divadlo. Druhým finalistou se stala malá přístavba k rodinnému domu, čímž bylo dosaženo architektury nepopiratelné hodnoty s minimálními prostředky. Posuvné dveře z pozinkovaného ocelového plechu a další v hliníkových rámech se sklem, nosný a odlehčený ocelový nosník, dřevěná střešní konstrukce, kvádrové ohrady a betonová podlaha jsou prvky, které tvoří tento projekt, s nímž se mění vztah mezi původním domem a zahradou.

ITÁLIE Prvním finálovým projektem z Itálie je plážová chata, v níž je využití této budovy řešeno uspořádaně. Porota ocenila dvojí stav budovy, která se v měsících roku, kdy je uzavřená, stává kompaktní tím, že se mění v dřevěnou krabici, a v letních měsících, kdy se stěny rozkládají do stříšek, jež chrání před sluncem, se rozprostírá nad vodorovnou plochou pláže. Její umístění kolmo k promenádě minimalizuje její přítomnost ve prospěch moře, které je pro chodce a návštěvníky kiosků hlavním hrdinou. Druhým projektem, který porota vybrala, je budova pro učitele jedné velké společnosti. Způsob, jakým byla nová budova zasazena do bloku, v němž se nachází, byl pozitivně hodnocen a vyřešil městské měřítko úspěšným spojením identity samotné budovy a jejího vztahu ke stávajícím budovám. Na druhé straně se pracuje se strukturální modulací a různými aspekty materiálnosti, aby se zviditelnil institucionální charakter této architektury. PORTUGALSKO Dalším finálovým projektem se opět stává bar/kiosek. Nachází se na upraveném parkovišti mezi muzeem a ústím řeky Tajo, na dlážděné esplanádě. Šikmá obdélníková střecha z bílého železobetonu, která je ve všech rozích konzolovitá a má dvě rovnoběžné středové opěrné stěny, obsahuje lichoběžníkový prosklený prostor, kde jsou v nerezové skříňce umístěny služby. Mimo střechu se nachází pouze prostor pro likvidaci odpadu. Porota ocenila, jak se tímto jednoduchým a přehledným způsobem podařilo vytvořit tři nepostradatelné prostory kiosku: uzavřený, krytý a otevřený a nekrytý. Druhý vybraný portugalský projekt je opačného rozsahu než ten předchozí, jde o terminál pro výletní lodě na řece Tajo. Podle názoru poroty je způsob, jakým se tato architektura vypořádává s velkým měřítkem řeky Tajo, jež protéká Lisabonem, a měřítkem městského okraje, velmi relevantní, a to v budově, která moudře kombinuje veřejnou funkci náměstí s funkcí stavby mola. Použití stohování uvnitř zlatého betonového kontejneru, který se na koncích otevírá a uvnitř se otevírá do dvora, vyhýbání se rovinám a horizontálním římsám na vnější straně pomáhá organizovat program, dává budově správné měřítko a nekonkuruje horizontalitě, která na pozemku již existuje.

SLOVENSKO Na Slovensku je jedním z finalistů projekt, který buduje park na starém hřbitově. Porota ocenila transformační účinnost tohoto jednoduchého návrhu, kdy si děti prostřednictvím herních objektů, jednoduchých bláznivin, uvědomí mnohé fyzické aspekty života. Projekt správně uvažuje o smyslovém učení tím, že každý z hracích předmětů je vyroben z různých materiálů. Na městské úrovni tato akce proměňuje obvod parku. Ve druhém finálovém projektu porota ocenila architektonický a společenský přístup při obnově žilinské synagogy, kterou v letech 1928-1931 postavil německý architekt Peter Behrens jako sídlo galerie moderního umění. Práce byly financovány ze soukromých darů a spojily v sobě ohleduplný zásah do památkově hodnotné budovy s nezbytnou proměnou, nutnou pro další využití stavby o sto let později. ŠPANĚLSKO Mezi španělské finalisty se probojovaly dva projekty, oba jsou určeny pro bydlení. První z nich, kolektivní obydlí, u nichž porota ocenila jejich síťovou strukturu dřevěných panelů, které spolu s komunikačními jádry a vlhkými prostory a galeriemi na fasádě a ve vnitrobloku vytvářejí přísnou hrací plochu pro obydlí, navazující na sebe. Pravidla hry umožňují naprostou svobodu obydlí. Pro tuto všestrannost jsou do panelů zakomponovány posuvné dveře tak, aby se znásobila možnost modulace prostorů. Druhým finálovým projektem je dům, který vznikl zásahem do stávajícího domu, postavený z kamenných zdí, jež působí konstrukčně pod tlakem. Projekt se skládá ze suchého zásahu s měnícími se prvky, které pracují v tahu a ohybu: popruhy a dřevěná prkna. Instalace, které vidíte, jsou umístěny na kamenných stěnách. Stručně řečeno, porota ocenila schopnost stavby nastolit v prostoru řád a umístit ji mezi stabilní a proměnlivé, stávající a nové, mezi kámen a dřevo.

JESÚS Mª APARICIO GUISADO ARCHITEKT PREZIDENT CENY

JESÚS APARICIO PRESIDENT OF THE AWARD

ITALIANO

UN PREMIO CHE RESISTE Dopo sedici anni, il Premio biennale di Architettura BigMat giunge alla sua ottava edizione. Città quali Madrid nel 2007, Santiago de Compostela nel 2009, Valenza nel 2011, Granada nel 2013, Berlino nel 2015, Firenze nel 2017 e Bordeaux nel 2019, sono state le indimenticabili cornici che hanno ospitato le cerimonie di consegna del premio BMIAA, un riconoscimento che ha per obiettivo premiare la migliore architettura del XXI secolo. Quest’anno la serata di gala per la consegna dei premi si terrà a Parigi. In quest’edizione, la convocazione riguardava specificatamente l’architettura su piccola scala, con una menzione speciale proprio per questa categoria di progetti. Si tratta di un Premio a cui possono liberamente partecipare gli architetti che risiedono nei territori in cui è insediato il gruppo BigMat. L’unico limite è l’età delle opere, definita nel regolamento. Sono stati in molti a partecipare a questa edizione, che ha raccolto 1000 progetti iscritti al BigMat International Architecture Award. Si tratta di opere costruite nei paesi europei in cui viene convocato il premio: Belgio, Repubblica Ceca, Francia, Italia, Portogallo, Slovacchia e Spagna. In linea con le precedenti edizioni, il successo dell’attuale convocazione non è stato solo un successo numerico, bensì soprattutto qualitativo. Si può senza dubbio affermare che i progetti presentati a questa edizione rappresentano in maniera importante l’architettura e gli architetti della circoscrizione spazio-temporale stabilita dal regolamento. La reputazione del premio è dovuta innanzitutto all’aiuto incondizionato del gruppo BigMat, che tutela e rispetta con grande eleganza l’autonomia intellettuale dello stesso, e poi alla notevole reputazione professionale dei membri delle Giurie Internazionali delle diverse edizioni. In quella attuale, la Giuria che ho avuto l’onore di presiedere, è stata composta da Adrien Verschuere, Ines Lobo, Pavol Paňak, Alexandre Theriot e Nicola Di Battista. Il Segretario della Giuria è stato Jesús Donaire García de la Mora. La Giuria ha selezionato quattordici opere architettoniche finaliste, che comprendono anche la menzione speciale per un’opera su piccola scala, e che si trovano tutte nei paesi europei interessati dal premio. Oltre ai finalisti, sono stati tre i progetti che hanno ricevuto la menzione speciale della Giuria. Opere di budget, concezioni e usi diversi. Opere che influenzano il territorio e la città. Opere che intervengono su quanto già esiste o che sono completamente nuove. Tutte opere che però condividono il fatto di essere opere intense dell’architettura del XXI secolo.

INTERNATIONAL ARCHITECTURE AWARD

BELGIO I progetti finalisti del Belgio sono due. Il primo è un edificio di servizi utilizzato come magazzino per il sale. Si tratta di un’opera composta solo dagli elementi strettamente necessari, uno zoccolo in legno su fondamenta di calcestruzzo, stabilizzato mediante contrafforti all’esterno e terrapieni all’interno, che facilitano la raccolta del sale. Sul basamento in legno è costruita una struttura in legno con una copertura di lamiere e un tramezzo in policarbonato semi-trasparente che fa vibrare l’opera nel paesaggio che la circonda. È stato inoltre selezionato un edificio multiuso sul margine di un canale, la cui struttura leggera in acciaio galvanizzato definisce uno spazio in cui vengono combinate la percezione totale dello stesso e l’impilaggio verticale delle diverse funzioni da esso richieste. Si tratta di un edificio in cui sono protagonisti la somma delle funzioni in esso realizzate e l’aria libera che unisce tutte queste attività. REPUBBLICA CECA Il primo finalista della Repubblica Ceca è un capannone agricolo. Di questo progetto, la Giuria ha apprezzato il fatto che possa andare al di là del suo uso quotidiano. In questo economico edificio, le proporzioni geometriche, la luce e i materiali si alleano per costruire un luogo elegante, laddove compaiono normalmente architetture volgari. Il secondo finalista è un intervento realizzato a Praga, sugli argini del fiume Moldava. Si tratta di un progetto che rispetta le costruzioni esistenti e che al tempo stesso realizza una proposta incisiva. Per farlo, inserisce pezzi contemporanei di elementi architettonici (grandi oblò, porte scorrevoli, ecc.) fabbricati in acciaio e incrostati su alcune delle aperture preesistenti della parete in pietra, che contiene il terrapieno delle rive del fiume, rivitalizzate da quest’opera. FRANCIA I due finalisti della Francia sono molto diversi fra di loro. In uno di essi la Giuria ha apprezzato la versatilità di un teatro dalle dimensioni considerevoli. È un progetto in cui la neutralità diventa palese nella sua struttura, nei dispositivi e nel colore (il nero). Con il controllo su queste decisioni astratte da parte dell’architetto, lo spazio permette la polivalenza in una scatola nera, una boîte à miracles in cui è possibile qualsiasi eventualità, come succede nell’ambito teatrale. Dall’altro canto, è stata selezionata una piccola estensione di una casa unifamiliare, ottenendo con risorse minime un’architettura dal valore irrefutabile. Porte scorrevoli di piastre in acciaio galvanizzato e altre con intelaiature in alluminio e vetro, un supporto e una trave alleggerita in acciaio, una struttura in legno con copertura, tramezzi di blocco e un pavimento in calcestruzzo sono gli elementi che costituiscono il progetto, con cui si trasforma il rapporto della casa originale con il giardino.

ITALIA Il primo progetto finalista per l’Italia è un chioschetto da spiaggia in cui si risolvono in modo ordinato gli usi tipici di questo tipo di edificazione. La Giuria ha apprezzato la duplice condizione di un edificio che durante i mesi in cui rimane chiuso diventa compatto, trasformandosi in una scatola di legno, mentre nei mesi estivi, riapre le sue pareti con pensiline che proteggono dal sole, allungandosi sulla superficie orizzontale della spiaggia. La sua posizione, ortogonale rispetto alla passeggiata lungomare, riduce al minimo la sua presenza a favore del mare, che è il protagonista per viandanti e utenti del chiosco. Il secondo progetto selezionato dalla Giuria è un edificio per la docenza di una grande azienda. Sono stati valutati positivamente il modo di inserire il nuovo edificio nell’isolato nel quale si trova, risolvendo la scala urbana e combinando con destrezza l’identità dell’edificio stesso e il suo rapporto con le opere circostanti. Dall’altro canto, si è lavorato in maniera corretta con la modulazione strutturale e con i diversi aspetti della materialità, per rendere visibile il carattere istituzionale di tale architettura. PORTOGALLO Un altro un bar/chioschetto che viene selezionato come progetto finalista. Si trova in un parcheggio con giardini, fra un museo e l’estuario del fiume Tago, su un piazzale selciato. Una copertura inclinata e rettangolare in cemento armato bianco, sporgente su tutti i suoi vertici e con due muri paralleli centrali di appoggio, contiene al suo interno una zona trapezoidale chiusa in vetro, nella quale in una scatola di acciaio inossidabile si trovano le toilette. Al di fuori della copertura esiste un solo ambiente, per depositare i residui. La Giuria ha apprezzato molto come con un’operazione così semplice e chiara si ottengano tre spazi indispensabili del chiosco: quello chiuso, quello coperto e aperto, e quello scoperto. La scala dell’altro progetto portoghese selezionato si contrappone a quella del precedente intervento. Si tratta di un terminal crociere di fronte al Tago. Secondo la Giuria è da evidenziare l’azzeccato modo in cui quest’architettura rispecchia la scala del Tago, nel suo attraversare Lisbona, e la scala dell’argine urbano della città, in un edificio che combina con saggezza la funzione pubblica di una piazza e quella della costruzione di un imbarco. L’uso dell’impilaggio all’interno di un contenitore di calcestruzzo dorato, che si apre sulle estremità e al cui interno si apre un cortile, e il fatto di evitare i piani e i cornicioni orizzontali al suo interno, aiutano a riordinare il programma, a dotare l’edificio della scala idonea e a non competere con l’orizzontalità già esistente in questo luogo.

SLOVACCHIA In Slovacchia, uno dei progetti finalisti costruisce un parco su un vecchio cimitero. La Giuria ha apprezzato l’efficacia della trasformazione di questa semplice proposta, tramite oggetti per il gioco, semplici follies in cui i bambini diventeranno consapevoli di molti aspetti fisici della vita. Il progetto contempla in maniera azzeccata l’apprendimento sensoriale, costruendo ognuno degli oggetti per il gioco con un materiale diverso. A livello urbano, questo intervento trasforma il perimetro del parco. Nel secondo progetto finalista, la Giuria ha valutato positivamente l’atteggiamento architettonico e sociale del restauro della Sinagoga di Žilina, costruita nel 1928-1931 dall’architetto tedesco Peter Behrens, per ospitare una galleria di arte moderna. Si tratta di un’opera finanziata da donazioni private, in cui si è saggiamente combinato l’intervento rispettoso su un’architettura di alto valore patrimoniale alla necessaria trasformazione che comporta ospitare un nuovo uso, un secolo più tardi. SPAGNA I progetti finalisti per la Spagna sono due, entrambi di tipo residenziale. Il primo è composto da una serie di condomini di cui la Giuria ha apprezzato la struttura reticolare di pannelli di legno che, insieme ai nuclei di comunicazione e alle zone umide e alle gallerie della facciata e del patio, creano un rigoroso tavoliere sul quale si succedono le abitazioni. Una serie di regole del gioco a partire dalle quali si permette totale libertà nell’abitare. Per consentire tale versatilità, sono state inserite porte scorrevoli sui pannelli, in modo da moltiplicare le possibilità di modulazione degli spazi. Il secondo progetto finalista è una casa costruita intervenendo su una casa già esistente, costruita con muri in pietra che lavorano strutturalmente a compressione. L’opera consiste in un intervento a secco con elementi cambianti, che lavorano a trazione e a flessione: cerchi e tabelloni in legno. Le installazioni a vista si sovrappongono ai muri in pietra. La Giuria ha apprezzato la capacità della struttura di creare un ordine nello spazio, situandolo fra stabilità e varietà, fra ciò che già esisteva e ciò che è nuovo, fra pietra e legno.

JESÚS Mª APARICIO GUISADO ARCHITETTO PRESIDENT DELLA GIURIA DEL PREMIO DI ARCHITETTURA

JESÚS APARICIO PRESIDENT OF THE AWARD

PORTUGUÊS

UM PRÉMIO QUE RESISTE Após um percurso de dezasseis anos, o Prémio bienal BigMat de Arquitetura chega à sua oitava edição. Cidades como Madrid em 2007, Santiago de Compostela em 2009, Valência em 2011, Granada em 2013, Berlim em 2015, Florença em 2017 e Bordéus em 2019, foram quadros inesquecíveis e testemunhos das cerimónias de entrega dos prémios BMIAA, recompensas cujo objetivo é premiar a melhor arquitetura do siglo XXI na circunscrição do prémio. Este ano a gala de entrega dos prémios será em Paris. Nesta edição, a convocatória procurou especificamente a arquitetura de pequena escala, estabelecendo uma menção especial para esta categoria de projetos. Trata-se de um Prémio de livre participação para os arquitetos da esfera territorial onde o grupo BigMat desenvolve a sua atividade, com a limitação de idade para as obras estabelecida nas bases. Nesta edição, a participação foi muito numerosa, tendo chegado a 1.000 projetos inscritos no BigMat International Architecture Award. Obras construídas nas nações da Europa onde se convoca o Prémio: Bélgica, República Checa, França, Itália, Portugal, Eslováquia e Espanha. Seguindo o resultado dos encontros anteriores, o sucesso desta edição foi não só numérico como também e, sobretudo, qualitativo. É sem dúvida possível afirmar que, entre os projetos desta edição se encontra uma grande representação da arquitetura e dos arquitetos na circunscrição espaço temporal que se estabelece nas bases do concurso. A reputação que este prémio ostenta é devida, por um lado e em primeiro lugar, à incondicional ajuda do Grupo BigMat que salvaguarda e respeita rigorosamente a autonomia intelectual do mesmo e, por outro lado, à alta reputação profissional dos membros do Júri Internacional das diferentes edições. Nesta edição, o Júri que tive o privilégio de presidir, foi composto por Adrien Verschuere, Inês Lobo, Pavol Paňak, Alexandre Theriot e Nicola Di Battista. Interveio como Secretário do Júri Jesús Donaire García de la Mora. O Júri escolheu quatorze obras de arquitetura como finalistas, incluindo a menção especial à pequena escala, situadas nos países da Europa onde o prémio se estabelece na presente edição. Além dos finalistas, três projetos obtiveram a menção especial do Júri. Obras que correspondem a todo o tipo de orçamento, conceito e utilização. Obras que afetam o território e a cidade. Obras que intervêm sobre o existente ou que são de nova construção. Mas todas têm algo em comum: serem obras intensas da arquitetura do século XXI.

INTERNATIONAL ARCHITECTURE AWARD

BÉLGICA Os projetos finalistas da Bélgica são dois. Em primeiro lugar, um edifício de serviços utilizado como armazém de sal. Trata-se de uma peça que inclui apenas o estritamente necessário, um rodapé de madeira sobre fundações de betão, com reforço através de contrafortes no exterior e taludes no interior, que facilitam a recolha do sal. Sobre a base de madeira é construída uma estrutura de madeira com um telhado em chapa e caixilharia vertical em policarbonato translúcido que faz vibrar a peça na paisagem. Também foi selecionado um edifício multiuso à beira de um canal, cuja estrutura leve em aço galvanizado se torna a definidora de um espaço no qual combina a perceção total do mesmo com o empilhamento vertical das distintas funções que se requerem dele. Em definitiva, trata-se de um edifício no qual os protagonistas são a soma das funções que nele se realizam e o ar livre que une as referidas atividades. REPÚBLICA CHECA O primeiro finalista da República Checa é um galpão agrícola. O júri apreciou neste projeto como se pode transcender um uso quotidiano. As proporções geométricas, a luz e os materiais tornam-se aliados neste económico edifício, para, onde habitualmente costumam aparecer arquiteturas vulgares, construir uma peça requintada. O segundo finalista foi uma intervenção em Praga, à beira do Moldava. Trata-se de um projeto respeitoso do existente, sendo ao mesmo tempo incisivo na sua proposta. Para consegui-lo, insere peças contemporâneas de elementos arquitetónicos (grandes olhos de boi, portas móveis, etc.) fabricadas em aço, incrustando-as sobre aberturas preexistentes no muro de pedra que contém o talude da margem do rio, que esta intervenção revitaliza. FRANÇA Os dois finalistas de França são muito diferentes. Num deles, o júri apreciou a versatilidade de um teatro de dimensões consideráveis. Trata-se de um projeto em que a neutralidade se torna patente através da estrutura, os dispositivos e a cor (preto). Com o controlo destas decisões abstratas por parte do arquiteto, o espaço permite a polivalência numa caixa negra, uma boîte à miracles em que pode aparecer o contingente que é algo próprio do teatral. Por outro lado, foi selecionada uma pequena ampliação de uma moradia unifamiliar, conseguindo, com recursos mínimos, alcançar uma arquitetura de valor incontestável. Portas de correr em chapas de aço galvanizado e outras de caixilharia de alumínio com vidro, um suporte e uma viga aliviada de aço, uma estrutura de madeira no telhado, paredes de blocos e um chão de betão são os elementos que constroem este projeto com o qual se transforma a relação da casa original com o jardim.

ITÁLIA O primeiro projeto finalista da Itália é um bar de praia no qual se resolvem de forma ordenada os usos próprios desta edificação. O júri valorizou a dupla condição de um edifício que, nos meses do ano em que permanece fechado, se torna compacto, transformando-se numa caixa de madeira e, no verão, ao desdobrarem-se as paredes em marquises que protegem do sol, se estende sobre a superfície horizontal da praia. A sua colocação, ortogonal em relação ao passeio marítimo, minimiza a sua presença a favor do mar, que é o protagonista para os caminhantes e para os utilizadores do quiosque. O segundo projeto selecionado pelo júri é um edifício de ensino para uma grande empresa. Valorizou-se positivamente a forma de inserir o novo edifício no quarteirão onde se encontra, resolvendo a escala urbana ao saber combinar acertadamente a identidade do próprio edifício e a sua relação com os existentes. Por outro lado, soube-se trabalhar com a modulação estrutural e com os diferentes aspetos da materialidade para tornar visível o caráter institucional desta arquitetura. PORTUGAL Mais uma vez, o projeto finalista é um bar/quiosque. Situa-se numa zona ajardinada de estacionamento, entre um museu e o estuário do Tejo, sobre uma explanada calcetada. Um telhado inclinado de planta retangular em betão armado branco, em balanço em todas as suas vértices e dois muros paralelos centrais de apoio, contém no seu interior uma zona trapezoidal fechada com vidro, onde as casas de banho estão situadas numa caixa em aço inoxidável. Fora do telhado apenas existe uma arrecadação para depositar o lixo. O júri valorizou como, com esta operação simples e clara, foi possível obter três espaços indispensáveis do quiosque: o fechado, o coberto e aberto, e o descoberto. O outro projeto português selecionado é de escala oposta ao anterior, tratando-se de um terminal de cruzeiros à beira do Tejo. Na opinião do júri, é muito relevante a forma acertada com que esta arquitetura tem em conta a grande escala do Tejo ao passar por Lisboa, assim como a escala de perímetro urbano da cidade, num edifício que combina sabiamente a função pública de uma praça e a de construir um cais de embarque. A utilização do empilhamento dentro de um contentor de betão dourado que se abre nas extremidades e em cujo interior se abre um pátio, o evitar os planos e os beirais horizontais no exterior, ajudam a ordenar o programa, a dotar o edifício da escala adequada e a não concorrer com a horizontalidade já existente previamente no local.

ESLOVÁQUIA Na Eslováquia um dos projetos finalistas constrói um parque sobre um antigo cemitério. O Júri apreciou a efetividade transformadora desta proposta simples, através de objetos de jogo, simples follies onde as crianças vão tomar consciência de muitos aspetos físicos da vida. O projeto prevê acertadamente a aprendizagem sensorial fazendo que cada um dos objetos de jogo seja construído com um material diferente. A nível urbano, esta intervenção transforma o perímetro do parque. O júri valorizou no segundo projeto finalista a atitude arquitetónica e social na restauração da Sinagoga de Žilina, construída em 1928-1931 pelo arquiteto alemão Peter Behrens, para acolher agora uma galeria de arte moderna. Trata-se de uma obra financiada com donativos privados, na qual se soube combinar a intervenção respeitosa numa arquitetura de alto valor patrimonial, com a transformação necessária que implica acolher outro uso um século depois. ESPANHA Os dois projetos finalistas de Espanha são ambos de uso residencial. O primeiro deles, um prédio de habitação coletiva no qual o júri valorizou a estrutura reticular de painéis de madeira que, juntamente com os núcleos de comunicações e zonas húmidas, e as galerias da fachada e do pátio do bloco, estabelecem um tabuleiro de jogo estrito para que se sucedam as habitações. Regras do jogo a partir das quais se permite a total liberdade no habitar. Para que esta versatilidade ocorra, os painéis são dotados de portas de correr, de forma a multiplicar a possibilidade de modular os espaços. O segundo projeto finalista é uma casa construída sobre uma já existente, que apresenta muros de pedra que trabalham estruturalmente em compressão. A intervenção consiste em intervir a seco com elementos dinâmicos que trabalham em tração e em flexão: correias e tábuas de madeira. As instalações, vistas, sobrepõem-se aos muros de pedra. Em definitiva, o júri valorizou a capacidade da estrutura para estabelecer uma ordem no espaço, situando-o entre o estável e o dinâmico, o existente e o novo, a pedra e a madeira.

JESÚS Mª APARICIO GUISADO ARQUITETO PRESIDENTE DO PRÊMIO

JESÚS APARICIO PRESIDENT OF THE AWARD

SLOVENSKÝ

CENA, KTORÁ ODOLÁVA Po šestnástich rokoch napredovania bienálna Cena architektúry BigMat dorazila do svojho ôsmeho ročníka. Mestá ako Madrid v roku 2007, Santiago de Compostela v roku 2009, Valencia v roku 2011, Granada v roku 2013, Berlín v roku 2015, Florencia v roku 2017 a Bordeaux v roku 2019, účinkovali ako nezabudnuteľný rámec a boli svedkami ceremónie odovzdania cien BMIAA – ocenenie, ktorého cieľom je odmeniť najlepšiu architektúru XXI. storočia v krajinách konania ceny. Tento rok sa slávnostné odovzdanie cien uskutoční v Paríži. Výzva na účasť v tomto ročníku sa zamerala špeciálne na architektúru malej škály a určila osobitnú cenu pre túto kategóriu projektov. Ide o súťaž, ktorej sa môžu voľne zúčastniť architekti zo zemepisnej oblasti, kde skupina BigMat rozvíja svoju prácu, s obmedzením časového úseku diel, ktoré je stanovené v podmienkach súťaže. V tomto ročníku bola účasť veľmi početná. Dosiahli sme tisíc projektov prihlásených do BigMat International Architecture Award. Diela postavené v európskych krajinách, kde sa cena vyhlasuje: Belgicko, Česká republika, Francúzsko, Taliansko, Portugalsko, Slovensko a Španielsko. Úspech súčasného ročníka, tak ako v predchádzajúcich , nebol iba kvantitatívny, ale predovšetkým kvalitatívny. Bezpochyby môžeme prehlásiť, že projekty tohto ročníka zahrňujú širokú reprezentáciu architektúry a architektov priestorovo-časového obvodu stanoveného v podmienkach súťaže. Prestíž, ktorú táto cena dosiahla je v prvom rade zásluha bezpodmienečnej podpory skupiny BigMat, ktorá absolútne dodržuje a rešpektuje intelektuálnu nezávislosť ceny a tiež k nej prispelo dobré profesionálne meno členov medzinárodných porôt rôznych ročníkov. V tomto ročníku, ktorému som mal česť predsedať, bola porota zložená z nasledovných členov: Adrien Verschuere, Ines Lobo, Pavol Paňak, Alexandre Theriot a Nicola Di Battista. Tajomníkom poroty bol Jesús Donaire García de la Mora. Porota vybrala štrnásť architektonických diel ako finalistov, včítane osobitnej ceny venovanej malej škále, nachádzajúcich sa v krajinách Európy, kde sa v tomto ročníku cena koná. Okrem finalistov, tri projekty získali osobitnú cenu poroty. Diela všetkých druhov rozpočtov, konceptov a využití. Diela, ktoré majú dopad na územie a na mesto. Diela, ktoré predstavujú zákrok do existujúceho alebo sú výstavbou novou. Všetky majú niečo spoločné: ide o výrazné diela architektúry XXI. storočia.

INTERNATIONAL ARCHITECTURE AWARD

BELGICKO Finálne projekty z Belgicka sú dva. V prvom rade, budova služieb, ktorá slúži ako sklad soli. Ide o prvok zložený z nevyhnutne potrebných elementov. Drevený sokel s betónovým základom, ktorý nadobúda stabilitu vďaka podperám smerom von a svahu smerom dovnútra, a ktoré uľahčujú zber soli. Na drevenom základe je vybudovaná drevená štruktúra s plechovou strechou a vertikálnym uzavretím z priesvitného polykarbonátu, ktorý spôsobuje, že stavba vibruje v okolitom prostredí. Tiež bola vybraná multifunkčná budova na kraji kanálu, ktorej ľahká štruktúra z galvanizovanej ocele sa stala prvkom definujúcim priestor, v ktorom sa kombinuje celkové vnímanie budovy s vertikálnym nahromadením rôznych funkcií, ktoré sa od nej vyžadujú. V zhrnutí, ide o budovu, v ktorej sú protagonistami súčet funkcií, ktoré sa v nej vykonávajú a voľný vzduch, ktoré tieto aktivity spája. ČESKÁ REPUBLIKA Prvým finalistom z Českej republiky je poľnohospodárska stodola. Porota na tomto projekte ocenila spôsob ako sa dá prekonať bežné použitie. Geometrické proporcie, svetlo a materiály sa v tejto ekonomickej budove stávajú spojencami, aby vybudovali vyberaný prvok tam, kde zvyknú existovať vulgárne architektúry. Druhým finalistom je zákrok na brehu rieky Vltavy v Prahe. Ide o projekt, ktorý rešpektuje to, čo už existuje a zároveň je veľmi rozhodný vo svojom návrhu. Aby dosiahol svoj zámer, vsádza moderné architektonické prvky (veľké kruhové okienka, pohyblivé dvere, atď.) vyrobené z ocele. Zasúva ich do existujúcich otvorov v kamennom múre, ktorý obsahuje svah na brehu rieku a ktorý tento zákrok oživuje. FRANCÚZSKO Dvaja finalisti z Francúzska sú veľmi odlišní jeden od druhého. Pri jednom z nich porota ocenila všestrannosť divadla rozsiahlych rozmerov. Ide o projekt, kde sa neutralita stáva evidentnou prostredníctvom štruktúry, zariadení a farby (čiernej). Vďaka kontrole abstraktných rozhodnutí architektom, priestor umožňuje viacúčelovosť v čiernej škatuli - boîte à miracles, kde sa môže vyskytnúť eventualita, niečo vlastné divadelnému činu. Ako druhý projekt bolo vybrané rozšírenie rodinného domu, pri ktorom sa dosiahla architektúra neodškriepiteľnej hodnoty s použitím minimálnych prostriedkov. Posuvné dvere z plechu z galvanizovanej ocele, ďalšie z hliníkovými rámami so sklom, opora a odľahčený oceľový trám, drevená štruktúra strechy, plot z betónových tvárnic a betónová podlaha sú prvky, ktoré projekt tvoria. Projekt mení vzťah pôvodného domu so záhradou.

TALIANSKO Prvý finálny projekt z Talianska je plážový bar, v ktorom sa zoradeným spôsobom vyriešilo využitie tohto druhu stavieb. Porota ocenila dvojité využitie budovy, ktorá sa v mesiacoch, kedy je zatvorená, stáva kompaktnou - mení sa na drevenú škatuľu, a v mesiacoch letných, kedy sa steny rozložia na markízy chrániace pred slnkom, sa rozkladá na horizontálnej ploche pláže. Jeho umiestnenie, pravouhlé na morskú promenádu, minimalizuje jeho prítomnosť v prospech mora, ktoré je protagonistom pre prechádzajúcich sa a pre návštevníkov stánku. Druhý projekt vybraný porotou je budova na výučbu patriaca veľkému podniku. Pozitívne sa hodnotil spôsob zasadenia novej budovy do bloku ulice, kde je umiestnená, ktorý vyriešil mestskú škálu, nakoľko dokázal vhodne skombinovať identitu samotnej budovy a jej vzťah s budovami už existujúcimi. Na druhej strane, vedel pracovať so štrukturálnou moduláciou a s rôznymi aspektami hmotnosti, aby zviditeľnil inštitucionálnu povahu tejto architektúry. PORTUGALSKO Opäť sa stánok/bar stal finálnym projektom. Nachádza sa v zelenej zóne parkoviska, medzi múzeom a ústím rieky Tagus, na vydláždenej esplanáde. Naklonená strecha obdĺžnikového pôdorysu z bieleho železobetónu, konzolová vo všetkých vrcholoch a s dvoma paralelnými strednými opornými múrmi, obsahuje vo svojom vnútri zatvorenú trapézovú zónu so sklom, kde sú umiestnené služby v škatuli z nehrdzavej ocele. Mimo strechy sa nachádza iba jeden prvok na odkladanie odpadu. Porota ocenila ako sa s touto jednoduchou a jasnou operáciou dosiahli tri nevyhnutné priestory baru: zatvorený, zakrytý a otvorený a nezakrytý. Druhý vybraný portugalský projekt má oproti predchádzajúcemu opačnú škálu. Ide o halu pre výletné lode oproti Tagusu. Porota je názoru, že je veľmi dôležitým vhodný spôsob prístupu k tejto architektúre na úrovni veľkej škály Tagusu pri jeho prietoku Lisabonom a na úrovni škály komunálneho okraju mesta v budove, ktorá múdro kombinuje verejné použitie námestia a stavbu v prístavnom móle. Použitie navršovania vo vnútri zlatého betónového kontajnera, ktorý sa na svojich koncoch otvára a v ktorého vnútri sa otvára dvor, pomáhajú organizovať program, dotovať budovu vhodnou škálou a nerobiť kompetenciu horizontálnosti, ktorá už na mieste existovala vďaka tomu, že sa vyhlo horizontálnym sekvenciám a rímsam vo svojom exteriéri.

SLOVENSKO Na Slovensku jeden z finálnych projektov spočíva vo výstavbe ihriska na bývalom cintoríne. Porota hodnotila efektívnosť premeny tohto jednoduchého návrhu, ktorý využil predmety na hranie, jednoduché follies, kde deti začínajú vnímať veľa fyzických stránok života. Projekt má vhodne na pamäti vnemové učenie. Na každý z predmetov na hranie používa rôzny materiál. Na mestskej úrovni tento zákrok premieňa obvod parku. Porota na druhom finálnom projekte ocenila architektonický a sociálny prístup pri rekonštrukcii synagógy v Žiline, postavenej v rokoch 1928-1931 nemeckým architektom Petrom Behrensom, s cieľom pojať galériu moderného umenia. Ide o dielo financované zo súkromných darov, v ktorom sa podarilo kombinovať úctivý zákrok do architektúry s vysokou historickou hodnotou a potrebnú premenu na pojatie iného použitia o sto rokov neskôr. ŠPANIELSKO V Španielsku sú dvaja finálne projekty a oba majú rezidenčné využitie. Prvý z nich, kolektívne byty, v ktorých porota ocenila ich sieťovú štruktúru drevených panelov, ktoré spolu s komunikačnými uzlami, vlhkými zónami a galériami fasády a dvorom bloku, stanovujú striktnú hraciu dosku pre postupnosť bytov. Pravidlá hry, ktoré umožňujú úplnú slobodu na bývanie. Aby táto všestrannosť mohla existovať boli pridané do panelov posuvné dvere. Takýmto spôsobom sa znásobuje možnosť modulácie priestorov. Druhým finálnym projektom je dom, ktorý bol postavený zákrokom do už existujúceho domu, vybudovanom s kamennými múrmi, ktoré pracujú štrukturálne pod tlakom. Intervencia spočíva v suchom zákroku s meniacimi sa prvkami, ktoré pracujú ťahom a zhybom: popruhy a drevené dosky. Priestory - viditeľné, prekrývajú kamenné múry. Súhrnom, porota ohodnotila schopnosť štruktúry stanoviť poriadok v priestore jeho umiestnením medzi stabilným a nestabilným, existujúcim a novým, kameňom a drevom. JESÚS Mª APARICIO GUISADO ARCHITECT PRESIDENT OF THE AWARD

JESÚS APARICIO PRESIDENT OF THE AWARD

ESPAÑOL

UN PREMIO QUE RESISTE Tras dieciséis años de singladura, el Premio bienal BigMat de Arquitectura alcanza su octava edición. Ciudades como Madrid en 2007, Santiago de Compostela en 2009, Valencia en 2011, Granada en 2013, Berlín en 2015, Florencia en 2017 y Burdeos en 2019, han sido marcos inolvidables y testigos de las ceremonias de entrega de los premios BMIAA, unos galardones cuyo objetivo es premiar a la mejor arquitectura del siglo XXI en la circunscripción del premio. Este año la gala de entrega de los premios será en Paris. En esta edición, la convocatoria ha buscado específicamente la arquitectura de pequeña escala, estableciendo una mención especial para esta categoría de proyectos. Se trata de un Premio de libre participación para los arquitectos de la esfera territorial donde desarrolla su trabajo el grupo BigMat, con la limitación de edad de las obras que se establece en las bases. En esta edición la participación ha sido muy numerosa, habiéndose llegado a los 1.000 proyectos inscritos al BigMat International Architecture Award: obras construidas en las naciones de Europa donde se convoca el Premio: Bélgica, República Checa, Francia, Italia, Portugal, Eslovaquia y España. Siguiendo el resultado de las citas anteriores, el éxito de esta convocatoria no solo ha sido numérico, sino además y, sobre todo, cualitativo. Se puede afirmar sin duda que, entre los proyectos de esta edición se halla una gran representación de la arquitectura y de los arquitectos en la circunscripción espacio-temporal que se establece en las bases del concurso. La reputación que este premio ostenta se debe, por un lado y en primer lugar, a la ayuda incondicional del Grupo BigMat que salvaguarda y respeta exquisitamente la autonomía intelectual del mismo y, por otra parte, a la alta reputación profesional de los miembros de los Jurados Internacionales de las distintas ediciones. En esta edición, el Jurado que tuve el privilegio de presidir, lo formaron Adrien Verschuere, Inês Lobo, Pavol Paňak, Alexandre Theriot y Nicola Di Battista. Actuó como Secretario del Jurado Jesús Donaire García de la Mora. El Jurado eligió catorce obras de arquitectura como finalistas, incluida entre ellas la mención especial a la pequeña escala, situadas en los países de Europa donde el premio se establece en la presente edición. Además de los finalistas, tres proyectos obtuvieron la mención especial del Jurado. Obras de todo tipo de presupuesto, concepto y uso. Obras que afectan al territorio y a la ciudad. Obras que intervienen sobre lo existente o lo son de nueva planta. Pero todas ellas tienen algo en común: ser obras intensas de la arquitectura del siglo XXI.

INTERNATIONAL ARCHITECTURE AWARD

BÉLGICA Los proyectos finalistas de Bélgica son dos. En primer término, un edificio de servicios cuyo uso es un almacén de sal. Se trata de una pieza conformada por lo estrictamente necesario, un zócalo de madera sobre una cimentación de hormigón, que se hace estable mediante unos contrafuertes al exterior y unos taludes al interior, que facilitan la recogida de la sal. Sobre el basamento de madera se construye una estructura de madera con una cubierta de chapa y un cerramiento vertical de policarbonato traslúcido que hace que la pieza vibre en el paisaje. También se ha seleccionado un edificio multiusos al borde de un canal, cuya ligera estructura de acero galvanizado se convierte en la definidora de un espacio en el que se combina la percepción total del mismo con el apilamiento vertical de las distintas funciones que de él se requieren. En definitiva, se trata de un edificio en el que los protagonistas son la suma de las funciones que en él se realizan y el aire libre que une a dichas actividades. REPÚBLICA CHECA El primer finalista de la República Checa es un galpón agrícola. El jurado ha valorado en este proyecto cómo se puede trascender un uso cotidiano. Las proporciones geométricas, la luz y los materiales se convierten en este económico edificio en aliados para, donde habitualmente suelen aparecer arquitecturas vulgares, construir una pieza exquisita. El segundo finalista ha sido una actuación en Praga, en el borde del río Moldava. Se trata de un proyecto respetuoso con lo existente a la par que incisivo en su propuesta. Para lograrlo, inserta unas piezas contemporáneas de elementos arquitectónicos (grandes ojos de buey, puertas móviles, etc.) fabricadas en acero e incrustándolas sobre unas aperturas preexistentes del muro de piedra que contiene el talud de la ribera del río, que esta actuación revitaliza. FRANCIA Los dos finalistas de Francia son muy diferentes. En uno de ellos el jurado ha valorado la versatilidad de un teatro de dimensiones considerables. Se trata de un proyecto donde la neutralidad se hace patente a través de la estructura, los dispositivos y el color (negro). Con el control de estas decisiones abstractas por parte del arquitecto, el espacio permite la polivalencia en una caja negra, una boîte à miracles donde puede aparecer lo contingente, que es algo propio de lo teatral. Por otra parte, se ha seleccionado una pequeña ampliación de una vivienda unifamiliar, lográndose con unos mínimos recursos alcanzar una arquitectura de valor incontestable. Unas puertas correderas de chapas de acero galvanizado y otras de marcos de aluminio con vidrio, un soporte y una viga aligerada de acero, una estructura de madera en cubierta, unos cerramientos de bloque y un suelo de hormigón son los elementos que construyen este proyecto con el que se transforma la relación de la casa original con el jardín.

ITALIA El primer proyecto finalista de Italia es un chiringuito de playa en el que se resuelve de forma ordenada los usos propios de esta edificación. El jurado ha valorado la doble condición de un edificio que, en los meses del año que permanece cerrado, se hace compacto convirtiéndose en una caja de madera y, en los de verano, al desplegarse las paredes en marquesinas que protegen del sol, se extiende sobre la superficie horizontal de la playa. Su colocación, ortogonal al paseo marítimo, minimiza su presencia en favor del mar, que es el protagonista para los paseantes y para los usuarios del kiosco. El segundo proyecto seleccionado por el jurado es un edificio para docencia para una gran empresa. Se ha valorado positivamente la manera de insertar el nuevo edificio en la manzana donde se emplaza, resolviendo la escala urbana al saber combinar con acierto la identidad del propio edificio y su relación con los existentes. Por otra parte, se ha sabido trabajar con la modulación estructural y con los diversos aspectos de la materialidad para hacer visible el carácter institucional de esta arquitectura. PORTUGAL De nuevo un bar/quiosco es un proyecto finalista. Se sitúa en una zona ajardinada de aparcamiento, entre un museo y el estuario del río Tajo, sobre una explanada adoquinada. Una cubierta inclinada de planta rectangular de hormigón armado blanco, en voladizo en todos sus vértices y con dos muros paralelos centrales de apoyo, contiene en su interior una zona trapezoidal cerrada con vidrio, donde en una caja de acero inoxidable se sitúan los servicios. Fuera de la cubierta solamente existe una pieza para depositar residuos. El jurado ha valorado cómo, con esta sencilla y clara operación, se logran los tres espacios indispensables del quiosco: el cerrado, el cubierto y abierto, y el descubierto. El otro proyecto portugués seleccionado es de una escala opuesta al anterior: se trata de una terminal de cruceros frente al Tajo. A juicio del jurado es muy relevante la acertada manera de cómo se atiende en esta arquitectura a la gran escala del Tajo a su paso por Lisboa y a la escala del borde urbano de la ciudad, en un edificio que combina sabiamente la función pública de una plaza y la de construir un embarcadero. El uso del apilamiento dentro de un contenedor de hormigón dorado que se abre en sus extremos y en cuyo interior se abre un patio, el evitar los planos y las cornisas horizontales en su exterior, ayudan a ordenar el programa, dotar de la escala adecuada al edificio y no competir con la horizontalidad que ya existe previamente en el lugar.

ESLOVAQUIA En Eslovaquia uno de los proyectos finalistas construye un parque sobre un antiguo cementerio. El jurado ha valorado la efectividad transformadora de esta sencilla propuesta, mediante unos objetos de juego, unas sencillas follies donde los niños van a tomar conciencia de muchos aspectos físicos de la vida. El proyecto contempla acertadamente el aprendizaje sensorial haciendo que cada uno de los objetos de juego sea construido con un material diverso. A nivel urbano, esta actuación hace que se transforme el perímetro del parque. El tribunal ha valorado en el segundo proyecto finalista la actitud arquitectónica y social en la restauración de la Sinagoga de Žilina, construida en 1928-1931 por el arquitecto alemán Peter Behrens, para albergar una galería de arte moderno. Se trata de una obra financiada con donaciones privadas en la que se ha sabido combinar la intervención respetuosa en una arquitectura de alto valor patrimonial con la trasformación necesaria que supone albergar otro uso un siglo después. ESPAÑA Dos son los proyectos finalistas de España y ambos lo son de uso residencial. El primero de ellos, unas viviendas colectivas de las que el Jurado ha valorado su estructura reticular de paneles de madera que, junto con los núcleos de comunicaciones y zonas húmedas y las galerías de fachada y del patio de manzana, establecen un tablero de juego estricto para que sucedan las viviendas. Unas reglas de juego a partir de las cuales se permite la total libertad en el habitar. Para que esta versatilidad suceda, se incorporan unas puertas correderas a los paneles, de tal manera que se multiplica la posibilidad de modulación de los espacios. El segundo proyecto finalista es una casa que se construye interviniendo sobre una existente, construida con unos muros de piedra que trabajan estructuralmente a compresión. La actuación consiste en intervenir en seco con elementos cambiantes que trabajan a tracción y a flexión: unas cinchas y unos tablones de madera. Las instalaciones, vistas, se superponen a los muros de piedra. En definitiva, el jurado ha valorado la capacidad de la estructura para establecer un orden en el espacio, situándolo entre lo estable y lo cambiante, lo existente y lo nuevo, la piedra y la madera. JESÚS Mª APARICIO GUISADO ARQUITECTO PRESIDENTE DEL PREMIO

JESÚS APARICIO PRESIDENT OF THE AWARD

ENGLISH

COMMENTS OF THE JURY ADRIEN VERSCHUERE BELGIUM MELOPEE SCHOOL Xaveer De Geyter Architects This project provides a fascinating interface with the city by offering a bold reinterpretation of the school’s outdoor spaces as potential support for other activities that commonly take place in urban settings. The proposed building condenses a variety of spaces, both interior and exterior, within a simple and compact infrastructure whose structural language harkens back to the industrial heritage of the docks. The panel held a particularly positive view of the spatial composition of the project —perhaps most notably through an intelligent and generous organisation of the layouts— which results in an unexpected outcome and an opportunity for developing new urban pursuits. HANGAR À SEL Goffart Polomè Architectes This modest intervention responds fairly and precisely to the functionality of its design. Reduced to its most minimal expression, this building features the most basic constructive elements to create a highly sensitive result that overcomes the strict limitations as to its use. The project, which takes the archetypal form of a hangar, manages to reinterpret this type of construction through a pragmatic and clever use of the materials from which it is built. The panel was particularly impressed by the architectural and structural intelligence of the architects, who focused on smart design choices and favoured efficiency of the materials and means used to build the project, as well as economy of intention inevitably required for this type of venture. TOIT & MOI Matador This project displays enormous rigour and clarity of design that allows for a variety of situations and relationships to unfold within a simple yet coherent wider intervention. Featuring different typologies and ably supported by rational constructive thinking, this building offers great flexibility and adaptability of its use both now and down the line. The panel held a particularly positive view of the richness of the interfaces created between the interior life of the building and its exterior spaces. Our eyes are drawn to these clear yet at the same time nuanced boundaries that form an impressive intervention due to the streamlined use of resources, which maximises the different ways in which the space can be inhabited.

identity. One of the ancient functions of this area was the exchange of goods and trade, which would later move from the city centre to the outskirts. Phase one of the revitalisation of Prague’s Vltava riverbank is an important milestone that will help further boost its already important and valuable features, one of these being its enviable location right in the heart of Prague and its special relationship with the river. Its other key strength is the solidity of the materials employed and the sound construction of the retaining walls, integrated areas and quay for historical reasons. The architect has played an important role in undertaking the renovation of this eminently linear construction site, which has become the largest municipal investment in a public space in the last 30 years. The area had been neglected for several decades and was rarely used. Following the renovation, it rapidly became a popular haunt for Prague residents and tourists alike. Great creativity and sensitivity went into the choice of location and the construction process itself. It was originally intended for storage and maintenance and was located on the riverside wall, which included a promenade as an outlying element. Thanks to the project, it has become a multi-purpose area: clubs, cafés, workshops, exhibitions, library and also public toilets. Moreover, the promenade offers a majestic experience as one takes in the panorama of the other side of the river and the magnificent monuments on display in the city. The large circular windows at the base of the riverbank wall repeat the geometry of the semi-cylindrical interior vaults. They are truly unique and leave an indelible mark. The work at the heart of the building is actually very restrained, yet at the same time immensely relevant. A symbiosis has been created between new interventions and the dominant massive tectonics and their original materials. This project has proven to be a huge challenge from a technical and technological perspective. It is a quality that is hidden from the visitor, but is an intrinsic part of the complexity of this architectural work. WHITE SHED Opatov, Czech Republic Atelier 111 architekti / Veronika Indrová, Jiří Weinzettl, Michal Hamada

PAVOL PAŇÁK CZECH REPUBLIC + SLOVAKIA

Even a commission that is purely utilitarian in purpose and built on a limited budget can present the potential for valuable architectural expression. Similar constructions for industrial purposes are typically simple, soulless enclosures used for production or storage. They seem to breed and spread to make up the intrinsic non-identity of industrial zones found on the outskirts of cities.

CZECH REPUBLIC REVITALISATION OF PRAGUE RIVERFRONT Prague, Czech Republic Petr Janda

This type of commission is often shackled by a number of initial constraints: lack of context, limited technical repertoire, low budget, pre-defined materials and build type, and an overriding need to keep the assembly simple.

The meeting point between city and river is an important phenomenon. While it certainly poses a number of hurdles, it also brings opportunities. It possesses huge significance in relation to the functioning of the city and helps shape its

This project shows us that these limitations are not necessarily a barrier to a remarkable architectural outcome. Lying next to an agricultural area, a piece of architecture was born which bears a definite architectural semblance to such

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industrial buildings, yet manages to be exceptional in spite of this. The streamlined floor plan, the metal cladding and the translucent areas on the façade certainly place it in the industrial building segment. The typical insubstantial gable roof typical of similar buildings now possesses an almost iconic silhouette all of its own. The prism skylight found on the ridge of the roof gives the silhouette a distinctive and highly original feature. The translucent ridge that forms part of an archetypal volume is a winning combination of both the familiar and the new. What would otherwise have been an ordinary silhouette is transformed into something that projects an almost iconic aura. The work has remarkable details that make it both familiar and different. SLOVAKIA NEW SYNAGOGUE – CULTURAL CENTRE Žilina, Slovak Republic PLURAL / Martin Jančok The resurrection of the New Synagogue of Žilina has various stories to tell. Things were looking bleak for the building, with little interest from the state, yet it has been given a new lease of life. The transformation of the abandoned synagogue is a prime example of civil activism working alongside the state as it fulfils it natural obligation to get things done. The original building was built in 1929-31 based on the design of Peter Behrens, one of Europe’s finest architects. It was used by the city’s Jewish community until this was cut short by the tragic events that unfolded at the beginning of the Second World War. The synagogue is one of the most valuable architectural treasures of the 20th century in Slovakia. Following the end of the war, it was used for theatre, concerts, university lectures and finally as a cinema. Over the past 70 years, a number of reforms were undertaken that led to the loss of important features of its interior space and materials. After the building was closed in 2010, a truly admirable initiative was born at the hands of different cultural activists from various fields. The aim was to save, renovate and ultimately transform the synagogue into a new cultural centre. The process involved the difficult and arduous task of raising funds, conducting complex analyses of the state of the building after all the changes that had been made, and then settling on the concept for its future use. During its gradual renaissance, it became a place for social and cultural activities, exhibitions and performances. Gradually, as the money arrived in dribs and drabs, the architectural concept for the renovation began to take shape. The former synagogue was to become a venue for cultural and social events. The architect’s strategy therefore needed to be well thought-out. All the unwanted layers of material that had been added to the original shapes and surfaces over the years were removed. The newly uncovered dome, the restored gallery and the original paintings in the upper central part of the building are now the most important features that symbiotically co-exist with the new renovation work. The white paint on the walls and the construction up to a certain height symbolically and effectively mark out the space for the new activities that now take place in the central part of the building. The new elements and construction work show immense design talent and are highly relevant.

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NEW PARK Leopoldov, Slovak Republic n-1 / Jakub Kopec, Klára Zahradníčková, Tomáš Džadoň The idea of transforming a defunct cemetery into a playground has a strong symbolism. Mourning has been replaced by children’s playtime. It is difficult to imagine the presence of relics and the like in a place that now serves a completely different purpose. How does one evoke memories of a place of mourning without falling prey to sentimentality? The objects that we find in almost all cemeteries have been retained: the brick wall facing the neighbouring buildings, the chapel, and also the large lime trees in their original arrangement. Indeed, the existing natural elements have been enhanced by planting new trees, thus creating a park with clearings and new objects that come together to make up a playground for children. The architects worked with common industrial and prefabricated objects. There, we can find a variety of fascinating objects made out of concrete, steel and plastic pipes, panels, lids, modules and other paraphernalia, all subtly modified and inspired by the wild imagination of children. The new park is a free‑flowing place with no set paths to follow and the whole area conveys a compact effect. The ancient lime trees that once served a specific function within the wider composition and organisation of the cemetery are strongly reminiscent of the site in its past life. As a memento, we are left with a small lapidary crafted from stone fragments of the former gravestones. This space is a wonderful example of cooperation between architect, landscape designer and visual artist. ALEXANDRE THERIOT FRANCE STUDIO EXERCICE In 14th century Old French, “bricoler” is applied to objects that encounter an unexpected movement or event. A palm ball that ricochets, zigzags or has a false bounce “bricole”. Then came the current meanings of the term: literally, “to engage in manual work” and by extension “to install something in an amateurish yet ingenious way”, then figuratively, to tinker, to arrange something, or even to tamper: in the Milieu, someone who lives by expediency is said to “tinker”. Because he strives to constantly adjust his gesture to the minute particularities of objects, the bricoleur is a civilised person who is rediscovering, according to Claude LéviStrauss, the joys of savage thought. This extension to a house in Brittany, designed by the EXERCICE studio, follows this constructive logic. EXERCICE explores each built situation in order to add a new spatial and technical singularity to it. They seize the modest size of the project as a lever to deploy a multitude of micro‑interventions where each decision and action is meaningful within the wider project. EXERCICE is living proof that the modest size of a project is no limit to its ambition. On the contrary. Decisions are clear, direct and precise, but always carried with great care.

We would say that EXERCICE’s approach is ingenious, explicit and joyful. It does not seek theoretical artifice. To convince you of this, let us simply reread the description of the project made by their authors:

NICOLA DI BATTISTA ITALY MILAN: PIRELLI LEARNING CENTER onsitestudio

“This extension in Brittany opens up the house to the outside world through large sliding anodised aluminium windows. The structure is designed as a superposition of different materials that allows an abundance of light to pass through. On the outside, three galvanised steel shutters slide thanks to grooved wheels and a series of metal brackets that serve as guides fixed at points on the nose of the slab.

Giancarlo Floridi and Angelo Lunati

The work of the EXERCICE studio is driven by ‘ordinary things’, the pleasure of assembling, the need to put together disparate, sometimes incompatible things to produce extraordinary situations. A singular and exemplary practice.

a counterpoint of sorts between old and new against

The building designed to house the new Pirelli learning centre has a strong civic and urban calling. Despite its modest size, this building in the historic quartiere of Bicocca aims to become the beating heart of the industrial district and a meeting point within this renovated part of the city. And it succeeds by providing a perfect foil for the Renaissance Bicocca degli Arcimboldi villa, thus creating the beautiful setting of the existing garden. The building, which mainly plays home to the learning centre and cafeteria, rises as a new compact and discreet street front. Inside, towards the garden, it takes on a more

THÉÂTRE DU MAILLON, LAN British architect Cedric Price (1934-2003) completed relatively few buildings, but through his drawings, proposals, teachings and conversations, he exerted an enormous influence across many disciplines. For Price, architecture was an instrument towards social and pedagogical growth, and not an aesthetic gesture in itself. His most famous structures of the early 1960s, based on the Fun Palace (1961) concept, were both intended to foster social cohesion and were executed as short-term structures.

domestic and open appearance, characterised by the

“The Fun Palace —born from the collaboration between Cedric Price and avant-garde theater producer Joan Littlewood— was not a building in any conventional sense, but a socially interactive machine, highly adaptable to the shifting cultural and social conditions of its time and place, without permanent structures that can be removed, transported and reassembled as required.”

perfect frame, thus making the building a distinctly Milanese

The Maillon theatre probably has something of the Fun Palace about it.

single-storey block of the cafeteria that projects outward from the building with a portico directly facing the old residential villa. The ground floor of the building, separate from the cafeteria, has been turned into a small, cosy, tree-lined stone piazza, leading to the main garden. The public front facing the street is characterised by the effective design of the pitched elements running along the roof in two parts, dropping down as they pass the axis of the entrance to provide a piece of architecture.

PESCARA: PANTA REI BEACH Toffoli Architetti Ubaldo Toffoli Building a small seaside structure is a tough challenge for an architect, who has to make the building visible but without causing an excessive impact on the wider

Of course not in its conceptual prerequisites that saw it emerge, nor even in its construction, but simply in its ambition to have people think of this place dedicated to the performing arts as a machine building that enables rather than imposes; a building open to the city and seeking to incorporate it by all means but with the firm intention of never asserting its programme and thus its function.

seafront.

The Maillon hangar is unapologetically informal, threatening to disappear in an inglorious suburban context. Yet it is a beautiful hangar that gives pride of place to the material, which is black before it is concrete, and to the light, whether natural, lateral, secondary or backlit. Chic and black flirt to excess with the sole aim of producing a unique, singular, public place and the fierce desire to make a place of culture.

sprawling immensity of the beach.

* Cedric Price, Re: CP, Syracuse, LetteraVentidue, 2011, p. 31, ISBN 978-88-6242-033-4 ** Marco Biraghi, Architecture Histoire moderne 1945-2008, Turin, Einaudi, 2008, p. 179 ISBN 978-88-06-19313-3

The solution is a long, narrow building, running perpendicular to the shore and pointing directly and categorically towards the vast sea horizon. Relying on this type of floor plan means that the pavilion has a minimal impact on the water line thanks to its high overall visibility, and its clear and precise shape makes it an effective yardstick capable of adding dimension and depth to the

Close attention has been paid to the configuration of the pavilion section, which uses almost half of the total internal height to contain the roof structure and also house the bulky installations. A large roof of latticed wooden beams, suspended in the eaves lines, provides an immensely clever use of space. Its splayed downward contours completely free up the external façade of the pavilion at any height, thus providing a surprising sensation of space despite the modest dimensions of the building. Structural simplicity is accompanied by meticulous attention to detail and a sober and appropriate use of materials.

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TURIN: ESCUELA ENRICO FERMI BDR bureau Alberto Bottero and Simona Della Rocca The surprising novelty that this project brings to the present day is tangible proof of what architecture can do to help improve the lives of human beings and enhance their well‑being. The building is the result of a competition arranged by a client with particular needs, who was looking to transform an old schooling complex into a contemporary school. The architects decided to preserve the typological characteristics of the complex while giving it an entirely new urban design, starting with the different hierarchies imposed on the building due to the plot it stands on. The large southeast facing front of the building becomes the real workplace and a portion of the undeveloped land has been used to create a garden that functions as both a filtering point and new entrance to the school. Here, the aim is to reconfigure the façades to unlock their full potential. To succeed in this task, large open terraces have been added, though clad with a light metal mesh, so that they become real spaces that merge with the interior of the classrooms, which now flows outwards. This, together with a highly effective interior design that relies heavily on light, gives this place a truly contemporary feel in tune with our times. INÊS LOBO PORTUGAL + SPAIN PORTUGAL LISBON FERRY TERMINAL João Luís Carrilho Da Graça A compact terminal integrated into a series of outdoor spaces designed in the form of a boulevard featuring numerous tree-lined paths, a linear garden where small pavilions play host to events within this new part of the city to have emerged from the process of reclaiming the riverbank. The architects have displayed immense intelligence in transforming a private endeavour into a new public place in the city of Lisbon; a space that defines, with extreme precision, the boundaries between the public space and the workings of the port. We are in the historic centre, on the landing platform built to house the port of Lisbon and where there were two coves. In one, the terminal was built, entirely occupied by an open-air car park to the north-east and the tidal tank to the south-west, as they once stood. There was therefore no need to dig to create the covered car park on the basement floor of the terminal, in continuity with the other facility. The ground floor is mainly for luggage, while the upper level features long walkways, framed in metal, leading passengers to the gigantic cruise liners. Stairs and ramps are located at both ends of the terminal (NE, SW) to provide vertical movement. The terminal is housed in structural white concrete mixed with cork. Towards the land, it is folded to mark the doors, while towards the river, it becomes vertical only to communicate with the walkways. The roof also folds up,

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creating a depression that illuminates the upper level and provides access to a viewing platform looking out over the city. Suffice to say that this transcends building to create the living memory of a place. BAR & PABELLÓN DE BELÉM Ricardo Bak Gordon This bar lies on the banks of the Tagus, close to the Belém river terminal, the gardens of the Museum of Art, Architecture and Technology and the imposing access points to the pedestrian bridge of the National Coach Museum. It is entirely dressed in white, much like its surroundings, thus conveying the image of a large wraparound canopy under which you can drink at the bar or otherwise sit at one of the many tables that spill out onto the pavement, some of them offering parasols. The roof, with its rectangular structure and three slopes, rests on a pillar/wall in the south and on a reinforced concrete wall with retractable glass walls in the north, diagonally across the bar, the bathrooms and the kitchen (with a door to the rear where the insulated storage cylinder is located). In this outdoor part there are also stairs that lead to adjacent spaces and to the cellar. This arrangement has effectively carved out a front and a rear part. The front part is symmetrical and strongly reminiscent of the Robert Venturi house archetype with its slopes and two aspects to widen the centre of the bar, while the rear is reminiscent of Le Corbusier’s play of volumes under light. Sitting within its context, this bar was not created as a beach bar, but asserts itself on a different scale; one that associates it much more directly with the Coach Museum and the access system leading to the two banks of the river, almost as if it were the finishing touch to a wider system.

SPAIN CASA O FIEIRO, MAZARICOS Arturo Franco To describe this house, it is first of all essential to describe its construction system, before discussing its type or its relationship with the landscape. Suffice to say that the construction system/structure relies on three materials: wood, steel and truck straps that are combined with an original stone structure, providing a system of load-bearing walls that work in compression. This structure has been used as a support for a new traction‑operated plate structure. The result is a house that is arranged around two main spaces of two to three floors, visually linked along all their diagonals lines and in constant dialogue with the exterior. This is essentially how a family’s day-to-day routine of eating, cooking, gathering together, working, playing and socialising unfolds. The rooms are more isolated spaces. To link up the vertical spaces, the architects have preserved the original staircases, with their large solid stone steps that rest their heavy weight on the floor. A new staircase made of metal planks has been installed, giving a quite opposite impression of floating above the wooden floor.

Someone has described it as a cave inhabited by free living beings, in an unconventional way. A village house much like any other, timeless in its existence; a technological intervention that does not get intimidated by the limitations of a particular moment in time. VESTIR EL PABELLÓN MIES VAN DER ROHE Anna & Eugeni Bach An installation that aims to be a space for reflection and that allows us, once again, to view the history of modern architecture. The Mies van der Rohe Pavilion in Barcelona, a simple intervention and a representation of itself, opens the door to multiple interpretations about aspects such as the value of the original, the role of the white surface as an image of modernity or the importance of materiality in the perception of space.

of the building is organised in the form of a matrix of communicating spaces. There are 114 units per floor, 533 in total, and all are connected, thus avoiding common and private horizontal circulations. The service spaces and amenities are located within the central ring, while the other rooms of similar size and use, about 13 m2, are arranged around the façade, thus offering different types of living. Another terrace lying on the outer crown completes the spatial sequence; the row of spaces connected by sprawling open areas, permeable to the air and to the eye. Construction The size of the spatial units, in addition to the versatility they offer, based on ambiguity of use and functional indeterminacy, works well with the architects’ choice of a wooden structural solution. A modular construction that responds to the idea of a circular economy within the construction industry.

The Pavilion on which the architects have worked is a reconstruction, a replica so faithful to the original that it is often difficult to remember its true nature. Turning the Pavilion into the image of itself, with all the surfaces restricted to the same material, reveals the building’s representative role; both that of the original, as a national symbol, and that of the replica, by representing the former. For a time, the Pavilion will be a 1:1 scale mock-up of its replica. It helps visitors to consider these ideas and many more through their own experience in a pavilion that will lose its materiality for a few days to assume all its representative potential. It allows us to reflect on transversal aspects like the value of imperfection. It reinforces the interpretation of the Pavilion as a temple, now white. Furthermore, it shows us the power of the boards, now perfectly visible through the disappearance of the textures and reflections that hid them and that remind us of one of the perspectives or collages so characteristic of Mies, a collage through which we now can walk. 85 VIVIENDAS SOCIALES CORNELLÀ Peris + Toral Arquitectes In search of new models for living Housing for all is undoubtedly one of most pressing issues affecting the cities of Europe. The project created by this pair of architects is a possible answer to the following questions: How will we be living in the near future? What typologies of living will exist? What style of construction? Typology, collective housing The building is organised around a courtyard that links together a sequence of intermediate spaces. On the ground floor, a portico opening onto the city precedes the door of the building and filters the relationship between the public space and the neighbourhood courtyard, which functions as a shared place for the community of owners. The four central vertical communication nodes are located at the four corners of the courtyard, so that all the inhabitants can gather and interact in this courtyard. Typology, private housing On a typical floor, each individual dwelling is accessed via the hub and two private terraces that form the crown of the spaces overlooking the courtyard. The general level

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FRANÇAIS

COMMENTAIRES DU JURY ADRIEN VERSCHUERE BELGIQUE MELOPEE SCHOOL Xaveer De Geyter Architects Ce projet illustre une intervention qui offre une très grande interface avec la ville par le biais d’une réinterprétation audacieuse des espaces extérieurs de l’école en tant qu’espaces de support potentiels pour d’autres formes d’usages partageables à l’échelle urbaine. L’édifice proposé condense une variété d’espaces, tant intérieurs qu’extérieurs, au sein d’une infrastructure simple et compacte dont le langage structurel se réfère au passé industriel des bords de quai. Le jury apprécie particulièrement la composition spatiale du projet – notamment par le biais d’un agencement intelligent et généreux des distributions – permettant tout autant une résolution inattendue pour un tel programme qu’une opportunité de développement de nouvelles pratiques urbaines. HANGAR À SEL Goffart Polomè Architectes Ce projet témoigne d’une intervention modeste répondant de façon juste et précise à la fonctionnalité de son programme. Réduit à sa plus simple expression, ce bâtiment propose d’utiliser les éléments constructifs les plus essentiels afin de produire une opération sensible dépassant les strictes contraintes de son usage. Adoptant la forme archétypique du hangar, le projet parvient à le réinterpréter par le biais d’une utilisation pragmatique et raisonnée des matériaux qui le compose. Le jury apprécie particulièrement l’intelligence architecturale et structurelle portée sur les quelques choix de conception répondant tout à la fois l’efficacité de moyen utilisé pour une telle construction que l’économie d’intention nécessaire pour ce type d’opération. TOIT & MOI Matador Ce projet représente une opération fondée sur une grande rigueur et clarté de conception permettant une variété de situations et de relations au sein d’une opération simple et cohérente dans son ensemble. Composant avec différentes typologies et soutenu par une pensée constructive rationnelle, cet édifice offre une grande souplesse et flexibilité d’usage pour aujourd’hui et pour demain. Le jury a plus particulièrement été enthousiasmé par la richesse des interfaces créées entre la vie intérieure du bâtiment et ses espaces extérieurs. L’attention portée sur ces limites tout à la fois claires et nuancées conduit à une intervention forte par le nombre limité de ses moyens maximisant les possibilités qu’elle produit sur les diverses façons de l’habiter. PAVOL PAŇÁK RÉPUBLIQUE TCHÈQUE + SLOVAQUIE RÉPUBLIQUE TCHÈQUE REVITALISATION OF PRAGUE RIVERFRONT Prague, Czech Republic Petr Janda Le point de rencontre entre la ville et la rivière est un phénomène important, qui présente plusieurs limites, mais aussi des opportunités, et revêt un sens fondamental

pour le fonctionnement et l’identité de la ville. Autrefois, l’une des fonctions de cette zone était l’échange de biens et le commerce, passés ensuite du centre de la ville à ses périphéries. La première phase de revitalisation de la rive de la Vltava de Prague constitue un événement important qui renforcera son potentiel grâce à ses caractéristiques déjà en soi essentielles et de grande valeur, comme son emplacement dans une zone de prestige au cœur de Prague et sa relation étroite avec la rivière, ou encore la solidité des matériaux et de la construction des murs de soutènement, des zones intégrées et du quai, du fait de motivations historiques. L’architecte a joué un rôle majeur lors du lancement de la réhabilitation de cette œuvre linéaire, devenue le plus grand investissement municipal des 30 dernières années dans un lieu public. Abandonnée depuis plusieurs décennies et utilisée uniquement de façon ponctuelle, après la rénovation, cette zone est rapidement devenue un endroit populaire pour Pragois et touristes. Les caractéristiques du lieu et de la construction ont été employées de manière créative et sensible. À l’origine, cette zone était destinée au stockage et à l’entretien. Elle se situait sur le mur de la rive qui comprenait une promenade en guise d’avant-poste. Après les travaux, cette zone a trouvé de multiples utilisations : clubs, cafétérias, ateliers, expositions, bibliothèque, et même des bains publics. La promenade offre une expérience majestueuse en contemplant le panorama de l’autre rive et les imposants monuments de la ville. Les grandes fenêtres circulaires placées sur la base du mur de la rive imitent la géométrie des voûtes intérieures semicylindriques, uniques et faciles à mémoriser. Les interventions dans l’essence de la construction sont en réalité très retenues, mais aussi très actuelles. Une symbiose s’est créée entre les nouvelles interventions et la tectonique massive dominante et ses matériaux d’origine. Ce projet a constitué un grand défi technique et technologique, quelque chose qui reste invisible aux yeux du visiteur, mais qui fait partie intégrante de la complexité de cette œuvre architecturale. WHITE SHED Opatov, Czech Republic Atelier 111 architekti / Veronika Indrová, Jiří Weinzettl, Michal Hamada Même un projet dont la finalité est simplement utilitaire et le budget limité peut présenter un grand potentiel d’expression architecturale. Les constructions similaires à des fins industrielles sont généralement de simples enveloppes anonymes servant à produire ou à stocker. Elles deviennent ensuite des œuvres génériques multipliées qui créent ensemble la non-identité caractéristique des zones industrielles en périphérie des villes. Un projet de ce type comporte plusieurs limites initiales : absence de contexte, répertoire technique limité, faible budget, matériaux et type de construction prédéterminés, besoin de montage rationnel… Ce projet nous montre que, malgré ces limites, il est possible d’obtenir un résultat architectural de qualité. À côté d’une

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zone à usage agricole est née une architecture qui présente esthétiquement des caractéristiques architecturales dérivées de ces œuvres, mais qui reste quand même exceptionnelle. Le tracé rationnel, le revêtement métallique et les zones translucides de la façade en font une œuvre industrielle. Le typique toit sans intérêt, à deux versants, caractéristique des œuvres similaires, présente une silhouette propre, presque emblématique. Le puits de lumière à prisme sur le faîtage du toit apporte à la silhouette classique une touche originale distinctive. Le faîtage translucide qui intègre un volume archétypal représente la combinaison entre le connu et le nouveau. Une silhouette habituelle se transforme en un phénomène doté d’une aura presque iconique. L’œuvre présente des détails qui la rendent commune et à la fois différente. RÉPUBLIQUE SLOVAQUE NEW SYNAGOGUE – CULTURAL CENTRE Žilina, Slovak Republic PLURAL / Martin Jančok La résurrection de la nouvelle synagogue de Žilina nous raconte plusieurs histoires. Une architecture aux perspectives de futur peu convaincantes devenue, malgré le manque d’intérêt de l’État, une œuvre nouvelle. La transformation de la synagogue abandonnée est également un exemple d’activisme civil qui vient suppléer l’obligation naturelle de l’État. L’œuvre originale a été construite entre 1929 et 1931 selon le projet d’un grand architecte européen, Peter Behrens. La communauté juive de la ville l’a utilisée jusqu’à ce que son destin soit brisé par les événements tragiques au début de la Seconde Guerre mondiale. La synagogue est l’une des œuvres architecturales de plus grande valeur du 20e siècle en Slovaquie. Après la guerre, elle a servi de théâtre, de salle de concert, de classe universitaire et finalement de cinéma. Les rénovations effectuées au cours de ces 70 années ont effacé des caractéristiques essentielles de son espace intérieur et de ses matériaux. Après la fermeture du bâtiment en 2010, différents activistes culturels de divers domaines ont pris une initiative admirable consistant à sauver, rénover et transformer la synagogue en nouveau centre culturel. Le processus comprenait la collecte lente et difficile de fonds, l’analyse complexe de l’état du bâtiment après tant de modifications, le choix du concept pour la future programmation, etc. Déjà pendant sa renaissance progressive, le bâtiment est devenu un lieu d’activités socioculturelles, d’expositions et de spectacles. Lentement, à mesure que les fonds arrivaient irrégulièrement, le concept architectural se développait également pour sa rénovation. L’ancienne synagogue allait devenir un cadre pour divers événements culturels et sociaux. Pour cela, l’architecte a adopté une stratégie prudente. Toutes les couches postérieures inadaptées, qui couvraient les formes originales et les surfaces, ont été éliminées. La coupole nouvellement mise au jour, le matroneum restauré et les peintures originales de la partie centrale supérieure sont les principaux éléments en symbiose avec les nouvelles interventions. La peinture blanche des murs et la construction jusqu’à une hauteur précise déterminent, de façon symbolique, mais aussi réelle, l’espace dédié aux nouvelles activités dans la partie centrale. Les nouveaux éléments intégrés et les constructions montrent le talent de la conception et présentent un aspect très actuel.

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NEW PARK Leopoldov, Slovak Republic n-1 / Jakub Kopec, Klára Zahradníčková, Tomáš Džadoň L’idée de transformer un cimetière disparu en parc pour enfants présente un symbolisme très fort : le deuil a été remplacé par des jeux pour enfants. Il est difficile de deviner la présence de reliques et la fonction originale dans un lieu ayant une finalité contraire. Comment se souvenir d’un lieu de recueillement sans tomber dans le sentimentalisme ? Les objets présents dans la plupart des cimetières ont été conservés : le mur en brique du côté des habitations, la chapelle, mais aussi les grands tilleuls dans leur formation originale. La nature existante a été complétée par la plantation de nouveaux arbres. Un parc est né avec des clairières comprenant de nouveaux objets qui font partie d’un lieu de loisir pour les enfants. Les auteurs ont travaillé avec des éléments industriels communs et préfabriqués. Nous trouvons différentes figures formées par des tubes en béton, en acier et en plastique, des panneaux, des couvercles, des modules et autres objets discrètement modifiés en s’inspirant de la fantaisie enfantine. Le futur parc est un lieu de promenade libre, sans aucun chemin intégré. L’ensemble de l’espace transmet un effet compact. L’ancienne structure hiérarchisée est rappelée par les vieux tilleuls qui jouaient alors un rôle concret dans la composition et l’organisation du cimetière. Il reste le souvenir du petit lapidaire construit à partir de fragments des pierres tombales disparues. Cet espace est un merveilleux exemple de la coopération entre architecture, paysagisme et arts plastiques. ALEXANDRE THERIOT FRANCE STUDIO EXERCICE Dans la langue française du XIVe siècle, le terme « bricoler » était utilisé pour faire référence aux objets animés par un mouvement ou un incident inattendu. D’une balle qui rebondit, se déplace en zigzag ou bondit, on disait qu’elle « bricole ». Par la suite, le terme prit de nouveaux sens : au sens littéral, « réaliser des travaux manuels » et par extension, « installer quelque chose de façon ingénieuse et en amateur » ; au sens figuré en revanche, bidouiller, arranger quelque chose ou même abîmer. Parmi ces sens, pour désigner quelqu’un qui vivait en opportuniste, on disait qu’il bricole. Parce qu’il s’efforce d’adapter en permanence ses actions aux particularités minimes des objets, le bricoleur est une personne civilisée qui redécouvre, selon Claude Lévi-Strauss, les joies de la pensée sauvage. L’extension d’une maison en Bretagne, conçue par l’agence EXERCICE, suit cette logique constructive. L’agence EXERCICE explore chaque contexte de construction pour y ajouter une nouvelle unicité spatiale et technique. L’agence EXERCICE utilise la taille modeste du projet comme un levier pour déployer un certain nombre de micro-interventions, où toutes les décisions et les actions sont liées au projet dans son ensemble. L’agence EXERCICE démontre que la taille modeste d’un projet n’en limite pas les ambitions. Bien au contraire. Les décisions sont claires, directes et précises, mais toujours prises avec beaucoup de soin.

On pourrait dire que l’approche de l’agence EXERCICE est ingénieuse, explicite et joyeuse. Elle ne recherche pas d’artifices théoriques. Pour le comprendre, il suffit de relire la description du projet rédigée par les auteurs : « Cette extension en Bretagne ouvre largement la maison sur l’espace extérieur par de grands châssis coulissants en aluminium anodisé. La structure est conçue comme une superposition de différentes matérialités qui laissent passer un maximum de lumière. À l’extérieur, trois volets en acier galvanisé coulissent grâce à des roues à gorges et une série d’équerres métalliques qui servent de guides, fixées ponctuellement sur le nez de dalle. » Le travail de l’agence EXERCICE repose sur les « choses ordinaires », le plaisir de réunir, le besoin d’assembler des choses disparates, parfois incompatibles, pour produire des situations extraordinaires. Une pratique unique et exemplaire. THÉÂTRE DU MAILLON, LAN L’architecte britannique Cedric Price (1934-2003) a réalisé relativement peu de bâtiments mais à travers ses dessins, ses propositions, ses enseignements et ses conversations, il a exercé une influence énorme dans de nombreuses disciplines. Pour Price, l’architecture est un instrument visant la croissance sociale et pédagogique, et non un geste esthétique en soi. Le Fun Palace (1961), sa plus célèbre structure datant du début des années 60, était destiné à promouvoir la cohésion sociale, tout en étant construit comme structure à court terme. « Fruit de la collaboration entre Cedric Price et la productrice de théâtre d’avant-garde Joan Littlewood, le Fun Palace n’était pas un bâtiment au sens conventionnel du terme, mais plutôt une machine socialement interactive, hautement adaptable aux conditions culturelles et sociales changeantes de son époque et de son environnement, avec des structures non pas permanentes mais amovibles, transportables et réassemblables en fonction des besoins. » Le théâtre du Maillon a sans doute quelque chose en commun avec le Fun Palace. Bien sûr, pas dans les conditions conceptuelles préalables sur lesquelles il repose, ni même dans sa construction, mais simplement par son ambition de penser ce lieu dédié aux arts du spectacle comme un bâtiment-machine visant à permettre plutôt qu’à imposer, ouvert à la ville, qui cherche à l’incorporer par tous les moyens, mais avec la ferme intention de ne jamais affirmer son programme et donc sa fonction. Le hangar Maillon affirme son caractère informel, menaçant de disparaître dans un contexte de banlieue peu glorieux. Mais c’est un beau hangar qui fait la part belle à la matière, qui est noire avant d’être béton, et à la lumière, qu’elle soit naturelle, latérale, secondaire ou sur le fond. Le chic et le noir flirtent jusqu’à l’excès dans le seul but de produire un espace public unique et singulier, et le désir farouche de penser à créer un lieu de culture. * Cedric Price, Re: CP, Syracuse, LetteraVentidue, 2011, p. 31, ISBN 978-88-6242-033-4. ** Marco Biraghi, Architecture Histoire moderne 1945-2008, Turin, Einaudi, 2008, p. 179 ISBN 978-88-06-19313-3.

NICOLA DI BATTISTA ITALIE MILAN: PIRELLI LEARNING CENTER onsitestudio Giancarlo Floridi and Angelo Lunati C’est une forte vocation civile et urbaine qui caractérise le bâtiment réalisé pour accueillir le nouveau centre de services de Pirelli. Au sein du quartier industriel historique de la Bicocca, cette dernière construction, malgré ses dimensions modestes, aspire à devenir le véritable cœur de toute la zone, le véritable endroit de ce morceau de ville rénové. Elle le fait en confrontation directe avec le palais Renaissance de la Bicocca degli Arcimboldi, en créant avec celui-ci une sorte de contrepoint entre le vieux et le neuf, dans le joli cadre du jardin encore existant. Destiné à accueillir principalement le centre de formation et la cantine, le bâtiment construit un nouveau front de rue compact et réservé qui ne présente un caractère plus domestique et ouvert qu’à l’intérieur, vers le jardin, caractérisé par le volume à un seul étage de la cantine qui ressort de l’ensemble et se projette à l’extérieur à travers un portique qui dialogue directement avec le palais ancien. La partie du bâtiment au rez-de-chaussée non occupée par la cantine devient en revanche une petite place en pierre, arborée et accueillante, qui conduit au jardin principal, tandis que le front public donnant sur la rue est caractérisé par la conception habile des volumes techniques sur le toit, dont la forme bipartite interrompt la façade dans l’axe de l’entrée et la conclut en la connotant définitivement comme architecture de la ville.

PESCARA: PANTA REI BEACH Toffoli Architetti Ubaldo Toffoli La réalisation d’un petit établissement balnéaire représente un défi très difficile à relever pour l’architecte : rendre la construction visible tout en limitant son impact sur le profil de la mer. La solution adoptée a recours à un volume long et étroit, disposé perpendiculairement au rivage, orienté de façon directe et péremptoire vers le vaste horizon de la mer. L’installation typologique permet au pavillon d’avoir un minimum d’impact sur la ligne d’eau compte tenu de la forte visibilité d’ensemble, mais également de devenir, par sa forme nette et précise, une véritable unité de mesure, capable de donner une dimension à l’étendue de la plage. Un grand soin a été apporté pour configurer la section du pavillon, qui utilise quasiment la moitié de la hauteur interne totale pour contenir la structure de la toiture et accueillir également les installations volumineuses. Avec ses poutres en treillis, la grande toiture, suspendue aux lignes de l’avanttoit, en dessine très habilement l’espace, et sa forme évasée vers le bas permet d’avoir les façades extérieures du pavillon complètement libres sur toute la hauteur, donnant aux intérieurs une spatialité surprenante compte tenu de la taille modeste de la construction. À la simplicité structurelle, il faut ajouter un soin méticuleux des détails et une utilisation des matériaux sobre et adaptée au sujet.

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TURIN: ESCUELA ENRICO FERMI BDR bureau Alberto Bottero and Simona Della Rocca La nouveauté étonnante que ce projet livre à l’époque actuelle est la preuve tangible de ce que la discipline de l’architecture peut apporter de nos jours à la vie et au bienêtre des humains. Le projet est le fruit d’un concours soutenu par un commanditaire éclairé pour répondre à la demande de transformation d’un vieux complexe scolaire en école contemporaine. Les architectes ont fait le choix de conserver les caractéristiques typologiques du complexe, tout en lui donnant une configuration urbaine totalement nouvelle, à commencer par les différentes hiérarchies imposées au bâtiment par rapport au terrain sur lequel il se trouve. Le front orienté vers le sud-est du bâtiment devient le véritable lieu de travail et, grâce à l’utilisation d’une portion de terrain non construite, un jardin est créé pour servir de filtre et de nouvelle entrée de l’école. À ce stade, le sujet devient la reconfiguration des façades de façon à exploiter au mieux leur potentiel, grâce à l’ajout devant les anciennes perspectives de grandes terrasses ouvertes, en réalité revêtues d’une légère grille métallique qui en fait de véritables espaces à proprement parler, en continuité avec l’intérieur des salles de classe qui déborde ainsi vers l’extérieur. Ceci, associé à une conception habile des intérieurs, où la lumière joue un rôle essentiel, crée des lieux véritablement contemporains et en phase avec notre époque. INÊS LOBO PORTUGAL + ESPAGNE PORTUGAL TERMINAL DE BATEAUX DE CROISIÈRE DE LISBONNE João Luís Carrilho Da Graça Une gare compacte et intégrée dans un ensemble d’espaces extérieurs conçus comme un boulevard et présentant de multiples allées boisées, un jardin linéaire où de petits pavillons accueillent des programmes servant ce nouvel endroit de la ville, inscrit dans le réaménagement des rives du fleuve. À souligner, l’intelligence avec laquelle ce projet transforme un programme privé en un nouvel endroit public de la ville de Lisbonne, concevant, avec une extrême précision, les limites entre l’espace public et le fonctionnement du port. Nous nous trouvons dans le centre historique, sur la plateforme de débarquement construite pour accueillir le port de Lisbonne, où existaient deux cales. Sur l’une a été construite la gare qui est entièrement occupée par un parking auto à l’air libre au nord-est et le bassin de marée au sud-ouest, marquant ainsi sa mémoire. Il n’a ainsi pas été nécessaire de creuser pour recevoir le parking couvert au niveau -1 de la gare, qui est en continuité avec l’autre. Le niveau 1 est principalement dédié aux bagages, tandis que le niveau 2, à hauteur des longues passerelles qui mènent aux gigantesques navires, de structure métallique régulière, accueille les passagers. Aux deux extrémités de la gare (NE, SO) sont situées les escaliers et les rampes, qui leur donnent un mouvement vertical.

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La gare est protégée par une carcasse, en béton allégé par du granulé de liège. Du côté terre, elle se plie pour marquer les portes, tandis que du côté fleuve, elle se présente uniquement à la verticale, communiquant avec les passerelles. La toiture plie, elle également, créant une dépression qui éclaire le niveau 2 et donne accès à un belvédère sur la ville. Pour terminer, on peut dire que plutôt que de construire, ce projet nous renvoie la mémoire d’un endroit. BAR & PAVILLON DE BELÉM Ricardo Bak Gordon À proximité de la gare fluviale de Belém, des jardins du MAAT et des imposants accès au pont piétonnier du Musée des Carrosses, ce bar situé à Belém, au bord du Tage, est tout de blanc vêtu, comme ce qui l’entoure, à l’image d’une grande couverture enveloppante, sous laquelle on peut boire au comptoir ou s’assoir confortablement à l’une des nombreuses tables qui dépassent même cet espace pour envahir le trottoir, certaines sous des parasols. La toiture, de structure rectangulaire et à trois pentes, repose, au sud, sur un pilier/mur et au nord, sur un mur, le tout en béton armé, deux parois rétractables en verre fermant, en diagonal, le comptoir, les WC et la cuisine, celle-ci présentant une porte vers l’arrière-boutique où est situé le cylindre isolé de l’entrepôt. C’est également dans cette partie extérieure, que des escaliers donnent accès à des espaces d’appoint, à la cave. C’est ainsi que cette disposition a permis de distinguer une partie avant et arrière. La première, symétrique, rappelle l’archétype « venturien » de la maison avec ses pentes et deux découpes pour étendre le noyau du comptoir, tandis que la seconde rappelle le jeu des volumes associés à la lumière de Le Corbusier. Dans son contexte, ce bar n’a pas été conçu comme un kiosque, il s’affirme à une autre échelle. Une échelle qui l’associe de façon beaucoup plus directe au Musée des Carrosses et au système d’accès menant aux rives du fleuve, comme s’il s’agissait de la touche finale d’un système.

ESPAGNE MAISON O FIEIRO, MAZARICOS Arturo Franco Pour décrire cette maison, il est tout d’abord indispensable de décrire son système de construction, pour ensuite passer à sa typologie ou à son rapport avec le paysage. On peut dire que le système de construction/structure, a été résolu en trois matériaux : bois, acier et corroies de camion, en articulation avec un contenant en pierre originale, un système de murs porteurs, qui fonctionnent en compression, ce contenant étant utilisé comme support pour une nouvelle structure de planchers qui fonctionnent par traction. Cette invention donne lieu à une maison qui s’articule autour de deux espaces principaux à deux et trois étages, visuellement reliés dans toutes leurs diagonales et en rapport constant avec l’extérieur. C’est là que se déroule le programme quotidien d’une famille pour prendre ses repas, cuisiner, se réunir, travailler, jouer et socialiser, les chambres étant des espaces plus isolés.

Pour relier les espaces verticaux, les escaliers d’origine, dont les grandes marches en pierre massive déchargent leur poids au sol, ont été préservés, un nouvel escalier en plaque de métal donnant, par opposition, l’impression de flotter sur le sol en bois. Quelqu’un l’a décrite comme une caverne habitée par des êtres libres, de façon peu conventionnelle. Une maison du village comme les autres, intemporelle, une intervention technologique qui ne se laisse pas intimider par les contraintes d’un moment précis. HABILLER LE PAVILLON MIES VAN DER ROHE Anna & Eugeni Bach Une installation qui prétend être un espace pour la réflexion, une installation qui nous permet, une fois encore, de rapprocher l’histoire de l’architecture moderne. Une intervention simple, le Pavillon de Barcelone de Mies Van Der Rohe, dans une représentation de lui-même ouvrant les portes à de multiples interprétations telles que : la valeur de l’original, le rôle de la surface blanche comme image de modernité, ou l’importance de la matérialité dans la perception de l’espace. Le Pavillon sur lequel porte à présent l’intervention est une reconstruction, une réplique tellement fidèle à l’original qu’il est souvent difficile de se souvenir de sa véritable nature.

verticaux sont situés aux quatre coins de la cour, de façon à ce que tous les habitants convergent et se retrouvent dans cette cour-place. Typologie_ logement privé À un étage typique, l’accès aux logements s’effectue à travers le noyau et deux terrasses privées qui constituent la couronne des espaces extérieurs avec vue sur la cour. Le niveau général de l’immeuble est organisé par une matrice d’espaces communicants. Les unités sont au nombre de 114 par étage, 543 au total et toutes reliées, évitant ainsi les circulations horizontales communes et privées. Les espaces de service se trouvent à l’intérieur de l’anneau central tandis que les autres pièces à usage et de taille indifférenciés, de près de 13 m2, sont disposées sur la façade, offrant ainsi différents modes de vie. Une autre terrasse sur la couronne extérieure complète la séquence spatiale, la file d’espaces reliés par de grandes ouvertures, perméables à l’air et au regard. Construction La dimension des unités spatiales, outre la versatilité qu’elles offrent, fondée sur l’ambiguïté d’usage et l’indétermination fonctionnelle, présente une dimension adaptée à la solution structurelle en bois. Une construction modulaire qui cherche à répondre à une idée d’économie circulaire dans l’industrie de la construction.

La transformation du Pavillon en une image de lui-même, avec toutes ses surfaces limitées à un seul matériau, montre le rôle représentatif du bâtiment ; aussi bien celui de l’original, comme symbole national, que celui de la réplique, qui représente le premier. Le Pavillon devient, pour un instant, un modèle à échelle 1:1 de sa réplique. Celle-ci et d’autres réflexions peuvent être portées partant de l’expérience de chacun sur un Pavillon qui, pour quelques jours, perd son identité matérielle pour assumer tout son potentiel représentatif. Il nous permet de réfléchir à des aspects aussi transversaux que la valeur de l’imperfection. Il renforce l’interprétation du Pavillon comme un temple, à présent blanc. Il nous montre la force des joints, maintenant complètement visibles, à mesure que disparaissent les textures et les reflets qui les masquaient et qui nous renvoient à une des perspectives ou des collages, si caractéristiques de Mies, qui, à présent, peuvent être parcourus. 85 LOGEMENTS SOCIAUX CORNELLÀ Peris + Toral Arquitectes À la recherche de nouveaux modèles à habiter Le logement pour tous étant sans doute l’un des thèmes centraux des villes d’Europe, le projet de ce binôme d’architectes est une réponse possible aux questions suivantes : comment allons-nous vivre dans notre avenir proche ? Quelles typologies ? Quelles façons de construire ? Typologie_ logement collectif Le bâtiment est organisé autour d’une cour qui articule une séquence d’espaces intermédiaires. Au rez-dechaussée, un portique ouvert vers la ville anticipe la porte de l’immeuble et filtre le rapport entre l’espace public et la cour du quartier qui fonctionne comme une petite place pour la communauté. Les quatre noyaux de communication

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ČESKÝ

KOMENTÁŘE POROTY ADRIEN VERSCHUERE BELGIE MELOPEE SCHOOL Xaveer De GeyterArchitects Tento projekt ilustruje zásah poskytující velmi rozsáhlé rozhraní s městem prostřednictvím odvážné reinterpretace venkovních prostor školy jako potenciálních podpůrných prostor pro další formy sdíleného využití v městském měřítku. Navržená budova spojuje různé prostory v interiéru i exteriéru do jednoduché a kompaktní infrastruktury, jejíž konstrukční vyjádření odkazuje na průmyslovou minulost nábřeží. Porota oceňuje zejména prostorovou kompozici projektu – zejména díky inteligentnímu a velkorysému uspořádání rozvodů -, umožňující jak nečekané řešení takového programu, tak dávající příležitost k rozvoji nových urbanistických postupů.

HANGAR À SEL Goffart Polomè Architectes Tento projekt svědčí o skromném zásahu, který spravedlivě a přesně reaguje na funkčnost svého programu. Tato stavba omezující se na nejjednodušší vyjádření, navrhuje využití nejpodstatnějších konstrukčních prvků k vytvoření citlivého provozu, jenž přesahuje striktní vymezení jejího využití. Projekt přejímá archetypální formu hangáru a dokáže ji nově interpretovat pragmatickým a rozumným využitím materiálů, již ji tvoří. Porota oceňuje zejména architektonickou a konstrukční inteligenci, která se projevila v několika málo konstrukčních řešeních, jež odpovídají jak efektivitě prostředků použitých pro takovou stavbu, tak úspornosti záměru, která je pro tento typ provozu nezbytná.

TOIT & MOI Matador Tento projekt představuje operaci založenou na velké přísnosti a jasnosti návrhu, umožňující různé situace a vztahy v rámci jednoduché a soudržné operace jako celku. Tato budova, složená z různých typologií a podpořená racionální konstrukční myšlenkou, nabízí velkou flexibilitu využití pro dnešek i zítřek. Porota byla nadšena zejména bohatstvím rozhraní mezi vnitřním životem budovy a jejími vnějšími prostory. Pozornost věnovaná těmto jasným a odlišeným hranicím vede k zásahu, který je silný v omezeném počtu svých prostředků a maximalizuje možnosti, jež vytváří pro různé způsoby života v něm.

PAVOL PAŇÁK ČESKÁ REPUBLIKA + SLOVENSKO ČESKÁ REPUBLIKA REVITALISATION OF PRAGUE RIVERFRONT Petr Janda Prague, Czech Republic Rozhraní mezi městem a řekou je důležitým fenoménem. Z toho vyplývá několik omezení, ale také příležitostí. Má zásadní význam pro fungování města a jeho identitu. Jedna z dávných funkcí tohoto rozhraní, tj. výměna zboží a obchod, se později přesunula z center měst na jejich periferie.

Tato první fáze revitalizace pražského vltavského nábřeží je významným počinem, který využívá jeho potenciál. Výchozí bod je zde cenným a důležitým přínosem. Jedním z nich je jeho prestižní poloha v centru Prahy a blízkost řeky. Další je historicky založená konstrukční a materiálová pevnost opěrných zdí, vestavěných prostor a ploch nábřeží. Cenná je osobní účast architekta na zahájení kultivace této liniové stavby. Tento projekt se stal nejvýznamnější investicí města do veřejného prostoru za posledních přibližně 30 let. Po desetiletích zanedbávání a ad hoc využívání se revitalizované prostory a plochy staly ve velmi krátké době místem hojně navštěvovaným Pražany i turisty. Stávající kvality místa a stavební substance byly kreativně a citlivě zhodnoceny. Původní skladové a technické prostory v tělese nábřežní zdi se styčnou promenádou se staly rámcem pro nejrůznější aktivity v podobě kluboven, kaváren, ateliérů, výstav, knihovny a také veřejných toalet. Promenáda nabízí majestátní zážitek z panoramatu protějšího nábřeží s charakteristickou kulisou významných pražských památek. Velká kruhová okna v soklu nábřežní zdi přepisují geometrii půlválcových vnitřních oblouků na jejím povrchu. Jsou jedinečné a snadno zapamatovatelné. Zásahy do stavební hmoty jsou ve skutečnosti střídmé, a přesto sebevědomě současné. Proti dominantní masivní tektonice a originální materialitě vzniklo přesvědčivé partnerství nových zásahů. Tento projekt byl obzvláště náročný z hlediska stavební technologie a inženýrství. Je to hodnota, která je návštěvníkovi skryta, je však nedílnou součástí komplexnosti této architektury. WHITE SHED Atelier 111 architekti / Veronika Indrová, Jiří Weinzettl, Michal Hamada Opatov, Czech Republic Je pravda, že i úkol s utilitární funkcí a omezeným rozpočtem má potenciál hodnotné architektonické výpovědi. Podobné průmyslové stavby jsou vesměs pouhým anonymním obalem výrobní nebo skladové funkce. Ve svém druhovém zmnožení pak tyto objekty spoluvytvářejí charakteristickou neidentitu průmyslových komplexů na okraji měst. Podobné zadání má několik počátečních limitů. Chybějící kontext, omezený tektonický repertoár, nízký rozpočet, materiálové a konstrukční předurčení, potřeba racionální montáže. Tento projekt dokazuje, že omezující okolnosti nebrání kvalitnímu architektonickému výsledku. V sousedství staveb zemědělské oblasti vznikla architektura, která svým vzhledem vykazuje charakteristické rysy těchto staveb, a přesto je výjimečná. Racionální půdorysné schéma, kovový plášť a průsvitné fasádní plochy ho řadí do segmentu průmyslových budov. Mělká sedlová střecha typická pro podobné stavby má výraznou, téměř ikonickou siluetu. Hranolový světlík v hřebeni střechy dodává známé siluetě neobvyklý prvek, který ji identifikuje. Průsvitný hřeben na archetypálním svazku je spojením známého a nového. To povyšuje obvyklou siluetu na jedinečný fenomén s téměř ikonickou aurou. V detailech je stavba zároveň všední i výjimečná.,

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SLOVENSKÁ REPUBLIKA NEW SYNAGOGUE – CULTURAL CENTRE PLURAL / Martin Jančok Žilina, Slovak Republic Znovuzrození Nové synagogy v Žilině je mnohovrstevnatý příběh. Architektura s bezradnými vyhlídkami do budoucna se stala novým realizovaným programem navzdory nezájmu státu. Proměna opuštěné synagogy je také příběhem občanského aktivismu, který nahrazuje přirozenou povinnost státu. Původní architektura byla realizována v letech 1929-31 podle návrhu významného evropského architekta Petera Behrense. Židovské komunitě ve městě sloužila pouze do začátku tragického osudu této komunity během druhé světové války. Synagoga je jednou z nejcennějších staveb 20. století na Slovensku. V poválečných letech sloužila jako divadelní a koncertní sál, později jako univerzitní aula, a nakonec jako kino. Během těchto sedmi desetiletí se úpravami ztratily podstatné rysy jejího vnitřního prostorového obrysu a materiálnosti. Po uzavření budovy v roce 2010 vznikla pozoruhodná iniciativa kulturních aktivistů různých profesí. Jejím cílem bylo zachránit, obnovit a přeměnit synagogu v nové kulturní centrum. Byl to náročný proces postupného získávání finančních prostředků, poznávání stavu budovy po mnoha proměnách, utváření budoucí programové strategie atd. Již během svého postupného oživování byla místem kulturních a společenských aktivit, výstav a představení. V souvislosti s nerovnoměrným přísunem finančních prostředků se postupně vyvíjela i architektonická koncepce rekonstrukce. Bývalá synagoga se měla stát zázemím pro nejrůznější kulturní a společenské akce. Tomu byla podřízena i zdrženlivá strategie architekta. Všechny nevhodné pozdější vrstvy, které překrývaly původní formy a povrchy, byly odstraněny. Znovu odhalená kopule, restaurovaná empora, obnovené původní nátěry v horní části centrální haly jsou nejvýraznějšími prvky, které ladí s novými zásahy. Bílý nátěr povrchů stěn a konstrukcí do určité výšky symbolicky, ale i fakticky vymezuje prostorový rámec nových aktivit centrálního prostoru. Nové vložené prvky a konstrukce jsou talentovaně navržené a zřetelně současné. NEW PARK n-1 / Jakub Kopec, Klára Zahradníčková, Tomáš Džadoň Leopoldov, Slovak Republic Myšlenka přeměny zaniklého hřbitova na park a dětské hřiště má silnou symboliku. Vzpomínkovou atmosféru vystřídala relaxace v prostředí parku a dětské hry. Obtížným úkolem je odhadnout, do jaké míry jsou v prostředí se zcela opačným posláním přítomny pozůstatky původní funkce. Jak si připomenout starobylou zbožnost bez naivního sentimentu? Téměř na každém hřbitově jsou zachovány doprovodné artefakty – plný cihlový plot obrácený k sousedům, kaple a alej vzrostlých lip v původní ose. Stávající zeleň doplňují nově vysazené stromy. Vznikl park s mýtinami, v nichž jsou rozmístěny různé artefakty – místa pro hru dětí. Tvůrci pracují s běžnými produkty průmyslu a stavební

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prefabrikace. Betonové, ocelové a plastové trubky, panely, poklopy šachet, buňky a další jsou sestaveny do různých tvarů a rafinovaně přizpůsobeny svému účelu, které je inspirováno dětskou fantazií. Budoucí nový park je volně průchozí a chybí v něm jakékoliv komponované pěší trasy. Celá oblast působí celistvým dojmem. Někdejší hierarchickou strukturu připomínají staré lípy, které doprovázejí zaniklou kompoziční a organizační osu hřbitovní funkce. Připomíná malé lapidárium složené z kamenných úlomků zaniklých náhrobků. Tato oblast je vynikajícím příkladem spolupráce architekta, krajinářského architekta a výtvarného umělce. ALEXANDRE THERIOT FRANCIE STUDIO EXERCICE Ve staré francouzštině 14. století se slovo „bricoler“ (kutit něco) používá pro předměty, které jsou zasaženy neočekávaným pohybem nebo událostí. Míč do dlaně, který se odráží, kličkuje nebo má falešný odraz „bricole“. Poté se objevily současné významy tohoto výrazu: doslova „zabývat se ruční prací“ a následně „instalovat či tvořit něco amatérským a vynalézavým způsobem“, přeneseně pak „šťourat, něco zařizovat, nebo dokonce manipulovat“: ve vyšších kruzích se ostatně říká, že někdo, kdo žije pro svůj prospěch, tak je „kutil“. Vzhledem k tomu, že se snaží neustále přizpůsobovat své postoje drobným zvláštnostem předmětů, je kutil civilizovaný člověk, který podle Clauda Lévi-Strausse znovuobjevuje radosti divošského myšlení. Tato přístavba domu v Bretani, navržená studiem EXERCICE, se řídí touto konstruktivní logikou. Ateliér EXERCICE zkoumá každou zastavěnou situaci, aby jí dodal novou prostorovou a technickou zvláštnost. Studio EXERCICE využívá skromné rozměry projektu jako páku k nasazení množství mikrointervencí, kde každé rozhodnutí a akce zdůvodňují celý projekt. Studio EXERCICE dokazuje, že skromná velikost projektu neomezuje jeho ambice. Naopak. Rozhodnutí jsou jasná, přímá a přesná, ale vždy prováděná s velkou pečlivostí. Řekli bychom, že přístup studia EXERCICE je důmyslný, jednoznačný a radostný. Neusiluje o teoretickou uměřenost. Abychom se o tom přesvědčili, stačí si znovu přečíst popis projektu, který vytvořili jejich autoři: „Tato přístavba v Bretani otevírá dům vnějšímu světu prostřednictvím velkých posuvných oken z eloxovaného hliníku. Konstrukce je navržena jako superpozice různých materiálů, které propouštějí maximum světla. Z vnější strany se tři pozinkované ocelové okenice posouvají díky drážkovaným kolečkům a sérii kovových konzol, které slouží jako vodicí prvky upevněné v bodech na přídi desky. Práce ateliéru EXERCICE je poháněna „obyčejnými věcmi“, potěšením ze sestavování, potřebou skládat dohromady nesourodé, někdy neslučitelné věci a vytvářet tak neobyčejné situace. Ojedinělá a příkladná praxe.”

THÉÂTRE DU MAILLON, LAN Britský architekt Cedric Price (1934-2003) realizoval poměrně málo staveb, ale svými kresbami, návrhy, výukou a rozhovory měl obrovský vliv na mnoho oborů. Pro Price byla architektura nástrojem k sociálnímu a pedagogickému růstu, nikoliv estetickým gestem sama o sobě. Jeho nejznámější stavby z počátku 60. let, Fun Palace (1961), měly jednak podpořit sociální soudržnost, jednak byly realizovány jako krátkodobé stavby. „Palác zábavy, který se zrodil ze spolupráce Cedrica Price a avantgardní divadelní producentky Joan Littlewoodové, nebyl budovou v konvenčním slova smyslu, ale sociálně interaktivním strojem, který se bez stálých konstrukcí velmi dobře přizpůsoboval měnícím se kulturním a společenským podmínkám své doby a místa, byl odnímatelný, přenosný a v případě potřeby znovu sestavitelný“. Divadlo Maillon má v sobě pravděpodobně něco z Paláce zábavy. Ne ovšem v jeho koncepčních předpokladech, které ho předurčily ke vzniku, a dokonce ani v jeho konstrukci, ale prostě v ambici uvažovat o tomto místě věnovanému scénickému umění jako o strojové budově, která musí umožnit, než se vnutí, otevřít se městu, jež se ho snaží všemi prostředky začlenit, ale s pevným záměrem nikdy neprosadit jeho program, a tím i funkci. Hangár Maillon potvrzuje svůj neformální charakter a hrozí, že zanikne v neslavném předměstském kontextu. Je to však krásný hangár, který dává přednost materiálu, který je černý před betonem, a světlu, ať už přirozenému, bočnímu, sekundárnímu nebo podsvícenému. Elegance a černá barva flirtují až do krajnosti s jediným cílem - vytvořit jedinečné, ojedinělé, veřejné místo a s neskrývanou touhou myslet na to, že se jedná o místo kultury. * Cedric Price, Re: CP, Syrakusy, LetteraVentidue, 2011, s. 31, ISBN 978-88-6242-033-4. ** Marco Biraghi, Architecture Histoire moderne 1945-2008, Turín, Einaudi, 2008, s. 179. ISBN 978-88-06-19313-3. NICOLA DI BATTISTA ITÁLIE MILAN: PIRELLI LEARNING CENTER onsitestudio Giancarlo Floridi and Angelo Lunati Pro budovu určenou pro nové servisní středisko Pirelli je charakteristické silné občanské a městské poslání. Navzdory své skromné velikosti se tato budova v historické průmyslové čtvrti Bicocca chce stát skutečným srdcem celé oblasti, místem setkávání této renovované části města. Toho dosahuje přímým kontrastem s renesančním domem Bicocca rodiny Arcimboldi, který vytváří jakýsi kontrapunkt mezi starým a novým v krásném prostředí stále existující zahrady. Budova, která má sloužit především jako výukové centrum a jídelna, se tyčí jako nové kompaktní a rezervované uliční průčelí. Uvnitř, směrem do zahrady, působí více domáckým a otevřeným dojmem, který charakterizuje jednopodlažní blok kavárny, jenž je zobrazen směrem ven portikem v přímém dialogu se starým obytným domem.

V přízemí budovy, nezávisle na kavárně, se nachází malé, příjemné kamenné náměstí se stromy, které vede do hlavní zahrady. Veřejné průčelí obrácené do ulice se vyznačuje účinným řešením technických objemů umístěných na střeše, které svou dvoudílnou formou přerušují fasádu v ose vstupu a uzavírají ji, čímž ji definitivně charakterizují jako architekturu města. PESCARA: PANTA REI BEACH Toffoli Architetti Ubaldo Toffoli Výstavba malého lázeňského letoviska je pro architekta obtížným úkolem: zviditelnit budovu, aniž by příliš ovlivnila profil moře. Přijaté řešení využívá dlouhou, úzkou budovu umístěnou kolmo k pobřeží, která směřuje přímo a kategoricky k rozlehlému mořskému horizontu. Tento typ půdorysu umožňuje, aby pavilon díky své celkové viditelnosti minimálně zasahoval do vodní linie, zatímco jeho jasný a přesný tvar z něj činí skutečnou měrnou jednotku, která dokáže dát rozměr obrovské pláži. Zvláštní pozornost byla věnována konfiguraci pavilonové části, která využívá téměř polovinu celkové vnitřní výšky k umístění střešní konstrukce a také k umístění objemných zařízení. Velká síťová střecha z dřevěných trámů, zavěšená na okapové linii, chytře řeší prostor. Její směrem dolů rozšířená forma umožňuje, aby vnější fasáda pavilonu byla v jakékoli výšce zcela volná, a poskytuje tak překvapivou prostorovost ve vztahu ke skromným rozměrům budovy. Konstrukční jednoduchost je doprovázena pečlivou pozorností věnovanou detailům a střízlivým a vhodným použitím materiálů. TURIN: ESCUELA ENRICO FERMI BDR bureau Alberto Bottero and Simona Della Rocca Překvapivá novinka, kterou tento projekt přináší do současnosti, je hmatatelným důkazem toho, čím může architektura přispět k životu a pohodě dnešních lidí. Tento projekt je výsledkem soutěže sponzorované citlivým klientem, který chtěl vyhovět potřebě přeměnit bývalý školní komplex na moderní školu. Architekti se rozhodli zachovat typologické charakteristiky komplexu a zároveň mu dát zcela novou urbanistickou konfiguraci, počínaje různými hierarchiemi, které budově ukládá pozemek, na němž se nachází. Široké průčelí orientované na jihovýchod se stává skutečným pracovištěm a s využitím části nezastavěného pozemku vzniká zahrada, která slouží jako filtr a nový vstup do školy. V tomto bodu se soustředíme na úpravu fasád, abychom plně využili jejich potenciál. Za tímto účelem byly přistavěny velké otevřené terasy, které jsou však opláštěny lehkým kovovým pletivem, takže se stávají skutečnými prostory v návaznosti na interiér učeben směřující ven. To spolu s efektivním designem interiéru, v němž hraje hlavní roli světlo, dodává tomuto místu moderní atmosféru odpovídající dnešní době.

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INÊS LOBO PORTUGALSKO + ŠPANĚLSKO PORTUGALSKO TERMINÁL VÝLETNÍCH LODÍ V LISABONU João Luís Carrilho Da Graça Kompaktní přístaviště integrované do souboru venkovních prostor navržených jako bulvár s několika zalesněnými alejemi, lineární zahradou, kde malé pavilony hostí programy sloužící tomuto novému místu ve městě, jež je součástí přestavby říčních břehů. Stojí za to vyzdvihnout inteligenci, s jakou tento projekt mění soukromý prostor v nové veřejné místo v Lisabonu a s jakou mimořádnou přesností pojímá hranice mezi veřejným prostorem a fungováním přístavu. Nacházíme se v historickém centru, na přístavní plošině vybudované pro lisabonský přístav, kde byly dva doky. Na jednom z nich bylo postaveno nádraží, které na severovýchodě zcela zabírá parkoviště pod širým nebem a na jihozápadě přílivová nádrž, jež jej připomíná. Nebylo proto nutné kopat prostory pro kryté parkoviště na úrovni -1 podlaží, protože zde dochází k přímé návaznosti. Úroveň 1 je určena především pro zavazadla, zatímco úroveň 2, ve výšce dlouhých lávek vedoucích k obřím lodím s pravidelnou kovovou konstrukcí, slouží cestujícím. Na obou koncích terminálu (SV, JZ) jsou umístěny schody a rampy, které umožňují vertikální pohyb. Stanice je chráněna kostrou z betonu odlehčeného korkovým granulátem. Na pevninské straně se sklápí a označuje dveře, zatímco na říční straně je pouze svislá a komunikuje s chodníky. Střecha se rovněž sklápí, čímž vzniká prohlubeň, která osvětluje 2. podlaží a umožňuje přístup k vyhlídce na město. Závěrem lze říci, že tento projekt je spíše dílo, jež připomíná důležitost daného místa, než novou výstavbou. BAR & PAVILON V BELÉM Ricardo Bak Gordon V blízkosti nádraží Belém, zahrad MAAT a impozantních přístupů k pěšímu mostu Muzea kočárů se nachází tento bar v Belému na břehu řeky Tajo, který je celý oděn do bílé barvy, stejně jako jeho okolí, do podoby velké zavinovací deky, pod níž můžete popíjet u pultu nebo se pohodlně usadit u jednoho z mnoha stolků, některých zastíněných slunečníky, které přesahují i tento prostor a zasahují na chodník. Obdélníková střecha se třemi sklony spočívá na pilíři/stěně na jihu a na stěně na severu, vše ze železobetonu, se dvěma zatahovacími skleněnými stěnami, které diagonálně uzavírají pult, WC a kuchyň, přičemž poslední jmenovaná má dveře do zadní místnosti, kde se nachází izolovaný válec skladu. Z tohoto prostoru vedou schody do sklepa, kde jsou další prostory. Toto uspořádání umožnilo rozlišit přední a zadní část. První, symetrický, připomíná „venturiánský“ archetyp domu se svými svahy a dvěma výřezy, jež rozšiřují jádro pultu, zatímco druhý připomíná hru objemů spojenou se světlem od Le Corbusiera. Tento bar není ve svém kontextu koncipován jako kiosek, ale prosazuje se v jiném měřítku. Měřítku, které ho mnohem bezprostředněji spojuje s Muzeem kočárů a přístupovým systémem k břehům řeky, jako by bylo posledním dotvořením systému.

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ŠPANĚLSKO DŮM O FIEIRO, MAZARICOS Arturo Franco Abychom mohli tento dům popsat, je třeba nejprve popsat jeho konstrukční systém a poté přejít k jeho typologii nebo jeho vztahu ke krajině. Lze říci, že konstrukční systém je řešen ve třech materiálech: dřevo, ocel a nákladní korby, skloubené s původním kamenným kontejnerem, systémem nosných stěn, které pracují v tlaku, přičemž tento kontejner slouží jako podpora pro novou konstrukci podlah, jež fungují na základě trakce. Výsledkem tohoto vynálezu je dům, který je členěn kolem dvou hlavních prostorů o dvou a třech podlažích, vizuálně propojených ve všech svých úhlopříčkách a v neustálém vztahu s okolím. Zde se odehrává denní program rodiny, tedy jídlo, vaření, setkávání, práce, hry a společenské akce, zatímco ložnice jsou spíše izolované prostory. Pro propojení vertikálních prostor byla zachována původní schodiště, jejichž velké masivní kamenné stupně zatěžují podlahu, a nové schodiště z kovových desek, které naopak působí dojmem, že se vznáší na dřevěné podlaze. Kdosi jej netradičně popsal jako jeskyni obývanou svobodnými bytostmi. Vesnický dům jako každý jiný, nadčasový, technologický zásah, který se nenechá zastrašit omezeními konkrétního okamžiku.

NOVÁ PODOBA PRO PAVILON MIES VAN DER ROHE Anna & Eugeni Bach Stavba, jež se prohlašuje za prostor k zamyšlení, instalace, která nám opět umožňuje spojit historickou a moderní architekturu. Jednoduchý zásah, barcelonský pavilon Miese Van Der Roheho, v reprezentaci sebe sama otevírá dveře mnoha interpretacím, jako jsou: hodnota originálu, role bílého povrchu jako obrazu modernosti nebo význam materiálnosti ve vnímání prostoru. Pavilon, který je nyní předmětem zásahu, je rekonstrukcí, replikou tak věrnou originálu, že je často obtížné si vzpomenout na jeho skutečnou povahu. Proměna pavilonu v obraz sebe sama, jehož všechny povrchy jsou omezeny na jediný materiál, ukazuje reprezentativní roli budovy; jak originálu jako národního symbolu, tak repliky, která originál zastupuje. Pavilon se na chvíli stane modelem 1:1 své repliky. Tuto a další úvahy lze vést na základě zkušenosti každého z nás s pavilonem, který na několik dní ztrácí svou hmotnou identitu, aby mohl nabýt plného reprezentativního potenciálu. Umožňuje nám zamyslet se nad tak průřezovými aspekty, jako je hodnota nedokonalosti. Posiluje interpretaci pavilonu jako chrámu, nyní bílého. Ukazuje nám sílu spojů, které jsou nyní zcela viditelné, protože textury a odlesky, které je zakrývaly, mizí a vracejí nás do jedné z perspektiv nebo koláží, jež jsou pro Mies tak charakteristické a kterými se nyní můžeme procházet.

85 SOCIÁLNÍ BYDLENÍ CORNELLÀ Peris + Toral Arquitectes Protože bydlení pro všechny je bezpochyby jedním z ústředních témat evropských měst, je projekt této dvojice architektů možnou odpovědí na následující otázky: Jak budeme bydlet v naší blízké budoucnosti? Které typologie? Jaké způsoby výstavby? Typologie_ kolektivní bydlení Budova je uspořádána kolem nádvoří, které vytváří sled meziprostorů. V přízemí budovy je do města otevřený portikus, který předjímá dveře budovy a utváří vztah mezi veřejným prostorem a dvorem v sousedství, jenž funguje jako malé náměstí pro zdejší obyvatele. Čtyři vertikální komunikační jádra jsou umístěna ve čtyřech rozích nádvoří, takže se všichni obyvatelé sbíhají a setkávají na tomto nádvoří-čtverci. Typologie_ soukromé bydlení V typickém patře je přístup do bytů přes jádro a dvě soukromé terasy, které tvoří korunu venkovních prostor s výhledem do dvora. Celková úroveň budovy je uspořádána maticí komunikačních prostor. Na každém podlaží je 114 jednotek, celkem 543, a všechny jsou propojené, takže se vyhýbají společným a soukromým horizontálním okruhům. Prostory pro služby se nacházejí uvnitř středového kruhu, zatímco ostatní místnosti s nediferencovaným využitím a velikostí přibližně 13 m2 jsou rozmístěny na fasádě a nabízejí tak různé možnosti bydlení. Další terasa na vnějším prstenci dotváří prostorovou sekvenci, řadu prostorů propojených velkými otvory, propustnými pro vzduch a pohled. Stavba Rozměr prostorových jednotek, vedle jejich univerzálnosti založené na nejednoznačnosti použití a funkční neurčitosti, představuje rozměr vhodný pro konstrukční řešení ve dřevě. Modulární konstrukce, která se snaží reagovat na myšlenku oběhového hospodářství ve stavebnictví.

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ITALIANO

COMMENTI DELLA GIURIA ADRIEN VERSCHUERE BELGIO MELOPEE SCHOOL Xaveer De Geyter Architects Questo progetto illustra un intervento che offre un’amplissima interfaccia con la città mediante l’audace reinterpretazione degli spazi esterni della scuola, come spazi a potenziale supporto di altri usi, condivisibili su scala urbana. L’edificio proposto unisce vari spazi, sia interni che esterni, in seno a un’infrastruttura semplice e compatta, la cui lingua strutturale fa riferimento al passato industriale lungo il molo. La giuria apprezza in particolar modo la composizione spaziale del progetto, principalmente grazie a una disposizione intelligente e generosa delle distribuzioni, che consente sia una risoluzione inaspettata per tale programma, sia un’opportunità di sviluppo delle nuove prassi urbane. HANGAR À SEL Goffart Polomè Architectes Questo progetto rappresenta un modesto intervento, che risponde in modo corretto e preciso alla funzionalità del suo programma. Ridotto alla sua minima espressione, questo edificio propone di utilizzare gli elementi costruttivi più essenziali, per produrre un’operazione sensibile, che va al di là dei semplici limiti del suo uso. Adottando la forma archetipica dell’hangar, il progetto sembra reinterpretarlo tramite un uso pragmatico e ragionato dei materiali che lo compongono. La giuria apprezza in particolare l’intelligenza architettonica e strutturale di alcune scelte nella concezione, che rispondono sia all’efficacia del mezzo utilizzato per tale costruzione, sia al risparmio negli intenti, necessario per questo tipo di operazione. TOIT & MOI Matador Questo progetto è un’operazione concepita con grandissimo rigore e chiarezza, che si apre a una varietà di situazioni e di relazioni. Un’operazione semplice e coerente nel suo insieme. Composto da diverse tipologie e sostenuto da un pensiero costruttivo razionale, questo edificio offre enorme agilità e flessibilità d’uso, per il presente e per il futuro. Ha particolarmente entusiasmato la giuria la ricchezza delle interfacce create fra la via interna dell’edificio e i suoi spazi esterni. L’attenzione posta su questi limiti, al tempo stesso chiari e ricchi di sfumature, porta a un intervento forte, con un numero limitato di mezzi, che amplifica al massimo le possibilità che produce sui diversi modi di abitare. PAVOL PAŇÁK REPUBBLICA CECA + SLOVACCHIA REPUBBLICA CECA REVITALISATION OF PRAGUE RIVERFRONT. Petr Janda Prague, Czech Republic Il punto d’incontro fra la città e il fiume è un fenomeno importante. Comporta vari limiti, ma al tempo stesso anche delle opportunità. Ha un significato chiave per il funzionamento della città e della sua identità. Una delle più

antiche funzioni di questa zona era lo scambio di beni e il commercio, successivamente spostatosi dal centro della città verso la periferia. La prima fase della rivitalizzazione delle rive del fiume Moldava a Praga fu un momento importante, che aiutò ad aumentare le sue potenzialità sfruttandone le caratteristiche, di per sé già importanti e di grande valore. Una di queste è la sua ubicazione in una zona prestigiosa del centro di Praga, insieme al suo stretto legame con il fiume. L’altra è la solidità dei materiali e della costruzione dei muri di contenzione, le zone integrate e il molo, grazie a motivi storici. L’architetto ha svolto un ruolo di rilievo nell’avvio della riabilitazione di quest’opera lineare, che è diventata il principale investimento municipale in uno spazio pubblico degli ultimi 30 anni. La zona era abbandonata da vari decenni e veniva utilizzata in pochissime occasioni. Dopo la ristrutturazione, si è velocemente trasformata in un luogo popolare per cittadini e turisti a Praga. Le caratteristiche di questo luogo e della costruzione stessa sono state sfruttate con creatività e sensibilità. Originariamente veniva usato come magazzino e rimessa e si trovava sul muro della riva che comprendeva anche una passeggiata. Grazie a quest’opera è diventata una zona dagli usi molteplici: club, bar, laboratori, esposizioni, biblioteca, e anche bagni pubblici. La passeggiata è un’esperienza meravigliosa, da cui si può contemplare il panorama dall’altra sponda del fiume, con importanti monumenti della città. Le grandi finestre circolari alla base del muro della riva ripetono la geometria delle volte interne semi-cilindriche. Sono uniche e indimenticabili. Gli interventi sull’essenza della costruzione sono in realtà modesti, ma a loro volta di grande attualità. È stata creata una simbiosi fra i nuovi interventi e la tettonica massiccia dominante e i materiali originari. Questo progetto è stato una grande sfida dal punto di vista tecnico e tecnologico. Una qualità nascosta agli occhi del visitatore, ma che è una parte intrinseca della complessità di quest’opera architettonica. WHITE SHED Atelier 111 architekti / Veronika Indrová, Jiří Weinzettl, Michal Hamada Opatov, Czech Republic Anche un incarico dall’obiettivo semplicemente utilitario e che dispone di un budget limitato può presentare una potenziale espressione architettonica di grande valore. La maggior parte di costruzioni simili, a fini industriali, sono semplici involucri anonimi, con funzionalità produttive o di stoccaggio. Diventano poi opere generiche moltiplicate, che co-creano la non identità caratteristica delle zone industriali alla periferia delle città. Un progetto di queste caratteristiche comporta vari limiti iniziali: assenza di contesto, repertorio tecnico limitato, budget esiguo, materiali e tipo di costruzione predeterminati, necessità di un montaggio razionale. Questo progetto ci mostra che le condizioni limitanti non devono per forza escludere un risultato architettonico di qualità. Vicino a una zona agricola è nata un’architettura che nel suo aspetto contiene caratteristiche architettoniche di tali opere e che nonostante ciò è eccezionale. Lo schema

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della pianta è stato realizzato in maniera razionale, il rivestimento in metallo e le zone trasparenti della facciata la posizionano nel segmento delle opere industriali. Il tipico tetto a due falde, caratteristico di opere simili, dispone di una silhouette speciale, quasi iconica. Il lucernario a prisma all’apice del tetto conferisce all’abituale silhouette un tratto originale e distintivo. La cresta semitrasparente che fa parte di un volume archetipo rappresenta la combinazione di qualcosa di conosciuto e qualcosa di innovativo. Una normale silhouette si trasforma in un fenomeno dall’aura quasi iconica. L’opera presenta dettagli che la rendono comune e al tempo stesso unica.

REPUBBLICA SLOVACCA NEW SYNAGOGUE – CULTURAL CENTRE PLURAL / Martin Jančok Žilina, Slovak Republic La risurrezione della Nuova Sinagoga di Žilina racconta molte storie. Un’architettura con prospettive di futuro poco confortanti, che si trasformò, nonostante la mancanza di interesse da parte dello stato, in un’opera nuova. La trasformazione della sinagoga abbandonata è al tempo stesso un esempio di attivismo civile, che copre gli obblighi naturali dello stato. L’opera originale fu costruita negli anni 1929-31, secondo il progetto di un importante architetto europeo, Petr Behrens. La comunità ebraica della città la usò fino a quando i tragici eventi dell’inizio della seconda guerra mondiale non interruppero il suo destino. La sinagoga è una delle opere architettoniche di maggior valore del XX secolo, in Slovacchia. Alla fine della guerra, fu usata come teatro, sala per concerti, aula universitaria e infine come cinema. In quei 70 anni subì varie ristrutturazioni, che provocarono la perdita di importanti caratteristiche del suo spazio interno e dei suoi materiali. Dopo la chiusura dell’edificio nel 2010 nacque un’ammirevole iniziativa di diversi attivisti culturali di vari ambiti. Il loro obiettivo era salvare, rinnovare e trasformare la sinagoga in un nuovo centro culturale. Il processo comprendeva la difficile e graduale raccolta di fondi, una complessa analisi dello stato dell’edificio dopo tutte le modifiche da esso subite, e la scelta del concetto per la futura programmazione, ecc. Durante la sua graduale rinascita diventò un luogo di attività socio-culturali, esposizioni e spettacoli. Poco a poco, mentre si accumulavano fondi a ritmo irregolare, si sviluppò anche il concetto architettonico della sua ristrutturazione. L’antica sinagoga sarebbe diventata la cornice di diversi eventi culturali e sociali. L’architetto scelse a questo proposito una strategia prudente. Tutti i successivi e inadeguati strati che coprivano le forme e le superfici originali furono eliminati. La cupola nuovamente scoperta, il matroneo restaurato, insieme ai dipinti originali sulla parte superiore centrale sono i principali elementi, in simbiosi con i nuovi interventi. La vernice bianca delle pareti e la costruzione fino a una determinata altezza, determinano in maniera simbolica e nel contempo reale lo spazio per le nuove attività nella parte centrale. I nuovi elementi inseriti e le costruzioni dimostrano il talento della progettazione e sono di estrema attualità.

INTERNATIONAL ARCHITECTURE AWARD

NEW PARK n-1 / Jakub Kopec, Klára Zahradníčková, Tomáš Džadoň Leopoldov, Slovak Republic L’idea di trasformare un cimitero scomparso in un parco infantile ha un fortissimo simbolismo. Il lutto è stato sostituito dai giochi per bambini. È difficile scoprire la presenza di reliquie e la loro funzione originaria in un luogo la cui finalità è completamente opposta. Come ricordare un luogo di culto senza cadere nel sentimentalismo? Gli oggetti che si trovano in quasi tutti i cimiteri sono stati conservati: il muro di mattoni sul lato dei vicini, la cappella, ma anche i grandi tigli, nella loro formazione originale. La natura esistente è stata completata con la piantagione di nuovi alberi. È nato così un parco con spazi aperti, che comprende nuovi oggetti che compongono a loro volta uno spazio di giochi per i più piccoli. Gli autori hanno lavorato con oggetti industriali comuni e prefabbricati.Vi si trovano diverse figure composte da tubi di calcestruzzo, acciaio e plastica, pannelli, coperchi, moduli e altri oggetti modificati con discrezione, ispirandosi alla fantasia infantile. Il futuro parco è un luogo in cui passeggiare liberamente, non dispone di sentieri. Tutta la zona trasmette un effetto compatto. I tigli, che un tempo adempivano a una funzione concreta nella composizione e nell’organizzazione del cimitero, ci ricordano l’antica struttura gerarchizzata. Come ricordo è rimasto anche il piccolo lapidario, costruito con frammenti di pietra delle lapide scomparse. Questo spazio è un meraviglioso esempio della cooperazione fra architetto, paesaggista e artista plastico. ALEXANDRE THERIOT FRANCIA STUDIO EXERCICE Nella lingua francese del XIV secolo, “bricoler” era un termine usato per oggetti colpiti da un movimento o un incidente improvviso. Una palla che rimbalza, si muove a zigzag o salta si diceva che “bricole”. Poi sono arrivati nuovi significati per il termine: in senso letterale, “realizzare lavori manuali” e per estensione “installare qualcosa in maniera ingegnosa e amatoriale”; in senso figurato invece, giocherellare, organizzare qualcosa o addirittura danneggiare. E fra questi significati, anche qualcuno che vivesse di espedienti si diceva che “bricole”. Poiché si sforza per adattare costantemente le proprie azioni ai minimi particolari degli oggetti, il bricoleur (NdT: amante del fai da te) è una persona civilizzata che riscopre, secondo Claude Lévi-Strauss, le gioie del pensiero selvaggio. L’estensione di una casa in Bretagna, progettata da EXERCICE studio, segue questa logica costruttiva. EXERCICE studio esplora ogni situazione edile per aggiungervi una nuova unicità spaziale e tecnica. EXERCICE studio sceglie la dimensione modesta di un progetto come elemento su cui far leva per spiegare tutta una serie di micro-interventi, in cui ogni decisione e ogni azione è correlata all’intero progetto. EXERCICE studio dimostra che le modeste dimensioni di un progetto non ne limitano le ambizioni. Al contrario. Le decisioni sono chiare, dirette e precise, ma sempre prese con straordinaria cura.

Si potrebbe dire che l’approccio di EXERCICE studio è ingegnoso, esplicito ed esultante. Non cerca stratagemmi teorici. Per capirlo, basti rileggere la descrizione del progetto realizzata dagli stessi autori:

NICOLA DI BATTISTA ITALIA

“L’estensione in Bretagna apre la casa verso il mondo esterno tramite ampie finestre scorrevoli in alluminio anodizzato. La struttura è stata progettata come sovrapposizione di diversi materiali, per permettere che entri il massimo della luce. All’esterno, tre gelosie in acciaio galvanizzato scorrono grazie alle ruote scanalate e a una serie di staffe in metallo, che fungono da guide fissate su alcuni punti della parte anteriore della tavola”.

Giancarlo Floridi and Angelo Lunati Una forte vocazione civile e urbana caratterizza l’edificio realizzato per ospitare il nuovo centro servizi per la Pirelli. All’interno dello storico quartiere industriale della Bicocca questa ultima costruzione, nonostante le sue modeste dimensioni, aspira a diventare il vero cuore dell’intera area, il vero luogo di questo rinnovato pezzo di città. Lo fa confrontandosi direttamente con il palazzo rinascimentale della Bicocca degli Arcimboldi, creando con esso una sorta di contrappunto tra ‘vecchio e nuovo’ nella bella cornice del giardino ancora esistente.

Il lavoro di EXERCICE studio si appoggia su “oggetti ordinari”, sul piacere di riunire, sulla necessità mettere insieme cose diverse e a volte incompatibili, per produrre situazioni straordinarie. Una pratica unica ed esemplare. THÉÂTRE DU MAILLON, LAN L’architetto britannico Cedric Price (1934-2003) ha completato un numero relativamente ridotto di edifici, ma attraverso i suoi disegni, le sue proposte, i suoi insegnamenti e le sue conversazioni, ha esercitato un’enorme influenza, in varie discipline. Secondo Price, l’architettura è uno strumento verso la crescita sociale e pedagogica e non un gesto estetico in se stesso. La sua più famosa struttura, degli inizi degli anni ‘60, il Fun Palace (1961), era intesa per promuovere la coesione sociale e fu costruita al tempo stesso come struttura a breve termine. “Il Fun Palace, nato dalla collaborazione fra Cedric Price e il produttore teatrale d’avanguardia Joan Littlewood, non era un edificio nel senso convenzionale del termine, bensì una macchina socialmente interattiva, altamente adattabile alle cangianti condizioni culturali e sociali del suo tempo e del suo ambiente, senza strutture permanenti, ma amovibili, trasportabili e riassemblabili a seconda delle necessità.” Probabilmente, il teatro Maillon condivide alcuni aspetti del Fun Palace. Ovviamente, non nei prerequisiti concettuali che ne stanno alla base e nemmeno nella sua costruzione, ma semplicemente nella sua ambizione di pensare a un luogo dedicato alle performance artistiche, un edificio macchinario volto a consentire, anziché imporre, aperto alla città, che cerca di incorporarlo con tutti i mezzi, ma con la salda intenzione di non dichiarare mai il proprio programma e pertanto la propria funzione. L’hangar del Maillon afferma il proprio carattere informale, minacciando di scomparire in un contesto periferico inglorioso. È tuttavia un bellissimo hangar che dà l’orgoglio di un luogo al materiale, che è nero, prima di essere cemento, e alla luce, sia essa naturale, laterale, secondaria o sullo sfondo. Chic e nero che flirtano fino all’eccesso con il solo obiettivo di produrre uno spazio pubblico unico e singolare e il fiero desiderio di pensare di creare un luogo di cultura. * Cedric Price, Re: CP, Syracuse, LetteraVentidue, 2011, p. 31, ISBN 978-88-6242-033-4. ** Marco Biraghi, Architecture Histoire moderne 1945-2008, Turin, Einaudi, 2008, p. 179 ISBN 978-88-06-19313-3.

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L’edificio, destinato a contenere principalmente il learning center e la mensa, costruisce un nuovo fronte strada compatto e riservato, che trova solo all’interno verso il giardino un carattere più domestico e aperto, caratterizzato dal corpo di fabbrica a un solo piano della mensa che esce dall’insieme e si protende all’esterno con un portico che dialoga direttamente con l’antico palazzo. La parte dell’edificio al piano terra, rimasta libera dalla mensa, diventa invece una piccola piazza di pietra, alberata e accogliente, che introduce al giardino principale, mentre il fronte pubblico su strada è caratterizzato dal sapiente disegno dei volumi tecnici posti sul tetto che con la loro forma bipartita interrompono la facciata sull’asse dell’ingresso e la concludono connotandola in maniera definitiva come architettura della città. PESCARA: PANTA REI BEACH Toffoli Architetti Ubaldo Toffoli La realizzazione di un piccolo stabilimento balneare pone al progettista un tema molto difficile da risolvere: dare visibilità alla costruzione senza impattare molto sul profilo del mare. La soluzione adottata utilizza un corpo di fabbrica stretto e lungo, posto perpendicolarmente alla battigia, che punta diritto e perentorio verso il vasto orizzonte del mare. L’impianto tipologico permette al padiglione di avere un minimo impatto verso la linea dell’acqua a fronte di una forte visibilità complessiva, oltre a diventare con la sua forma precisa e chiara una vera e propria unità di misura, capace di dare una dimensione alla vastità della spiaggia. Grande attenzione è stata dedicata alla configurazione della sezione del padiglione che utilizza quasi la metà dell’intera altezza interna per contenere la struttura della copertura e alloggiare anche i voluminosi impianti. Il grande tetto, di travi reticolari lignee, appeso alle linee di gronda ne disegna lo spazio con grande sapienza e la sua forma strombata verso il basso permette di avere le facciate esterne del padiglione completamente libere a tutt’altezza, dando agli interni una sorprendente spazialità in rapporto alle modeste dimensioni della costruzione. Alla semplicità strutturale corrisponde una meticolosa cura dei dettagli e un uso dei materiali sobrio e adeguato al tema.

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TORINO: ESCUELA ENRICO FERMI BDR bureau Alberto Bottero and Simona Della Rocca La sorprendente novità che questo progetto consegna al tempo attuale è la prova tangibile di cosa la disciplina architettonica possa portare oggi alla vita degli uomini e al loro benessere. Il progetto è il frutto di un concorso sostenuto da una committenza illuminata per rispondere alla domanda di trasformare un vecchio complesso scolastico in una scuola contemporanea. La scelta dei progettisti è stata quella di conservare i caratteri tipologici del complesso, ma dando loro una configurazione urbana completamente nuova, a iniziare dalle diverse gerarchie imposte al manufatto rispetto al lotto in cui si trova. L’ampio fronte posto a sud-est diventa il vero luogo del lavoro e utilizzando una porzione di terreno rimasta inedificata, viene creato un giardino che funge da filtro e da nuovo ingresso della scuola. A questo punto il tema diventa la riconfigurazione delle facciate, in maniera da utilizzare al meglio il loro potenziale, con l’aggiunta davanti ai vecchi prospetti di ampie terrazze aperte, ma in realtà rivestite di una leggera rete metallica che ne fanno dei veri e propri spazi, in continuità con l’interno delle aule che fluisce così in quello esterno. Questo, insieme a un sapiente progetto degli interni, con protagonista la luce, realizza dei luoghi davvero contemporanei e in sintonia con il nostro tempo.

INÊS LOBO PORTOGALLO + SPAGNA PORTOGALLO TERMINAL PER NAVI DA CROCIERA DI LISBONA João Luís Carrilho Da Graça Una stazione compatta, inserita in un complesso di spazi esterni concepiti a guisa di viale, solcato da numerose stradine alberate, un giardino lineare dove piccoli padiglioni ospitano servizi a vantaggio di questa nuova area della città, rientrante nella riqualificazione delle rive del fiume. Si evidenza il modo intelligente con cui questo progetto trasforma un programma privato in una nuova area pubblica della città di Lisbona, concependo, con estrema precisione, i confini tra spazio pubblico e funzionamento del porto. Ci troviamo nel centro storico, sulla piattaforma di sbarco costruita per accogliere il porto di Lisbona, dove esistevano due scali di alaggio. Su uno di questi è stata costruita la stazione, interamente occupata da un parcheggio all’aperto a nord-est e dal bacino di marea a sud-ovest, che ne segna la memoria. Non si sono quindi resi necessari interventi di scavo per realizzare il parcheggio coperto al livello -1 della stazione, che rappresenta la continuazione dell’altro. Il livello 1 è adibito essenzialmente al servizio di deposito e custodia dei bagagli, mentre il livello 2, in corrispondenza delle lunghe passerelle che conducono alle navi gigantesche, a struttura metallica regolare, ospita i passeggeri. Alle due estremità della stazione (NE, SO) sono posizionate le scale e le rampe, che conferiscono loro un movimento verticale.

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La stazione è protetta da una struttura in calcestruzzo alleggerito da sughero granulare. In direzione della terra, si inclina per indicare le porte, mentre in direzione del fiume ha sviluppo soltanto verticale e comunica con le passerelle. Anche il tetto si piega in modo da creare un abbassamento che illumina il livello 2 e dà accesso a un belvedere sulla città. In definitiva, possiamo affermare che più che costruire, questo progetto ci restituisce la memoria di un luogo.

BAR E PADIGLIONE A BELÉM Ricardo Bak Gordon Questo bar di Belém, realizzato sulle rive del Tago nei pressi della stazione fluviale, dei giardini del MAAT e degli imponenti accessi al ponte pedonale del Museo delle Carrozze, presenta una veste tutta bianca, come i suoi dintorni, alla stregua di una grande copertura avvolgente, sotto la quale si può bere al bancone o sedersi comodamente a uno dei tanti tavolini -alcuni muniti di ombrelloni- posizionati anche oltre questo spazio tanto da occupare il marciapiede. Il tetto rettangolare a tre spioventi poggia su un pilastro/ parete a sud e su un muro a nord, tutto in cemento armato, con due pareti vetrate retrattili che chiudono diagonalmente il bancone, i servizi igienici e la cucina. Una porta posizionata nella cucina consente di accedere alla stanza sul retro dove si trova il magazzino a forma di cilindro isolato. Sempre in questa parte esterna, sono state predisposte delle scale che conducono ad altri spazi come la cantina. Tale lay-out consente di distinguere una zona anteriore e una zona posteriore. La prima, a forma simmetrica, richiama l’archetipo “venturiano” della casa con gli spioventi e due interruzioni per allungare il nucleo del bancone, mentre la seconda richiama il gioco di volumi associati alla luce di Le Corbusier. Nel suo contesto, questo bar non è stato progettato come un chiosco bensì secondo una scala diversa che lo lega molto più direttamente al Museo delle Carrozze e al sistema di accesso alle rive del fiume, quasi fosse l’elemento finale di un sistema.

SPAGNA CASA O FIEIRO, MAZARICOS Arturo Franco Per poter descrivere questa casa, occorre dapprima soffermarsi sul suo sistema costruttivo e passare poi alla tipologia o al rapporto instaurato dalla medesima con il paesaggio. Il sistema costruttivo/la struttura conta l’impiego di tre materiali –legno, acciaio e cinghie di camion– articolati con un contenitore di pietra originale, un sistema di muri portanti che forniscono compressione. Tale contenitore funge da supporto a una nuova struttura di tavole sottoposte a trazione. Ne deriva una casa articolata intorno a due spazi principali a due e tre piani, collegati visivamente su tutte le loro diagonali e in costante contatto con l’esterno. È qui dove si svolge la vita quotidiana di una famiglia –mangiare, cucinare, incontrarsi, lavorare, giocare e socializzare– mentre le camere da letto sono spazi più appartati.

Mentre della scala originale sono stati conservati i gradini, grandi e solidi in pietra massiccia, ora poggianti a terra, gli spazi verticali sono collegati da una nuova scala in lamiera metallica che, per contro, dà l’impressione di galleggiare sul pavimento di legno. In termini poco convenzionali, qualcuno l’ha definita una grotta abitata da esseri liberi. Una casa di paese come qualsiasi altra, senza tempo, un intervento tecnologico che non si lascia intimidire dai vincoli di un momento particolare. VESTIRE IL PADIGLIONE MIES VAN DER ROHE Anna & Eugeni Bach Un’installazione che si pone quale spazio di riflessione e che ci permette, ancora una volta, di avvicinare la storia all’architettura moderna. Un intervento semplice, il Padiglione di Barcellona di Mies Van Der Rohe, in una rappresentazione di sé apre le porte a molteplici interpretazioni quali il valore dell’originale, il ruolo della superficie bianca come immagine della modernità o l’importanza della materialità nella percezione dello spazio.

Tipologia_alloggio privato Su un piano tipico, l’accesso alle abitazioni avviene attraverso il nucleo e due terrazze private costituenti la corona degli spazi esterni che si affacciano sul cortile. Il livello generale dell’edificio è organizzato da una matrice di spazi interconnessi. Se ne contano 114 per piano, 543 in totale, tutti collegati in modo da evitare corridoi orizzontali comuni e privati. Gli spazi di servizio sono posti all’interno dell’anello centrale mentre gli altri ambienti di uso e dimensioni indifferenziate, di circa 13 m2, sono disposti sulla facciata, offrendo così diverse disposizioni abitative. Un’altra terrazza sull’anello esterno completa la sequenza spaziale, la fila di spazi collegati da grandi aperture, permeabili all’aria e agli sguardi. Costruzione Le unità spaziali, oltre alla loro versatilità, basata sull’ambiguità d’uso e sull’indeterminatezza funzionale, propongono una dimensione adattata alla soluzione strutturale in legno. Una costruzione modulare che cerca di rispondere a un’idea di economia circolare nel settore delle costruzioni.

Il Padiglione oggetto dell’intervento attuale è una ricostruzione, una riproduzione così fedele all’originale che spesso è difficile ricordarne la vera natura. La trasformazione del Padiglione in un’immagine di sé, le cui superfici sono state realizzate con un unico materiale, esibisce il ruolo rappresentativo dell’edificio: sia quello dell’originale, quale simbolo nazionale, sia quello della copia, che riproduce il primo. Per un momento, il Padiglione diventa un modello a scala 1:1 della sua copia. Questa e altre riflessioni possono scaturire dall’esperienza maturata da ognuno di noi su un Padiglione che, per qualche giorno, si spoglia della sua identità materiale per sfoggiare tutto il suo potenziale rappresentativo. Ci consente di riflettere su aspetti così trasversali quali il valore dell’imperfezione. Rafforza l’interpretazione del Padiglione come un tempio, ora bianco. Esibisce la forza dei giunti, adesso completamente visibili, mentre svaniscono le texture e i riflessi che li celavano e che ci riportano a una delle prospettive o collage, tanto caratteristici di Mies, ora percorribili. 85 CASE POPOLARI CORNELLÀ Peris + Toral Arquitectes Alla ricerca di nuovi modelli abitativi Poiché l’alloggio è indubbiamente per tutti uno dei temi centrali delle città europee, il progetto curato da questo binomio di architetti offre, forse, una risposta alle seguenti domande: Come vivremo nel nostro prossimo futuro? Quali le tipologie abitative? Quali i modi costruttivi? Tipologia_alloggio collettivo L’edificio si sviluppa intorno a un cortile che, a sua volta, articola una sequenza di spazi intermedi. Al piano terra, un portico aperto alla città preannuncia la porta dell’edificio e lascia intravvedere il rapporto tra lo spazio pubblico e il cortile del quartiere, che funge da piazzetta per la comunità. I quattro nuclei di comunicazione verticale sono posizionati ai quattro angoli del cortile, in modo tale da far convergere e far incontrare tutti gli abitanti in questo cortile-piazza.

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PORTUGUÊS

COMENTÁRIOS DO JÚRI ADRIEN VERSCHUERE BÉLGICA MELOPEE SCHOOL Xaveer De Geyter Architects Este projeto ilustra uma intervenção que oferece uma interface muito grande com a cidade através de uma reinterpretação audaciosa dos espaços exteriores da escola como espaços potenciais de suporte para outras formas de utilização e de partilha a escala urbana. O edifício proposto condensa uma variedade de espaços, tanto interiores como exteriores, no seio de uma infraestrutura simples e compacta cuja linguagem estrutural remete para o passado industrial dos cais. O júri aprecia especialmente a composição espacial do projeto - nomeadamente através de uma configuração inteligente e generosa das distribuições - que permite tanto uma resolução inesperada para um programa desta natureza, como uma oportunidade de desenvolvimento de novas práticas urbanas. HANGAR À SEL Goffart Polomè Architectes Este projeto reflete uma intervenção modesta, respondendo de forma justa e precisa à funcionalidade do seu programa. Reduzido à expressão mais simples, este prédio propõe utilizar os elementos construtivos mais essenciais para produzir uma operação sensível que ultrapassa os estritos constrangimentos do seu uso. Adotando a forma arquetípica do hangar, o projeto consegue reinterpretá-lo através da utilização pragmática e racional dos materiais que o compõem. O júri aprecia especialmente a inteligência arquitetural e estrutural visível em certas escolhas de conceção que respondem tanto à eficácia dos meios utilizados para uma construção deste tipo, como à economia de intenção necessária para este tipo de operação. TOIT & MOI Matador Este projeto representa uma operação baseada num grande rigor e numa clareza de conceção permitindo uma variedade de situações e de relações numa operação simples e coerente no seu conjunto. Numa composição de diferentes tipologias e sustentado num pensamento construtivo racional, este edifício oferece uma grande versatilidade e flexibilidade de utilização para hoje e amanhã. O júri ficou especialmente entusiasmado com a riqueza das interfaces criadas entre a vida interior do prédio e os espaços exteriores. A atenção prestada aos limites a mesmo tempo claros e equilibrados leva a uma intervenção forte pelo número limitado dos seus meios, otimizando as possibilidades que produz nas diversas formas de o habitar. PAVOL PAŇÁK REPÚBLICA CHECA + ESLOVÁQUIA REPUBBLICA CECA REVITALISATION OF PRAGUE RIVERFRONT Petr Janda Prague, Czech Republic O ponto de encontro entre a cidade e o rio representa um fenómeno importante. Implica várias limitações, mas ao mesmo tempo oportunidades. Tem um significado chave

para o funcionamento da cidade e a sua identidade. Uma das antigas funções da referida zona era a troca de bens e comércio que posteriormente foi transferida do centro da cidade para os arredores. A primeira fase da revitalização da ribeira do rio Moldava de Praga é um marco importante que ajudará a aumentar o seu potencial graças às suas características, em si já importantes e valiosas. Uma delas é a sua localização numa zona de prestígio no centro de Praga e a sua estreita relação com o rio. A outra é a solidez dos materiais e da construção dos muros de contenção, as zonas integradas e o cais, por motivos históricos. O arquiteto teve um papel importante ao iniciar a reabilitação desta obra linear que se tornou o investimento municipal mais importante num espaço público dos últimos 30 anos. A zona estava abandonada há várias décadas e era apenas utilizada de forma pontual. Após a renovação tornou-se rapidamente um lugar popular para os praguenses e turistas. As características do local e da própria construção foram aproveitadas de forma criativa e sensível. A utilização original era de armazenamento e manutenção e situava-se no muro da ribeira que incluía como sacada, um passeio. Graças à obra, tornou-se uma zona de utilização múltipla: clubes, cafetarias, ateliês, exposições, biblioteca, incluindo também banhos públicos. O passeio oferece uma experiência majestosa ao contemplar o panorama da outra margem do rio com importantes monumentos da cidade. As grandes janelas circulares situadas na base do muro da ribeira repetem a geometria das abóbodas interiores semicilíndricas. São únicas e fáceis de recordar. As intervenções na essência da construção são na realidade moderadas, mas ao mesmo tempo de grande atualidade. Foi criada uma simbiose entre novas intervenções e a tectónica massiva dominante e os seus materiais originais. Este projeto representou um grande desafio do ponto de vista técnico e tecnológico. É uma qualidade oculta aos olhos do visitante, mas que faz parte intrínseca da complexidade desta obra arquitetónica. WHITE SHED. FINALISTA Atelier 111 architekti / Veronika Indrová, Jiří Weinzettl, Michal Hamada Opatov, Czech Republic Até uma encomenda cuja finalidade é simplesmente utilitária e com um orçamento limitado pode apresentar um potencial com uma valiosa expressão arquitetónica. As construções semelhantes com propósito industrial são na sua maioria simples invólucros anónimos com funcionalidade produtiva ou de armazenamento. Tronam-se depois obras genéricas multiplicadas que cocriam a não-identidade característica das zonas industriais nos arredores das cidades. Uma encomenda com estas características implica várias limitações iniciais: contexto ausente, repertório técnico limitado, orçamento reduzido, materiais e tipo de construção predeterminados, necessidade de uma montagem racional. Este projeto mostra que as condições limitantes não devem necessariamente excluir um resultado arquitetónico de qualidade. Perto de uma área de utilização agrícola nasceu uma arquitetura que no seu aspeto contém características

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arquitetónicas das referidas obras e apesar disso é excecional. O esquema da construção resolvido de forma racional, o revestimento metálico e as zonas translúcidas da fachada colocam-na no segmento das obras industriais. O típico telhado insubstancial de duas águas, característico de obras semelhantes, dispõe de uma silhueta própria quase icónica. A claraboia em prisma no cume do telhado confere à silhueta habitual um traço original distintivo. O cume translúcido que faz parte de um volume arquetípico representa a combinação do já conhecido e do novo. Uma silhueta habitual transforma-se num fenómeno com uma aura quase icónica. A obra tem detalhes que a tornam ao mesmo tempo comum e diferente. REPÚBLICA ESLOVACA NEW SYNAGOGUE – CULTURAL CENTRE PLURAL / Martin Jančok Žilina, Slovak Republic A ressurreição da Sinagoga Nova de Žilina conta-nos várias histórias. Uma arquitetura com perspetivas de futuro pouco encorajadoras que se transformou, apesar da falta de interesse do estado, numa obra nova. A transformação da sinagoga abandonada é por sua vez um exemplo de ativismo civil que supre a obrigação natural do estado. A obra original foi construída nos anos 1929-31, seguindo o projeto de um arquiteto europeu importante Petr Behrens. A comunidade judaica da cidade utilizou-a até o seu destino ser truncado pelos acontecimentos trágicos do princípio da segunda guerra mundial. A sinagoga é uma das obras arquitetónicas mais valiosas do século XX na Eslováquia. Uma vez acabada a guerra, foi utilizada para teatro, concertos, aula universitária e finalmente como cinema. Durante estes 70 anos, foram realizadas reformas que lhe fizeram perder características importantes do seu espaço interior e materiais. Após o encerramento do edifício em 2010, nasceu uma iniciativa admirável por parte de diferentes ativistas culturais de vários âmbitos. O seu objetivo era salvar, renovar e transformar a sinagoga num centro cultural novo. O processo incluía a difícil e progressiva recolha de fundos, a complexa análise do estado do edifício após todas as alterações realizadas, e a escolha do conceito para a futura programação, etc. Logo no seu gradual renascimento, tornou-se um local de atividades socioculturais, exposições e espetáculos. Progressivamente, enquanto o dinheiro chegava de forma irregular, também se desenvolveu o conceito arquitetónico para a sua reforma. O que tinha sido a antiga sinagoga ia ser o placo de diferentes atos culturais e sociais. O arquiteto escolheu, por isso, uma estratégia prudente. Todas as camadas posteriores inadequadas que cobriam as formas originais e superfícies foram removidas. A cúpula novamente descoberta, a galeria restaurada, assim como as pinturas originais na parte superior central são os elementos mais importantes que estão em simbiose com as novas intervenções. A pintura branca das paredes e a construção até uma altura concreta, determinam, de forma simbólica, mas ao mesmo tempo real, o espaço para as novas atividades na parte central. Os elementos novos incluídos e as construções mostram o talento do design e são de grande atualidade.

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NEW PARK. FINALISTA n-1 / Jakub Kopec, Klára Zahradníčková, Tomáš Džadoň Leopoldov, Slovak Republic A ideia de transformar um cemitério desaparecido em parque infantil tem um simbolismo muito forte. O luto foi substituído por jogos infantis. É difícil adivinhar a presença de relíquias e a sua função original num local que tem uma finalidade contrária. Como recordar um local de luto sem cair em sentimentalismos? Os objetos que encontramos em quase todos os cemitérios foram mantidos: o muro de tijolo do lado dos vizinhos, a capela, mas também as grandes tílias na sua formação original. A natureza existente foi completada pela plantação de novas árvores. Nasceu um parque com clareiras que inclui novos objetos que formam um local de jogo para as crianças. Os autores trabalharam com objetos industriais comuns e prefabricados. Encontramos aqui diferentes figuras formadas por tubagens de betão, aço e plástico, painéis, tampas, módulos e outros objetos que foram modificados de forma discreta, inspirados na fantasia infantil. O futuro parque é um lugar pelo qual se pode passar livremente e não tem qualquer caminho integrado. Toda a zona transmite um efeito compacto. A antiga estrutura hierarquizada é relembrada pelas velhas tílias que cumpriam na altura uma função concreta na composição e organização do cemitério. Como recordação, resta-nos o pequeno lapidário construído com fragmentos de pedra das lápides desaparecidas. Este espaço é um maravilhoso exemplo de cooperação entre arquiteto, paisagista e artista plástico. ALEXANDRE THERIOT FRANÇA STUDIO EXERCICE A palavra “bricoler”, do francês antigo do século XIV, aplica-se a objetos que se veem afetados por um movimento inesperado ou um incidente. Por exemplo, uma bola de beisebol que sai disparada, faz um ziguezague ou salta em falso, “bricole”. O termo cobra depois um sentido mais moderno: é literalmente “fazer um trabalho manual” e por extensão, “instalar algo de forma amateur e ingeniosa”. Portanto, de maneira figurada, entreter-se, colocar algo e inclusive alterar algo. O “bricoleur” esforçar-se constantemente por ajustar o seu gesto às especificidades dos objetos. Trata-se de uma pessoa civilizada que redescobre, segundo Claude Lévi-Strauss, as alegrias do pensamento selvagem. Esta ampliação de uma casa na Bretanha, projetada pelo gabinete de arquitetura EXERCISE, segue esta lógica construtiva. O gabinete EXERCICE explora cada passo da cadeia construtiva para acrescentar uma nova singularidade espacial e técnica. O gabinete aproveita o modesto tamanho do projeto como alavanca para desenvolver múltiplas microintervenções, em que cada decisão e ação reforça o projeto completo. O gabinete EXERCICE demonstra que o tamanho modesto de um projeto não limita a sua ambição. Ao contrário. As decisões tomadas são claras, diretas e precisas, embora realizadas com imenso cuidado.

Poderíamos dizer que a abordagem do gabinete EXERCICE é ingeniosa, explícita e alegre. Não pretende criar um artificio teórico. Para se convencer, basta reler a descrição do projeto realizada pelos respetivos autores: “Esta ampliação na Bretanha abre a casa ao mundo exterior através de grandes janelas de correr em alumínio galvanizado”. A estrutura foi concebida através de uma sobreposição de diferentes materiais que permitem a passagem de uma grande quantidade de luz. Do exterior, três janelas em aço galvanizado deslocam-se sobre rodas estriadas e através de uma série de suportes metálicos que servem de guias. O trabalho do gabinete EXERCICE realiza-se através de “coisas comuns”, do prazer de unir, da necessidade de juntar coisas separadas e por vezes incompatíveis, para criar uma atuação extraordinária. Um trabalho singular e exemplar. THÉÂTRE DU MAILLON, LAN O arquiteto bretão Cédric Price (1934-2003) completou relativamente poucos edifícios, mas, através dos seus desenhos, propostas, ensinos e conversas, exerceu uma enorme influência em muitas disciplinas. Para Price, a arquitetura era um instrumento para o crescimento pedagógico e social, e não um gesto estético em si. A sua obra mais famosa do princípio dos anos 60, o Fun Palace (1961), tinha por objetivo a coesão social e servir como estrutura temporal. “O Fun Palace nasceu da colaboração entre Cédric Price e a produtora de teatro vanguardista Joan Littlewood: não se tratava de um edifício no sentido convencional, mas sim de uma máquina de interação social totalmente adaptável às condições sociais e culturais mutáveis do seu tempo e lugar sem estruturas permanentes, móveis, transportáveis nem reajustáveis consoante as necessidades.” Provavelmente, o teatro Maillon tem algo deste Fun Palace. Evidentemente, nem nos seus pré-requisitos conceituais para a sua criação, nem para a sua construção, mas simplesmente na sua ambição para pensar neste local dedicado às artes interpretativas como uma máquina que tem de permitir em vez de impor; um edifício aberto à cidade e que procura integrá-la por todos os meios através da firme intenção de não preestabelecer o seu programa, e, portanto, a sua função. O hangar Maillon afirma o seu caráter informal, ameaçando desaparecer num contexto suburbano anódino. No entanto, trata-se de um hangar maravilhoso que destaca pelo seu material, preto em vez de betão, e pela luz, natural, lateral, secundária ou traseira. O chique e o preto namoram excessivamente com o único propósito de criar um local público único e singular e o desejo irresistível de criar um lugar de cultura.

* Cédric Price, Re: CP, Syracuse, LetteraVentidue, 2011, p. 31, ISBN 978-88-6242-033-4. ** Marco Biraghi, Architecture Histoire moderne 1945-2008, Turin, Einaudi, 2008, p. 179 ISBN 978-88-06-19313-3.

NICOLA DI BATTISTA ITÁLIA MILAN: PIRELLI LEARNING CENTER onsitestudio Giancarlo Floridi and Angelo Lunati O edifício, realizado para acolher o novo centro de serviços da Pirelli, caracteriza-se por uma forte vocação cívica e urbana. Apesar das suas modestas dimensões, esta construção, situada no histórico bairro industrial da Bicocca, aspira a tornar-se o verdadeiro coração de toda a área, num ponto de encontro desta parte renovada da cidade. Cumpre essa meta contrapondo-se diretamente com a casa renascentista da Bicocca dos Arcimboldi, criando assim uma espécie de contraponto entre o antigo e o novo, no belo ambiente do jardim ainda existente. O edifício, destinado a albergar principalmente o learning center e a cafetaria, ergue-se como uma nova frente de rua compacta e reservada. No interior, em direção ao jardim, adota um aspeto mais doméstico e aberto, caracterizado pelo bloco de um só andar da cafetaria que sobressai do conjunto, projetando-se para o exterior com um pórtico que dialoga diretamente com a antiga casa residencial. O rés-do-chão do edifício, independente da cafeteria, tornase uma pequena e acolhedora praça empedrada e arvorada, que leva ao jardim principal. A frente pública que dá para a rua caracteriza-se por um eficaz design dos volumes técnicos colocados no telhado que, com a sua forma em duas partes, interrompem a fachada no eixo da entrada e a fecham, caracterizando-a definitivamente como arquitetura da cidade.

PESCARA: PANTA REI BEACH Toffoli Architetti Ubaldo Toffoli A realização de uma pequena estação balneária implica um desafio difícil de resolver para um arquiteto: dar visibilidade à construção sem um impacto excessivo no perfil do mar. A solução adotada utiliza um edifício comprido e estreito, colocado perpendicularmente à beira do mar, que aponta direta e categoricamente para o vasto horizonte marinho. Este tipo de planta permite que o pavilhão cause um impacto mínimo na linha de água, graças a uma grande visibilidade global, além de se tornar, com a sua forma clara e precisa, numa autêntica unidade de medida, capaz de dar dimensão à imensidade da praia. Foi prestada uma atenção especial à configuração da secção do pavilhão que utiliza quase metade da altura interna total para conter a estrutura do telhado e alojar também as volumosas instalações. Um grande telhado de vigas de madeira em forma de rede, suspenso nas linhas do beiral, projeta o espaço com inteligência. A sua forma afunilada para baixo permite libertar completamente a fachada externa do pavilhão a qualquer altura, proporcionando assim uma surpreendente espacialidade em relação às modestas dimensões da construção. A simplicidade estrutural é acompanhada por um cuidado meticuloso dos pormenores e uma utilização sóbria e adequada dos materiais.

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TURIN: ESCUELA ENRICO FERMI BDR bureau Alberto Bottero and Simona Della Rocca A surpreendente novidade que este projeto confere ao tempo atual é a prova tangível da possível contribuição da arquitetura de hoje para a vida dos seres humanos e para o seu bem-estar. Este projeto é o fruto de um concurso patrocinado por um cliente com sensibilidade, que tenciona responder à necessidade de transformar um antigo complexo escolar numa escola contemporânea. Os arquitetos decidiram ao mesmo tempo conservar as caraterísticas tipológicas do complexo e dotá-lo de uma configuração urbana totalmente nova, começando pelas distintas hierarquias impostas ao edifício, devido ao terreno que ocupa. A frente virada para sudeste torna-se o autêntico local de trabalho e, utilizando uma porção de terreno sem construir, é criado um jardim que serve de filtro e nova entrada para a escola. Neste ponto, o objetivo é a reconfiguração das fachadas para aproveitar todo o seu potencial. Para isso, foram acrescentadas varandas amplas e abertas, mas revestidas com uma malha metálica fina, de forma a torná-las autênticos espaços, em continuidade com o interior das aulas, que flui para o exterior. O anterior, unido a um projeto eficaz no interior, onde a luz ganha protagonismo, dá a este local um ar contemporâneo e em sintonia com o nosso tempo. INÊS LOBO PORTUGAL + ESPANHA PORTUGAL TERMINAL DE CRUZEIROS DE LISBOA João Luís Carrilho Da Graça Uma gare compacta e integrada num conjunto de espaços exteriores desenhados como um bulevar, com múltiplas faixas arborizadas, um jardim linear onde pequenos pavilhões albergam programas que servem este novo lugar da cidade, inscrito na reabilitação da frente ribeirinha. Importa referir a inteligência com que este projecto transforma um programa privado num novo lugar público da cidade de Lisboa, desenhando com enorme precisão os limites entre espaço público e funcionamento do Porto. Estamos no centro histórico, sobre a plataforma do aterro construída para albergar o Porto de Lisboa, existiam duas docas. Numa construiu-se a gare que, com o estacionamento automóvel descoberto a nordeste e o lago de marés a sudoeste, ocupam-nas inteiramente, marcando a sua memória. Deste modo, não se escavou para receber o estacionamento coberto no piso -1 da gare, que ficou em continuidade com o outro. O piso 1 é sobretudo dedicado às bagagens, enquanto o piso 2, à altura dos longos passadiços que se aproximam dos gigantescos navios, com regular estrutura metálica, acolhe os passageiros. Nos dois extremos da gare (NE,SO) situam-se as escadas e rampas, que os movimentam verticalmente. A gare é protegida por uma carapaça, em betão aligeirado com granulado de cortiça. Do lado terra, dobra-se para assinalar as portas, enquanto do lado do rio, apresenta-

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se apenas vertical, conectando-se com os passadiços. A cobertura também dobra, formando uma depressão que ilumina o piso 2 e dá acesso a um miradouro sobre a cidade. Por fim podemos dizer que, mais importante do que aquilo que constrói, é a memória de uma lugar que este projecto nos devolve.

BAR & PAVILHÃO DE BELÉM Ricardo Bak Gordon Junto à estação fluvial de Belém, ao jardim do MAAT, e aos imponentes acessos à ponte pedonal do museu dos coches, este bar em Belém, perto da margem do Tejo, apresenta-se branco à semelhança do que o rodeia, como uma grande e acolhedora cobertura, sob a qual se pode beber ao balcão ou sentar à vontade uma das muitas mesas que até ultrapassam esse acolhimento e invadem o passeio, algumas sob guarda-sóis. A cobertura, de planta retangular e com três águas, repousa, para sul, num pilar /parede e a norte numa parede, tudo em betão armado, havendo duas paredes retráteis em vidro que encerram, em diagonal, o balcão, wc e a cozinha, esta com porta para as traseiras nas quais se destaca o isolado cilindro do armazém. Aí e já no exterior, uma escada dá acessos a espaços de apoio em cave. Com esta disposição, foi conseguida uma frente uma traseira. A primeira, simétrica, lembra o arquétipo “ venturiano” da casa com o perfil das águas e os dois recortes para expandir o núcleo do balcão, enquanto a segunda lembra o jogo dos volumes associados sob a luz de Le Corbusier. No seu contexto este bar não foi concebido como um quiosque, afirma-se a uma outra escala. Uma escala que o associa de forma muito directa ao Museu dos Coches, e ao sistema de acessos de ligação com a frente ribeirinha, como se de um remate de um sistema se tratasse.

SPAGNA CASA O FIEIRO, MAZARICOS Arturo Franco Para descrever esta casa é inevitável começar por descrever o seu sistema construtivo, só depois a sua tipologia ou o modo como se relaciona com a paisagem. Podemos dizer que o sistema construtivo/estrutural se resolve com três materiais, madeira, aço e correias de camião, em articulação com o contentor de pedra original, um sistema de paredes portantes, que funcionam em compressão e utiliza este contentor como suporte para uma nova estrutura de pavimentos em madeira que funcionam à tracção. Esta invenção, dá origem a uma casa que se articula em torno de dois espaços principais de pé direito duplo e triplo, visualmente ligados em todas as suas diagonais e em constante relação com o exterior. Neles acontece o programa associado ao dia a dia de uma família, como comer, cozinhar, reunir-se, trabalhar, brincar, socializar, os quartos são espaços mais isolados. Para ligar os espaços verticais, foram preservadas as escadas originais, com degraus de grandes pedras maciças que descarregam o seu peso no solo, por oposição, foi desenhada

uma nova escada em chapa de metal que parece levitar sobre o chão de madeira. Alguém a descreveu como uma caverna habitada por seres livres, de uma forma pouco convencional. Uma casa igual às outras casas da aldeia, uma casa sem tempo, uma invenção tecnológica que não se deixa intimidar pelas condicionantes de um momento preciso. VESTIR O PAVILHÃO MIES VAN DER ROHE Anna & Eugeni Bach Uma instalação que, pretende ser um espaço para a reflexão, uma instalação que nos permite, uma vez mais, aproximar da história da arquitetura moderna. Uma ação simples torna, o Pavilhão de Barcelona de Mies Van Der Rohe, numa representação de si mesmo e abre portas para múltiplas interpretações como: o valor do original, o papel da superfície branca como imagem da modernidade, ou a importância da materialidade na percepção de espaço. O Pavilhão onde agora se intervém é uma reconstrução, uma réplica tão fiel do original que muitas vezes é difícil lembrar sua verdadeira natureza.

Tipologia _ habitar privado Numa planta típica, as casas são acedidas através do núcleo e dos terraços privados que constituem a coroa dos espaços exteriores com vista para o pátio. O piso geral do edifício está organizado por uma matriz de divisões comunicantes. São 114 unidades por andar, 543 no total, todas comunicante, evitando circulações horizontais comuns e privadas. Os espaços dos servidores encontram-se dispostos no anel central enquanto os restantes quartos de uso e dimensão indiferenciada, com cerca de 13m2, correm na fachada oferecendo diferentes modos de viver. Outro terraço na coroa externa completa a sequência espacial, a fileira de espaços interligados por grandes aberturas, permeáveis ao ar e ao olhar. Construção A dimensão das unidades espaciais, além de oferecerem flexibilidade, baseada na ambiguidade de uso e indeterminação funcional, tem uma dimensão ajustada à solução estrutural em madeira. Uma construção modular que tenta responder a uma ideia de economia circular na indústria da construção.

A transformação do Pavilhão numa imagem de si mesmo, com todas as suas superfícies limitadas a um único material, evidencia o papel representativo do edifício; tanto o do original, como símbolo nacional, quanto o da réplica, que representa o primeiro. O Pavilhão torna-se, por um tempo, um modelo em escala 1:1 da sua réplica. Podemos considerar estas e outras reflexões através da própria experiência num Pavilhão que, por alguns dias, perde o seu traço material para, assim, assumir todo o seu potencial representativo. Permite-nos reflectir sobre aspectos tão transversais como o valor da imperfeição. Reforça a interpretação do Pavilhão como um templo, agora branco, mostra-nos a força das juntas, agora perfeitamente visíveis à medida que desaparecem as texturas e reflexos que as escondiam e que nos remetem a uma das perspectivas ou colagens tão características de Mies que agora podem ser percorrida. 85 CASAS SOCIAIS CORNELLÀ Peris + Toral Arquitectes A procura de novos modelos de habitar A habitação para todos é sem dúvida um dos temas centrais das cidades da Europa, o projecto desta dupla de arquitectos, é uma reposta possível às perguntas: como vamos viver no nosso futuro próximo? Que tipologias? Que formas de construir? Tipologia _ habitar colectivo O edifício organiza-se em torno de um pátio que articula uma sequência de espaços intermediários. No andar térreo, um pórtico aberto para a cidade antecipa a porta do prédio e filtra a relação entre o espaço público e o pátio do bairro que funciona como uma pequena praça para a comunidade. Os quatro núcleos de comunicação verticais estão localizados nos quatro cantos do pátio, de forma que todos os habitantes convergem e encontram-se no pátio‑praça.

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SLOVENSKÝ

KOMENTÁRE POROTY ADRIEN VERSCHUERE BELGICKO MELOPEE SCHOOL Xaveer De Geyter Architects Tento projekt ilustruje zákrok, ktorý poskytuje zaujímavé rozhranie s mestom vďaka odvážnemu výkladu vonkajších priestorov školy ako potenciálnych podporných priestorov na iné druhy spoločného použitia v mestskej škále. Navrhnutá budova kondenzuje rôznorodé priestory - tak interiéry ako exteriéry, v rámci jednoduchej a kompaktnej infraštruktúry, ktorej štrukturálny jazyk odkazuje na priemyselnú minulosť hrádzí. Porota obzvlášť ocenila priestorovú kompozíciu projektu - dosiahnutú špeciálne prostredníctvom inteligentnej a bohatej organizácie distribúcie, ktorej výsledkom je nečakané riešenie tohto programu a príležitosť rozvíjať nové mestské využitia. HANGAR À SEL Goffart Polomè Architectes Tento projekt ukazuje skromný zákrok, ktorý spravodlivo a presne zodpovedá funkčnosti jeho programu. Táto budova, zredukovaná na minimálny prejav, navrhuje použiť najzákladnejšie konštrukčné prvky na citlivú operáciu, ktorá prekonáva prísne obmedzenia jej použitia. Projekt, ktorý adoptoval typickú formu hangáru, ho dokázal pretlmočiť vďaka pragmatickému a fundovanému použitiu materiálov, ktoré budovu tvoria. Porota ocenila najmä architektonickú a štrukturálnu inteligenciu, ktorá sa sústreďuje na výber dizajnu a ktorá zodpovedá účinnosti použitého prostriedku pre danú stavbu a ekonomiku zámeru, ktorá je potrebná pre tento druh operácie. TOIT & MOI Matador Tento projekt predstavuje operáciu založenú na dôkladnej precíznosti a jasnosti dizajnu, ktorý umožňuje rôznorodosť situácií a vzťahov intervencie, ktorá je ako celok jednoduchá a logická. Táto budova, zložená z rôznych typológií a podporená konštruktívno-racionálnym zmýšľaním, ponúka vysokú flexibilitu a adaptáciu použitia tak na dnešok, ako aj na zajtrajšok. Porota ocenila obzvlášť množstvo vytvorených rozhraní medzi vnútorným životom budovy a jeho vonkajšími priestormi. Pozornosť sa sústreďuje na tieto hranice, jasné a zároveň s odtieňmi, ktoré vedú k silnému zákroku v porovnaní s limitovaným počtom prostriedkov, maximalizujúcich možnosti, ktoré vytvárajú v rôznych spôsoboch bývania. PAVOL PAŇÁK ČESKÁ REPUBLIKA+ SLOVENSKO ČESKÁ REPUBLIKA REVITALISATION OF PRAGUE RIVERFRONT Petr Janda Prague, Czech Republic Rozhranie mesta a rieky je dôležitý fenomén. Znamená viaceré obmedzenia, ale aj príležitosti. Pre fungovanie mesta a jeho identitu má kľúčový význam. Jedna z dávnych funkcií tohto rozhrania, t.j. tovarová výmena a obchod, sa neskôr z centier miest presťahovala na ich okraje.

Táto prvá fáza revitalizácie pražského nábrežia Vltavy je významným počinom, ktorý zhodnocuje jeho potenciál. Východiskom sú tu cenné a dôležité danosti. Jednou z nich je prestížna poloha v centre Prahy a jej tesný vzťah k rieke. Tou ďalšou je historicky založená konštrukčná a materiálová solídnosť oporných múrov, zabudovaných priestorov a plôch nábrežia. Cenná je osobná angažovanosť architekta pri iniciovaní kultivácie tejto líniovej stavby. Z tohto podujatia sa stala najvýznamnejšia investícia mesta do verejných priestorov za posledných cca. 30 rokov. Po desaťročia zanedbávané a ad hoc využívané priestory a plochy sa po revitalizácii stali vo veľmi krátkom čase intenzívne navštevovaným miestom Pražanmi a turistami. Jestvujúce kvality miesta a stavebnej substancie boli tvorivo a citlivo zhodnotené. Pôvodné skladové a technické priestory v telese nábrežného múru s tangujúcou predsadenou promenádou sa stali rámcom rozmanitých aktivít v podobe klubovní, kaviarní, ateliérov, výstav, knižnice, ale aj verejných WC. Promenáda ponúka majestátny zážitok panorámy náprotivného mestského nábrežia s charakteristickým pozadím významných pražských dominánt. Veľké kruhové okná v sokli steny nábrežia prepisujú na jej povrch geometriu polvalcových vnútorných klenieb. Sú unikátne, ľahko zapamätateľné. Zásahy do stavebnej substancie sú v skutočnosti zdržanlivé a napriek tomu sebavedome dnešné. Vzniklo presvedčivé partnerstvo nových intervencií voči dominujúcej masívnej tektonike a pôvodnej materialite. Tento projekt bol stavebnotechnologicky a technicky osobitne náročný. Je to hodnota, ktorá je voči návštevníkovi skrytá – je však nedeliteľnou súčasťou komplexnosti tejto architektúry.. WHITE SHED Atelier 111 architekti / Veronika Indrová, Jiří Weinzettl, Michal Hamada Opatov, Czech Republic Platí, že aj úloha s utilitárnou funkciou a limitovaným rozpočtom vlastní potenciál hodnotnej architektonickej výpovede. Obdobné industriálne objekty vo svojej prevahe sú iba anonymnými obalmi výrobnej alebo skladovej funkcie. Vo svojom generickom zmnožení potom takéto objekty spoluvytvárajú charakteristickú ne-identitu industriálnych areálov na okrajoch miest. Podobné zadanie vlastní viacero počiatočných limitov. Absentujúci kontext, obmedzený tektonický repertoár, nízky rozpočet, materiálovú a konštrukčnú predurčenosť, potrebu racionálnej montáže. Tento projekt preukazuje, že limitujúce okolnosti nevylučujú kvalitný architektonický rezultát. V susedstve stavieb poľnohospodárskeho areálu vznikla architektúra, ktorá vo svojom zjave vlastní charakteristické črty takýchto stavieb a predsa je výnimočná. Jej racionálna pôdorysná schéma, metalický plášť a translucentné fasádne plochy ju definujú do segmentu industriálnych stavieb. Plytká sedlová strecha typická pre podobné objekty vlastní osobitnú, až ikonickú siluetu. Hranolovitý svetlík v hrebeni strechy prepožičiava známej siluete neobyčajnú črtu, ktorá ju identifikuje. Translucentný hrebeň na archetypálnom objeme je zostavou

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známeho a nového. Toto povyšuje obvyklú siluetu na jedinečný zjav s takmer ikonickou aurou. Vo svojich podrobnostiach je stavba samozrejmá a neobyčajná zároveň. Je dôkazom, že talentovaná manipulácia so známymi formami dokáže prinášať nové presvedčivé výsledky. Také, ktoré anonymitu podobných areálov povyšujú na miesto s jedinečnými znakmi, ktoré nám zostávajú v pamäti.

SLOVENSKÁ REPUBLIKA NEW SYNAGOGUE – CULTURAL CENTRE PLURAL / Martin Jančok Žilina, Slovak Republic Znovuzrodenie Novej Synagógy v Žiline je príbeh s viacerými vrstvami. Architektúra s bezradnými výhliadkami do budúcnosti sa napriek nezáujmu štátu stala novým realizovaným programom. Premena opustenej synagógy je zároveň príbehom občianskeho aktivizmu, ktorý supluje prirodzenú povinnosť štátu. Pôvodná architektúra bola realizovaná v rokoch 1929-31 podľa projektu významného európskeho architekta Petra Behrensa. Židovskej komunite mesta slúžila len do počiatkov tragického osudu tejto komunity v rokoch 2. svetovej vojny. Synagóga patrí k najcennejším architektúram 20. storočia na Slovensku. V povojnových rokoch bola využívaná pre divadlo a koncerty, neskôr ako univerzitná sála a nakoniec ako kino. Počas týchto 7 desaťročí boli úpravami stratené podstatné črty jej vnútornej priestorovej osnovy a materiality. Po uzavretí stavby v r. 2010 vznikla pozoruhodná iniciatíva kultúrnych aktivistov rôznych profesií. Jej cieľom je záchrana, obnova a premena synagógy na nové kultúrne centrum. Bol to náročný proces postupného získavania financií, komplexného spoznávania stavu stavby po jej mnohých premenách a formovania jej budúcej programovej stratégie a pod. Už počas jej postupného oživovania bola miestom kultúrno-spoločenských aktivít, výstav a predstavení. V okolnostiach nerovnomerného toku financií sa postupne vyvíjal aj architektonický koncept jej rekonštrukcie. Bývalá synagóga sa mala stať rámcom rozmanitých kultúrnych a spoločenských podujatí. Tomu je podriadená zdržanlivá architektova stratégia. Všetky nevhodné neskoršie vrstvy, ktoré prekrývali pôvodné formy a povrchy boli odstránené. Znovu odkrytá kupola, obnovená empora, obnovené pôvodné nátery v hornej časti centrály sú najvýraznejšími prvkami, ktoré súznia s novými intervenciami. Biely náter povrchov stien a konštrukcií do určenej výšky symbolicky, ale aj fakticky vytyčuje priestorový rámec nových aktivít centrálneho priestoru. Nové vložené prvky a konštrukcie sú talentovane dizajnované a jednoznačne súčasné.

NEW PARK n-1 / Jakub Kopec, Klára Zahradníčková, Tomáš Džadoň Leopoldov, Slovak Republic Idea premeny zaniknutého cintorína na park a ihrisko je silná svojou symbolikou. Atmosféru piety vystriedal oddych v parkovom prostredí a hry detí. Ťažké na takejto úlohe je uhádnuť mieru prítomnosti reliktov pôvodnej funkcie v prostredí s úplne opačným poslaním. Ako pripomenúť dávnu pietu bez naivného sentimentu?

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Artefakty sprevádzajúce takmer každý cintorín sú ponechané – plný murovaný plot voči susedom, kaplnka a alej vzrastlých líp v pôvodnej osi. Jestvujúca zeleň je doplnená novovysadenými stromami. Vznikol park s čistinami, v ktorých sú osadené rôzne artefakty – miesta hier detí. Tvorcovia pracujú s bežnými produktami priemyslu a stavebnej prefabrikácie. V rôznych figúrach zostavené betónové, oceľové i plastové rúry, panely, poklopy, bunky a iné sú decentne upravené k ich okupovaniu, ktoré je inšpirované detskou fantáziou. Budúci nový park je voľne pochôdzny a postráda akékoľvek komponované pešie trasy. Celá plocha pôsobí celistvo. Dávnu hierarchizovanú štruktúru pripomínajú staré lipy, sprevádzajúce zaniknutú kompozičnú a organizačnú os cintorínskej funkcie. Tú pripomína malé lapidárium, zostavené z kamenných fragmentov zaniknutých náhrobkov. Tento areál je vynikajúcim príkladom spolupráce architekta, krajinného architekta a výtvarného umelca. Vzniklo zvláštne miesto pomíjajúcej piety a každodennej civilnosti zároveň. Zrejme toto je zdrojom jeho osobitnej poetiky. V skutočnosti je priestranstvo takto kultivovaného nábrežia v istom slova zmysle otvoreným programom. Zdarilé zveľadenie pôvodných jestvujúcich hodnôt bude však za každých okolností kultivovaným rámcom akýchkoľvek aktivít. ALEXANDRE THERIOT FRANCÚZSKO STUDIO EXERCICE Slovo „bricoler“, zo starodávnej francúzštiny z XIV. storočia, sa používalo na pomenovanie predmetov, ktoré sú zasiahnuté neočakávaným pohybom alebo príhodou. Napríklad, bejzbalová lopta vyletí, kľučkuje alebo sa odrazí - „bricole“. Slovo neskôr dostalo modernejší význam: doslovne znamená „urobiť manuálnu prácu“ a v rozšírenom zmysle „niečo inštalovať amatérsky a vynaliezavo“. A preto, v prenesenom slova zmysle, hrať sa, niečo umiestniť alebo dokonca niečo narušiť. „Bricoleur“ sa neustále snaží zladiť svoje gesto s charakteristikou predmetov. Podľa Claude Lévi-Straussa, ide o civilizovanú osobu, ktorá znovu objavuje pôžitok divokého myslenia. Táto prestavba domu v Bretónsku, navrhnutá štúdiom EXERCICE, postupuje podľa tejto konštruktívnej logiky. Štúdium EXERCICE skúma každý krok stavebného reťazca, aby pridalo novú priestorovú a technickú singularitu. EXERCICE využíva skromný rozsah projektu ako páku na rozvinutie množstva mikro-zásahov, kde každé rozhodnutie a akcia usádzajú celkový projekt. Štúdium EXERCICE dokazuje, že skromná veľkosť projektu neobmedzuje jeho ambície. Skôr naopak. Prijaté rozhodnutia sú jasné, priame a presné, aj keď realizované veľmi opatrne. Môžeme povedať, že prístup štúdia EXERCICE je vynaliezavý, explicitný a veselý. Jeho zámerom nie je vytvoriť teoretickú konštrukciu. Na to, aby sme sa o tom presvedčili, stačí si prečítať ako opisujú projekt jeho autori: „Táto prestavba v

Bretónsku otvára dom vonkajšiemu svetu prostredníctvom veľkých posuvných okien z galvanizovaného hliníka. Štruktúra je navrhnutá prekrytím rôznych materiálov, ktoré umožňujú, aby do neho vnikalo veľa svetla. Zvonku, tri uzavieracie systémy z galvanizovanej ocele sa pohybujú vďaka ryhovaným kolesám a kovovým oporám, ktoré slúžia ako koľajnice. Práca štúdia EXERCICE sa zhmotňuje „bežnými vecami“, pôžitkom zo spájania, potreby spojiť veci oddelené a niekedy nekompatibilné na vytvorenie výnimočného zákroku. Vzorná a jedinečná práca. THÉÂTRE DU MAILLON, LAN Bretónsky architekt Cédric Price (1934-2003) dokončil relatívne nízky počet budov, ale svojimi kresbami, návrhmi, výukou a rozhovormi mal mimoriadny vplyv vo veľa disciplínach. Pre Priceho bola architektúra nástrojom na pedagogický a sociálny rast a nie estetickým gestom. Jeho najznámejšie dielo zo začiatku šesťdesiatych rokov, Fun Palace (1961), malo za cieľ podporiť sociálnu kohéziu a slúžiť ako dočasná štruktúra. „Fun Palace vznikol vďaka spolupráci Cédrica Priceho s producentkou avantgardného divadla Joanou Littlewoodovou: nejde o budovu v konvenčnom zmysle, ale o stroj sociálnej interakcie absolútne adaptovateľný na meniace sa sociálne a kultúrne podmienky svojej doby a miesta, bez stálych štruktúr, pohyblivý, prenosný a prestaviteľný podľa potrieb.“ Divadlo Maillon má pravdepodobne niečo z tohto Fun Palace. Samozrejme, nie vo svojich konceptuálnych predbežných podmienkach na jeho návrh, ani na jeho výstavbu, ale jednoducho vo svojej ambícii predstaviť si toto miesto venované interpretačným umeniam ako stroj, ktorý musí umožňovať, nie vnucovať; budovu otvorenú mestu, ktorá hľadá začleniť ho všetkými prostriedkami vďaka neoblomnému zámeru nestanoviť vopred svoj program a preto ani svoju funkciu. Hangár Maillon potvrdzuje svoj neformálny charakter hrozbou zmiznúť v prímestskom fádnom kontexte. Avšak, ide o úžasný hangár, ktorý je výrazný svojím materiálom, čerň skôr ako betón, a svetlom – prirodzené, bočné, sekundárne alebo zadné. Šik a čierna farba prehnane flirtujú s jediným cieľom vytvoriť jedinečný singulárny priestor a s nezastaviteľnou túžbou vytvoriť miesto pre kultúru. * Cédric Price, Re: CP, Syracuse, LetteraVentidue, 2011, str. 31, ISBN 978-88-6242-033-4. ** Marco Biraghi, Architecture Histoire moderne 1945-2008, Turin, Einaudi, 2008, str. 179 ISBN 978-88-06-19313-3.

NICOLA DI BATTISTA TALIANSKO MILAN: PIRELLI LEARNING CENTER onsitestudio Giancarlo Floridi and Angelo Lunati Budova postavená, aby slúžila ako nové stredisko služieb značky Pirelli, je charakteristická silnou občianskou a

mestskou dimenziou. Napriek svojim skromným rozmerom, táto stavba umiestnená v historickej priemyselnej štvrti Bicocca, ašpiruje stať sa skutočným stredom celej zóny, bodom na stretávanie sa v tejto obnovenej časti mesta. Podarilo sa jej to vďaka priamemu protikladu s renesančným domom Bicocca degli Arcimboldo. Vytvára tak určitý druh kontrapunktu medzi starým a novým v peknom prostredí dodnes zachovanej záhrady. Budova, určená najmä ako priestor pre learning center a kaviareň sa vztyčuje ako nová kompaktná a diskrétna strana ulice. Vo vnútri, smerom k záhrade, preberá otvorenejší a viac domáci vzhľad, charakterizovaný jednoposchodovým blokom kaviarne, ktorá celkom vyčnieva a projektuje sa smerom von svojím portálom, ktorý vedie priamy dialóg so starým rezidenčným domom. Prízemie budovy, nezávislé od kaviarne, sa mení na malé a prítulné kamenné námestie so stromami, ktoré vedie do hlavnej záhrady. Verejná strana otočená do ulice sa charakterizuje efektívnym dizajnom technických objemov nachádzajúcich sa na streche, ktoré svojimi tvarmi v dvoch častiach prerušujú fasádu v osi vchodu. Zatvárajú ju a definitívne ju charakterizujú ako mestskú architektúru. PESCARA: PANTA REI BEACH Toffoli Architetti Ubaldo Toffoli Prekvapujúca novinka, ktorú tento projekt poskytuje súčasnej dobe, je hmatateľným dôkazom toho, čo môže v súčasnosti dodať životu ľudí a ich blahobytu architektúra. Tento projekt je výsledkom súťaže sponzorovanej citlivým klientom. Súťaž hľadala vyriešiť potrebu zmeniť bývalý školský komplex na modernú školu. Architekti sa rozhodli ponechať typologické prvky komplexu a zároveň ho dotovať úplne novou mestskou konfiguráciou, začínajúc od jednotlivých hierarchií stanovených v budove vzhľadom na pozemok, na ktorom sa nachádza. Široká strana juhovýchodnej orientácie sa stáva skutočným miestom na prácu. Časť nezastaveného pozemku sa použila na vytvorenie záhrady, ktorá slúži ako filter a nový vstup do školy. V tomto bode je cieľom rekonfigurácia fasád na využitie všetkých ich možností. Preto sa pridali priestranné otvorené terasy, ale obalené ľahkou kovovou sieťou, čím sa stali skutočnými priestormi, ktoré nadväzujú na vnútro tried, ktoré smeruje von. Toto, v spojení s efektívnym projektom vo vnútri, v ktorom sa svetlo stáva protagonistom, dodáva tomuto miestu moderný charakter, v súlade s našou dobou. TURÍN: ŠKOLA ENRICO FERMI BDR bureau Alberto Bottero and Simona Della Rocca Prekvapujúca novinka, ktorú tento projekt poskytuje súčasnej dobe, je hmatateľným dôkazom toho, čo môže v súčasnosti dodať životu ľudí a ich blahobytu architektúra. Tento projekt je výsledkom súťaže sponzorovanej citlivým klientom. Súťaž hľadala vyriešiť potrebu zmeniť bývalý školský komplex na modernú školu.

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Architekti sa rozhodli ponechať typologické prvky komplexu a zároveň ho dotovať úplne novou mestskou konfiguráciou, začínajúc od jednotlivých hierarchií stanovených v budove vzhľadom na pozemok, na ktorom sa nachádza. Široká strana juhovýchodnej orientácie sa stáva skutočným miestom na prácu. Časť nezastaveného pozemku sa použila na vytvorenie záhrady, ktorá slúži ako filter a nový vstup do školy. V tomto bode je cieľom rekonfigurácia fasád na využitie všetkých ich možností. Preto sa pridali priestranné otvorené terasy, ale obalené ľahkou kovovou sieťou, čím sa stali skutočnými priestormi, ktoré nadväzujú na vnútro tried, ktoré smeruje von. Toto, v spojení s efektívnym projektom vo vnútri, v ktorom sa svetlo stáva protagonistom, dodáva tomuto miestu moderný charakter, v súlade s našou dobou.

INÊS LOBO PORTUGALSKO + ŠPANIELSKO PORTUGALSKO HALA PRE VÝLETNÉ LODE V LISABONE João Luís Carrilho Da Graça Kompaktná hala integrovaná v skupine exteriérových priestorov navrhnutých vo forme bulváru s početnými chodníkmi so stromami a lineárnou záhradou, s malými pavilónmi, ktoré zahrňujú programy slúžiace tomuto novému priestoru mesta patriacemu k obnove brehu rieky. Treba vyzdvihnúť inteligenciu, s ktorou tento projekt premieňa súkromný program na nový verejný priestor Lisabonu a ktorý veľmi presne vyhradzuje limity medzi verejným priestorom a fungovaním prístavu. Nachádzame sa v historickom centre, na platforme vyloďovania, ktorá sa postavila s cieľom umiestniť lisabonský prístav, kde predtým boli dve zátoky. V jednej sa vybudovala hala, ktorá je na severovýchode celkom obsadená vonkajším parkoviskom pre vozidlá. Na juhovýchode prílivová zóna pripomína jej históriu. Vďaka tomuto riešeniu nebolo potrebné kopať na vytvorenie krytého parkoviska na úrovni -1 haly ako pokračovanie prvého. Úroveň -1 je určená najmä batožinám a úroveň -2, pravidelnej kovovej štruktúry, ktorá sa nachádza vo výške dlhých prechodov vedúcich až k obrovským lodiam, pojíma pasažierov. Na koncoch haly (SV, JZ) sú umiestnené schody a rampy, ktoré ponúkajú vertikálny pohyb. Hala je chránená betónovým plášťom odľahčeným korkovým granulátom. Smerom k zemi sa zhŕňa, aby označila dvere a smerom k rieke sa prezentuje iba vertikálne, komunikujúc s rampami. Strecha sa tiež zvíja a vytvára priehlbinu, ktorá osvetľuje úroveň -2 a umožňuje prístup na vyhliadkové miesto na mesto. Na záver môžeme povedať, že viac ako stavať, tento projekt nás vysiela do spomienok miesta. BAR & PAVILÓN V BELÉME Ricardo Bak Gordon V blízkosti haly vodnej dopravy v Beléme, záhrady MAAT a impozantného prístupu na peší most Múzea kočov, tento bar na brehu rieky Tagus v Beléme je úplne odetý do bieleho,

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ako všetko, čo ho obklopuje. Napodobňuje veľkú zabalenú strechu, pod ktorou sa môže piť pri bare alebo sa pohodlne usadiť pri jednom z početných stolov, ktoré vychádzajú z tohto priestoru a zaberajú chodník, niektoré pod slnečníkmi. Strecha, obdĺžnikovej štruktúry a s troma sklonmi je uložená na pilieri/múre na juhu a na severe na múre zo železobetónu s posuvnými sklenenými dvermi. Diagonálne sú umiestnené bar, záchody a kuchyňa (s dverami na zadnej časti, kde sa nachádza izolovaný valec skladu). Vo vonkajšej časti sa tiež situujú schody, ktorými sa vstupuje do priľahlých priestorov, do sklepu. Takýmto spôsobom, toto rozloženie umožňuje rozlíšiť jednu časť prednú a jednu zadnú. Predná časť je symetrická a pripomína Venturiho archetyp domu so svojimi sklonmi a dvoma rezmi na rozšírenie stredu baru. Zadná časť pripomína hru s objemami spojenými so svetlom Le Corbusiera. Tento bar, vo svojom kontexte, nebol vytvorený ako plážový bar, ale sa realizuje v inej škále. Škála, ktorá sa spája omnoho priamejšie s Múzeom kočov a prístupovým systémom, ktorý vedie k obom brehom rieky, akoby išlo o záverečný detail systému. ŠPANIELSKO CASA O FIEIRO, MAZARICOS Arturo Franco Aby sme mohli opísať tento dom, v prvom rade je nevyhnutné opísať jeho stavebný systém a následne prejsť na jeho typológiu a jeho vzťah s okolím. Môžeme povedať, že stavebný systém/štruktúra sa vyriešil s troma materiálmi: drevo, oceľ a kamiónové remene, ktoré sa kombinujú s pôvodnou kamennou štruktúrou. Ide o systém nosných múrov, ktoré fungujú pod tlakom. Táto štruktúra sa použila ako opora novej štruktúry dosiek, ktoré fungujú ťahom. Takýmto spôsobom sa vytvoril dom, ktorý sa artikuluje okolo dvoch hlavných priestorov s dvoma až troma poschodiami, ktoré sú vizuálne spojené vo všetkých svojich diagonálach a sú v neustálom vzťahu s exteriérom. Takto sa rozvíja každodenný život rodiny, ktorá sa stravuje, varí, stretáva, pracuje, hráa združuje sa. Najizolovanejšími priestormi sú izby. Na spojenie vertikálnych priestorov sa zachovali pôvodné schody s veľkými stupienkami z masívneho kameňa, ktorých váha spočíva na zemi. Umiestnilo sa nové schodisko z kovových panelov, ktoré v protiklade vyvoláva pocit, že sa vznáša nad drevenou dlážkou. Niekto dom veľmi netradične opísal ako jaskyňu obývanú voľnými tvormi. Dedinský dom ako všetky ostatné, nadčasový, ale aj technologický zákrok, ktorý sa nenechal zastrašiť obmedzeniami daného momentu. ZAODIEŤ PAVILÓN MIES VAN DER ROHE Anna & Eugeni Bach Inštalácia, ktorej zámer je byť priestorom na reflexiu, ktorá nám umožňuje opätovne sa priblížiť k histórii modernej architektúry Barcelonský pavilón Mies Van Der Rohe, ktorý je jednoduchým zásahom a reprezentáciou seba samého, otvára dvere mnohým výkladom ako sú jeho pôvodná

hodnota, úloha bieleho priestoru ako obrazu modernosti alebo dôležitosť materiálnosti vo vnímaní priestoru. Pavilón, na ktorý sa zákrok sústreďuje je rekonštrukcia, replika tak verná originálu, že často je ťažké spomenúť si na jej skutočnú povahu. Premena pavilónu na obraz, so všetkými plochami obmedzenými na jediný materiál, ukazuje reprezentatívnu úlohu budovy - ako národný symbol v prípade pôvodnej a ako replika v prípade rekonštrukcie. Pavilón sa v jednej chvíli mení na model svojej repliky mierky 1:1. Vychádzajúc z individuálneho zážitku z pavilónu, nakoľko je možné urobiť tieto a iné reflexie, v priebehu niekoľkých dní stratí svoju materiálnu identitu, aby prevzal všetok svoj reprezentatívny potenciál. Umožňuje nám zamýšľať sa nad transverzálnymi aspektami a nad hodnotou nedokonalosti. Posilňuje výklad pavilónu ako chrámu, v súčastnosti bielej farby. Ukazuje nám silu spojov, ktoré sa stávajú celkom viditeľné, keď sa strácajú textúry a odrazy, ktoré ich skrývali a ktoré nám opäť nasmerovávajú na jednu z perspektív alebo collage, tak charakteristické pre Miesa a ktorým je v súčasnosti možné prejsť. 85 SOCIÁLNYCH BYTOV V CORNELLÀ Peris + Toral Arquitectes Hľadanie nových modelov bývania Bývanie pre všetkých je bezpochyby jednou z ústredných tém európskych miest. Projekt tohto binómu architektov je možnou odpoveďou na nasledovné otázky: Ako budeme bývať v blízkej budúcnosti? Aké typológie? Aký stavebný štýl? Typológia: kolektívne byty Budova sa organizuje okolo dvora, ktorý zoraďuje sekvenciu priestorov nachádzajúcich sa medzi nimi. Na prízemí, portál otvorený smerom do mesta predchádza dverám budovy a filtruje vzťah medzi verejným priestorom a dvorom štvrte, ktorý funguje ako miesto pre susedov. V štyroch rohoch dvora sa nachádzajú štyri hlavné centrálne komunikačné uzly, čím bývajúci smerujú do dvora a stretávajú sa v ňom. Typológia: súkromný príbytok Ide o typický pôdorys, prístup do bytov sa uskutočňuje prostredníctvom uzla a dvoch súkromných terás, ktoré tvoria korunu priestorov s výhľadom na dvor. Všeobecná úroveň nehnuteľnosti sa organizuje maticou komunikujúcich priestorov. Na každom poschodí je 114 jednotiek, spolu 533 a všetky sú prepojené, čím sa zamedzuje horizontálnym spoločným a súkromným pohybom. Priestory pre služby sa nachádzajú vo vnútri centrálneho kruhu a ostatné izby, ktoré majú podobné použitie a rozmery, okolo 13 m2, sa rozkladajú pozdĺž fasády. Takýmto spôsobom ponúkajú rôzne druhy bývania. Ďalšia terasa na vonkajšom kruhu dopĺňa priestorový postup – radu priestorov prepojených veľkými otvormi, ktoré prepúšťajú vzduch a pohľady. Stavba Priestorové jednotky majú, okrem všestrannosti založenej na nejednoznačnom použití a nejasnej funkčnosti, ktorú ponúkajú, veľkosť adaptovanú na štrukturálne drevené riešenie. Ide o modulárnu konštrukciu, ktorá chce poskytnúť odpoveď na myšlienku cirkulárnej ekonomiky v stavebnom priemysle.

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SPANISH

COMENTARIOS DEL JURADO ADRIEN VERSCHUERE BÉLGICA MELOPEE SCHOOL Xaveer De Geyter Architects Este proyecto ilustra una intervención que ofrece una interfaz interesante con la ciudad a través de una reinterpretación atrevida de los espacios exteriores de la escuela como espacios de apoyo potenciales para otros tipos de usos comunes a escala urbana. El edificio propuesto condensa una variedad de espacios, tanto interiores como exteriores, dentro de una infraestructura sencilla y compacta cuyo lenguaje estructural se refiere al pasado industrial de los muelles. El jurado ha valorado en particular la composición espacial del proyecto –especialmente a través de una organización inteligente y generosa de las distribuciones– que da lugar a una resolución inesperada de este programa y una oportunidad de desarrollo de nuevas prácticas urbanas. HANGAR À SEL Goffart Polomè Architectes Este proyecto da muestra de una intervención modesta que responde de manera justa y precisa a la funcionalidad de su programa. Este edificio, reducido a su expresión más mínima, propone usar los elementos constructivos más básicos para producir una operación sensible que supera las estrictas limitaciones de su uso. El proyecto, que adopta la forma arquetípica del hangar, logra reinterpretarlo mediante un uso pragmático y razonado de los materiales que lo componen. El jurado valora en particular la inteligencia arquitectónica y estructural que se centra en las elecciones de diseño y que responden a la eficacia de medio usado para tal construcción y la economía de intención necesaria para este tipo de operación. TOIT & MOI Matador Este proyecto representa una operación basada en un gran rigor y claridad de diseño que permite una variedad de situaciones y de relaciones dentro de una intervención sencilla y coherente en su conjunto. Compuesto por distintas tipologías y apoyado por un pensamiento constructivo racional, este edificio ofrece una gran flexibilidad y adaptación de uso para hoy y para mañana. El jurado ha valorado en particular la riqueza de las interfaces creadas entre la vida interior del edifico y sus espacios exteriores. La atención se centra en estos límites a la vez claros y matizados que lleva a una intervención fuerte por el número limitado de medios que maximizan las posibilidades que crea en las distintas maneras de habitar. PAVOL PAŇÁK REPÚBLICA CHECA + ESLOVAQUIA REPÚBLICA CHECA REVITALISATION OF PRAGUE RIVERFRONT Petr Janda Prague, Czech Republic El punto de encuentro entre la ciudad y el río representa un fenómeno importante. Conlleva varias limitaciones, pero a su vez oportunidades. Tiene un significado clave para el funcionamiento de la ciudad y su identidad. Una de las

funciones antiguas de dicha zona era el intercambio de bienes y comercio que posteriormente se trasladó del centro de la ciudad a sus afueras. La primera fase de la revitalización de la ribera del río Moldava de Praga es un hito importante que ayudará a que se incremente su potencialgracias a sus características ya de sí importantes y valiosas. Una de ellas es su localización en una zona de prestigio en el centro de Praga y su estrecha relación con el río. La otra es la solidez de los materiales y de la construcción de los muros de contención, las zonas integradas y el muelle gracias a motivos históricos. El arquitecto ha tenido un papel importante a la hora de iniciar la rehabilitación de esta obra lineal que se ha convertido en la inversión municipal más importante en un espacio público de los últimos 30 años. La zona llevaba varios decenios abandonada y se usaba solamente de forma puntual. Después de la renovación se convirtió rápidamente en un lugar popular para los praguenses y turistas. Las características del lugar y de la propia construcción se aprovecharon de forma creativa y sensible. Su uso original era de almacén y mantenimiento y se situaba en el muro de la ribera que incluía como avanzada un paseo. Gracias a la obra se convirtió en zona de múltiple uso: clubes, cafeterías, talleres, exposiciones, biblioteca, pero también incluye baños públicos. El paseo ofrece una experiencia majestuosa al contemplar el panorama de la otra orilla del río con importantes monumentos de la ciudad. Las grandes ventanas circulares situadas en la base del muro de la ribera repiten la geometría de las bóvedas interiores semicilíndricas. Son únicas y fáciles de recordar. Las intervenciones en la esencia de la construcción son en realidad comedidas, pero a su vez de gran actualidad. Se ha creado una simbiosis entre nuevas intervenciones y la tectónica masiva dominante y sus materiales originales. Dicho proyecto ha sido un gran reto desde el punto de vista técnico y tecnológico. Es una cualidad que queda oculta para el visitante, pero que forma parte intrínseca de la complejidad de esta obra arquitectónica. WHITE SHED Atelier 111 architekti / Veronika Indrová, Jiří Weinzettl, Michal Hamada Opatov, Czech Republic Incluso un encargo cuya finalidad es simplemente utilitaria y que dispone de un presupuesto limitado puede presentar un potencial de una valiosa expresión arquitectónica. Las construcciones similares con fin industrial son en su mayoría simples envoltorios anónimos con funcionalidad productiva o de almacenaje. Se convierten luego en obras genéricas multiplicadas que co-crean la no-identidad característica de las zonas industriales en las afueras de las ciudades. Un encargo de estas características conlleva varias limitaciones iniciales: contexto ausente, repertorio técnico limitado, bajo presupuesto, materiales y tipo de construcción predeterminados, necesidad de un montaje racional. Este proyecto nos muestra que las condiciones limitantes no tienen por qué excluir un resultado arquitectónico de calidad. Junto a un área de uso agrícola nació una arquitectura que en su aspecto contiene características arquitectónicas de dichas

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obras y a pesar de ello es excepcional. El esquema de la planta hecho de forma racional, el revestimiento metálico y las zonas translúcidas de la fachada la sitúan en el segmento de las obras industriales. El típico tejado insustancial a dos aguas característico de obras similares dispone de una silueta propia casi icónica. El tragaluz de prisma en la cumbrera del tejado le concede a la silueta habitual un rasgo original distintivo. La cumbrera translúcida que forma parte de un volumen arquetípico representa la combinación de lo ya conocido y de lo nuevo. Una silueta habitual se transforma en un fenómeno con un aura casi icónica. La obra tiene detalles que la hacen común y a la vez diferente.

REPÚBLICA ESLOVACA NEW SYNAGOGUE – CULTURAL CENTRE PLURAL / Martin Jančok Žilina, Slovak Republic La resurrección de la Sinagoga Nueva de Žilina nos cuenta varias historias. Una arquitectura con perspectivas de futuro poco alentadoras que se transformó, a pesar de la falta de interés del estado, en una obra nueva. La transformación de la sinagoga abandonada es a su vez ejemplo de activismo civil que suple la obligación natural del estado. La obra original se construyó en los años 1929-31 según el proyecto de un arquitecto europeo importante Petr Behrens. La comunidad judía de la ciudad la utilizó hasta que se truncara su destino por los acontecimientos trágicos al principio de la segunda guerra mundial. La sinagoga es una de las obras arquitectónicas más valiosas del siglo XX en Eslovaquia. Ya finalizada la guerra se utilizó para teatro, conciertos, aula universitaria y al final como cine. Durante estos 70 años se realizaron reformas que hicieron que se perdieran características importantes de su espacio interior y materiales. Después del cierre del edificio en el 2010 nació una iniciativa admirable por parte de diferentes activistas culturales de varios ámbitos. Su objetivo era salvar, renovar y transformar la sinagoga en un centro cultural nuevo. El proceso incluía la difícil y paulatina recogida de fondos, complejo análisis del estado del edificio después de todos los cambios realizados, y la elección del concepto para la programación futura, etc. Ya durante su gradual renacimiento se convirtió en un lugar de actividades socio-culturales, exposiciones y espectáculos. De forma paulatina, mientras el dinero llegaba de forma irregular, se desarrollaba también el concepto arquitectónico para su reforma. Lo que fue la antigua sinagoga iba a ser un marco para diversos actos culturales y sociales. El arquitecto optó por ello por una estrategia prudente. Todas las capas posteriores inadecuadas que cubrían las formas originales y superficies fueron eliminadas. La cúpula nuevamente descubierta, el matroneo restaurado, junto con las pinturas originales en la parte superior central son los elementos más importantes que están en simbiosis con las nuevas intervenciones. La pintura blanca de las paredes y la construcción hasta una altura concreta, determinan de forma simbólica, pero a la vez real, el espacio para las nuevas actividades en la parte central. Los elementos nuevos incluidos y las construcciones demuestran el talento del diseño y son de gran actualidad.

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NEW PARK n-1 / Jakub Kopec, Klára Zahradníčková, Tomáš Džadoň Leopoldov, Slovak Republic La idea de transformar un cementerio desaparecido en un parque infantil tiene un simbolismo muy fuerte. El luto ha sido sustituido por juegos infantiles. Es difícil adivinar la presencia de reliquias y su función original en un lugar que tiene una finalidad contraria. ¿Cómo recordar un lugar de luto sin caer en sentimentalismos? Los objetos que nos encontramos en casi todos los cementerios se han mantenido: el muro de ladrillo hacia el lado de los vecinos, la capilla, pero también los grandes tilos en su formación original. La naturaleza existente se completó con la plantación de nuevos árboles. Nació un parque con claros que incluye nuevos objetos que forman un lugar de juego para los niños. Los autores trabajaron con objetos industriales comunes y prefabricados. Nos encontramos diferentes figuras formadas por tuberías de hormigón, acero y plástico, paneles, tapas, módulos y otros objetosque se modificaron de forma discreta inspirados en la fantasía infantil. El futuro parque es un lugar por el que se puede pasar libremente y no tiene ningún camino integrado. Toda la zona transmite un efecto compacto. La antigua estructura jerarquizada nos la recuerdan los viejos tilos que cumplían en su momento con una función concreta en la composición y organización del cementerio. Como recuerdo nos queda el pequeño lapidario construido de fragmentos de piedra de las lápidas desaparecidas. Este espacio es un ejemplo maravilloso de la cooperación entre arquitecto, paisajista y artista plástico.

ALEXANDRE THERIOT FRANCIA STUDIO EXERCICE La palabra «bricoler», del francés antiguo del siglo XIV, se aplica a objetos que se ven afectados por un movimiento inesperado o un incidente. Por ejemplo, una pelota de béisbol que sale disparada, zigzaguea o bota en falso, «bricole». El término cobra después un sentido más moderno: es literalmente «hacer un trabajo manual» y por extensión, «instalar algo de manera amateur e ingeniosa». Por lo tanto, figuradamente, trastear, colocar algo e incluso alterar algo. El «bricoleur» se esfuerza constantemente por ajustar su gesto a las especificidades de los objetos. Se trata de una persona civilizada que redescubre, según Claude Lévi-Strauss, las alegrías del pensamiento salvaje. Esta ampliación de una casa en Bretaña, diseñada por el estudio EXERCISE, sigue esta lógica constructiva. Estudio EXERCICE explora cada paso de la cadena constructiva para añadir una nueva singularidad espacial y técnica. Estudio EXERCICE aprovecha el modesto tamaño del proyecto como palanca para desplegar una multitud de microintervenciones, donde cada decisión y acción asientan el proyecto completo. Estudio EXERCICE demuestra que el tamaño modesto de un proyecto no limita su ambición. Al contrario. Las decisiones

tomadas son claras, directas y precisas, aunque realizadas con sumo cuidado.

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Podríamos decir que el enfoque del estudio EXERCICE es ingenioso, explícito y alegre. No pretende crear un artificio teórico. Para convencerse, basta con releer la descripción del proyecto realizada por sus autores: «Esta ampliación en Bretaña abre la casa al mundo exterior a través de grandes ventanas de aluminio galvanizado correderas. La estructura está diseñada a través de una superposición de distintos materiales que permiten que pase una gran cantidad de luz. Desde el exterior, tres cerramientos de acero galvanizado se mueven gracias a unas ruedas estriadas y a una serie de soportes metálicos que sirven como guías.

MILAN: PIRELLI LEARNING CENTER onsitestudio

El trabajo del estudio EXERCICE se realiza a través de «cosas comunes», del placer de unir, la necesidad de juntar cosas separadas y a veces incompatibles para crear una actuación extraordinaria. Un trabajo singular y ejemplar. THÉÂTRE DU MAILLON, LAN El arquitecto bretón Cédric Price (1934-2003) completó relativamente pocos edificios, pero a través de sus dibujos, propuestas, enseñanzas y conversaciones, ejerció una enorme influencia en muchas disciplinas. Para Price, la arquitectura era un instrumento para el crecimiento pedagógico y social, y no un gesto estético en sí mismo. Su obra más famosa de principios de los años 60, el Fun Palace (1961), tenía el objetivo de promover la cohesión social y servir como estructuras temporales. “El Fun Palace nació de la colaboración entre Cédric Price y la productora de teatro vanguardista Joan Littlewood: no se trataba de un edificio en un sentido convencional, sino de una máquina de interacción social totalmente adaptable a las cambiantes condiciones sociales y culturales de su tiempo y lugar sin estructuras permanentes, movibles, transportables ni reajustables según las necesidades.” Probablemente, el teatro Maillon tiene algo de este Fun Palace. Evidentemente no en sus prerrequisitos conceptuales para su creación, ni para su construcción, sino simplemente en su ambición para pensar en este lugar dedicado a las artes interpretativas como una máquina que tiene que permitir antes de imponer; un edificio abierto a la ciudad y que busca incorporarla por todos los medios a través de la firme intención de no preestablecer su programa, y por lo tanto, su función. El hangar Maillon afirma su carácter informal, amenazando con desaparecer en un contexto suburbano anodino. Sin embargo, se trata de un hangar maravilloso que resalta por su material, negro antes que hormigón, y por la luz, natural, lateral, secundaria o trasera. Lo chic y lo negro flirtean excesivamente con el único propósito de crear un lugar público único y singular y el deseo irrefrenable de crear un lugar de cultura. * Cédric Price, Re: CP, Syracuse, LetteraVentidue, 2011, p. 31, ISBN 978-88-6242-033-4. ** Marco Biraghi, Architecture Histoire moderne 1945-2008, Turin, Einaudi, 2008, p. 179 ISBN 978-88-06-19313-3.

Giancarlo Floridi and Angelo Lunati Una fuerte vocación cívica y urbana caracteriza el edificio realizado para albergar el nuevo centro de servicios de Pirelli. A pesar de sus modestas dimensiones, esta construcción situada en el histórico barrio industrial de la Bicocca aspira a convertirse en el auténtico corazón de toda la zona, en un punto de encuentro de esta renovada parte de la ciudad. Y lo consigue contraponiéndose directamente con la casa renacentista de la Bicocca de los Arcimboldi, creando así una especie de contrapunto entre lo antiguo y lo nuevo en el bonito entorno del jardín aún existente. El edificio, destinado a alojar principalmente el learning center y la cafetería, se levanta como un nuevo frente de calle compacto y reservado. En el interior, hacia el jardín, adopta un aspecto más doméstico y abierto, caracterizado por el bloque de una única planta de la cafetería que sale del todo y se proyecta hacia el exterior con un pórtico que dialoga directamente con la antigua casa residencial. La planta baja del edificio, independiente de la cafetería, se convierte en una pequeña y acogedora plaza de piedra arbolada, que conduce al jardín principal. El frente público que da a la calle se caracteriza por un eficaz diseño de los volúmenes técnicos colocados en el tejado que con su forma en dos partes interrumpen la fachada en el eje de la entrada y la cierran caracterizándola definitivamente como arquitectura de la ciudad. PESCARA: PANTA REI BEACH Toffoli Architetti Ubaldo Toffoli La realización de una pequeña estación balnearia supone un reto difícil de resolver para un arquitecto: dar visibilidad a la construcción sin causar un impacto excesivo en el perfil del mar. La solución adoptada utiliza un edificio largo y estrecho, colocado en perpendicular a la orilla, que apunta directa y categóricamente hacia el vasto horizonte marino. Este tipo de planta permite que el pabellón cause un impacto mínimo en la línea del agua gracias a una gran visibilidad global, además de convertirse con su forma clara y precisa en una auténtica unidad de medida, capaz de dar dimensión a la inmensidad de la playa. Se ha prestado una especial atención a la configuración de la sección del pabellón que utiliza casi la mitad de la altura interna total para contener la estructura de la cubierta y alojar también las voluminosas instalaciones. Un gran tejado de vigas de madera en forma de red, suspendido en las líneas del alero, diseña el espacio con inteligencia. Su forma abocinada hacia abajo permite liberar completamente la fachada externa del pabellón a cualquier altura, proporcionando así una sorprendente espacialidad con respecto a las modestas dimensiones de la construcción. La simplicidad estructural viene acompañada de un cuidado meticuloso de los detalles y un uso de los materiales sobrio y adecuado.

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TURIN: ESCUELA ENRICO FERMI BDR bureau Alberto Bottero and Simona Della Rocca La sorprendente novedad que este proyecto confiere al tiempo actual es la prueba tangible de lo que la arquitectura puede aportar hoy a la vida de los seres humanos y a su bienestar. Este proyecto es el fruto de un concurso patrocinado por un cliente con sensibilidad, que se propone responder a la necesidad de transformar un antiguo complejo escolar en una escuela contemporánea.

La terminal está protegida por una carcasa de hormigón aligerado por un granulado de corcho. Hacia tierra, se pliega para marcar las puertas, mientras que hacia el río, se presenta únicamente en vertical, comunicando con las pasarelas. El tejado también se pliega, creando una depresión que ilumina el nivel 2 y da acceso a un mirador sobre la ciudad.

Los arquitectos decidieron conservar las características tipológicas del complejo a la vez que le dotaban de una configuración urbana totalmente nueva, empezando por las distintas jerarquías impuestas al edificio debido a la parcela que ocupa. El amplio frente de orientación sudeste se convierte en el auténtico lugar de trabajo y, utilizando una porción de terreno sin edificar, se crea un jardín que sirve como filtro y nueva entrada a la escuela.

BAR & PABELLÓN DE BELÉM Ricardo Bak Gordon Cerca de la terminal fluvial de Belém, los jardines del MAAT y los imponentes accesos al puente peatonal del Museo de las carrozas, este bar situado en Belém, al borde del Tajo, está totalmente vestido de blanco, como lo que lo rodea, a imagen de una gran cubierta envolvente bajo la cual se puede beber en la barra o sentarse cómodamente en una de las numerosas mesas que se salen de este espacio para invadir la acera, algunas de ellas bajo sombrillas.

En este punto, el objetivo es la reconfiguración de las fachadas para aprovechar todo su potencial. Para ello, se añadieron amplias terrazas abiertas, pero revestidas con una ligera red metálica, de forma que se convierten en auténticos espacios, en continuidad con el interior de las aulas, que fluye hacia el exterior. Lo anterior, unido a un eficaz proyecto en el interior en el que la luz toma protagonismo, aporta a este lugar un aire contemporáneo y en sintonía con nuestro tiempo.

INÊS LOBO PORTUGAL + ESPAÑA PORTUGAL TERMINAL DE CRUCEROS DE LISBOA João Luís Carrilho Da Graça Una terminal compacta e integrada en una serie de espacios exteriores diseñados en forma de boulevard que presenta numerosas sendas con árboles, un jardín linear donde pequeños pabellones albergan programas que sirven a este nuevo lugar de la ciudad inscrito en la recuperación de las orillas del río. Cabe destacar la inteligencia con la que este proyecto transforma un programa privado en un nuevo lugar público de la ciudad de Lisboa que concibe, con extremada precisión, los límites entre el espacio público y el funcionamiento del puerto. Nos encontramos en el centro histórico, sobre la plataforma de desembarque construida para albergar el puerto de Lisboa donde existían dos calas. En una se construyó la terminal totalmente ocupada por un aparcamiento para vehículos al aire libre al noreste y la cuenca de la marea en el sudoeste, marcando así su memoria. De esta manera no ha sido necesario cavar para crear el aparcamiento cubierto en el nivel -1 de la terminal, en continuidad con el otro. El nivel 1 está destinado principalmente al equipaje, mientras que el nivel 2, a la altura de las largas pasarelas que llevan hasta los gigantescos barcos, de estructura metálica regular, acoge a los pasajeros. En los dos extremos de la terminal (NE, SO) se sitúan las escaleras y las rampas para ofrecer un movimiento vertical.

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Para terminar, se puede decir que más que construir, este proyecto nos envía a la memoria de un lugar.

El tejado, de estructura rectangular y con tres pendientes, reposa, en el sur, sobre un pilar/muro y en el norte, sobre un muro en hormigón armado con paredes retráctiles de cristal, en diagonal la barra, los baños y la cocina (con una puerta hacia la parte de atrás donde se sitúa el cilindro aislado del almacén). En esta parte exterior también hay unas escaleras que dan acceso a espacios adyacentes, a la bodega. De esta manera, esta disposición ha permitido distinguir una parte delantera y otra trasera. La primera, simétrica, recuerda el arquetipo «venturiano» de la casa con sus pendientes y dos cortes para ampliar el centro de la barra, mientras que la segunda recuerda el juego de los volúmenes asociados a la luz de Le Corbusier. En su contexto, este bar no ha sido creado como chiringuito, sino que se afirma en otra escala. Una escala que lo asocia de manera mucho más directa al Museo de las carrozas y al sistema de acceso que lleva a las dos orillas del río, como si se tratara del toque final de un sistema. ESPAÑA CASA O FIEIRO, MAZARICOS Arturo Franco Para describir esta casa, primero de todo resulta indispensable describir su sistema de construcción, para posteriormente pasar a su tipología o a su relación con el paisaje. Se puede decir que el sistema de construcción/estructura se ha resuelto con tres materiales: madera, acero y correas de camión que se combinan con una estructura en piedra original, un sistema de muros de carga que funcionan en compresión. Esta estructura se ha utilizado como soporte para una nueva estructura de planchas que funcionan mediante tracción. De esta manera se crea una casa que se articula alrededor de dos espacios principales de dos a tres plantas, visualmente unidas en todas sus diagonales y en constante relación con el exterior. De esta manera se desarrolla el programa del día a día de una familia para comer, cocinar,

reunirse, trabajar, jugar y socializar. Las habitaciones son espacios más aislados. Para unir los espacios verticales, las escaleras originales, con peldaños grandes de piedra maciza que descargan su peso en el suelo, se han conservado. Se ha colocado una nueva escalera de planchas de metal que dan la impresión, por el contrario, de flotar sobre el suelo de madera. Alguien la ha descrito como una cueva habitada por seres libres, de manera poco convencional. Una casa de pueblo como las demás, atemporal, una intervención tecnológica que no se deja intimidar por las limitaciones de un momento determinado. VESTIR EL PABELLÓN MIES VAN DER ROHE Anna & Eugeni Bach Una instalación que pretende ser un espacio para la reflexión, una instalación que nos permite, una vez más, acercarnos a la historia de la arquitectura moderna. El Pabellón de Barcelona de Mies Van Der Rohe, una intervención sencilla, y en una representación de sí mismo, abre las puertas a múltiples interpretaciones tales como el valor de lo original, el papel de la superficie blanca como imagen de modernidad o la importancia de la materialidad en la percepción del espacio. El Pabellón sobre el que se centra actualmente la intervención es una reconstrucción, una réplica tan fiel al original que a menudo es difícil recordar su verdadera naturaleza.

un pórtico abierto hacia la ciudad anticipa la puerta del inmueble y filtra la relación entre el espacio público y el patio del barrio que funciona como un lugar para la comunidad. Los cuatro nudos centrales de comunicación verticales se sitúan en las cuatro esquinas del patio, de manera que todos los habitantes convergen y se encuentran en este patio. Tipología, vivienda privada En una planta típica, el acceso a las viviendas se realiza a través del nudo y de dos terrazas privadas que constituyen la corona de los espacios con vista sobre el patio. El nivel general del inmueble se organiza mediante una matriz de espacios comunicantes. Hay 114 unidades por planta, 533 en total, y todas conectadas, evitando así las circulaciones horizontales comunes y privadas. Los espacios de servicio se encuentran dentro del aro central, mientras que el resto de habitaciones de uso y tamaño parecido, de cerca de 13 m2, están dispuestas sobre la fachada, ofreciendo de esta manera distintos tipos de vida. Otra terraza sobre la corona exterior completa la secuencia espacial, la fila de espacios conectados por grandes abiertos, permeables al aire y a la mirada. Construcción El tamaño de las unidades espaciales, además de la versatilidad que ofrecen, basada en la ambigüedad de uso y la indeterminación funcional, presenta un tamaño adaptado a la solución estructural de madera. Una construcción modular que quiere responder a una idea de economía circular en la industria de la construcción.

La transformación del Pabellón en una imagen, con todas las superficies limitadas a un único material, muestra el papel representativo del edificio; el del original como símbolo nacional y el de la réplica que representa el primero. El Pabellón se convierte, por un instante, en un modelo a escala 1:1 de su réplica. Partiendo de la experiencia de cada uno sobre el Pabellón, ya que se pueden realizar estas y otras reflexiones, durante unos días, pierde su identidad material para asumir todo su potencial representativo. Nos permite reflexionar sobre aspectos transversales y sobre el valor de la imperfección. Refuerza la interpretación del Pabellón como un templo, actualmente blanco. Nos muestra la fuerza de las uniones, completamente visibles, a medida que desaparecen las texturas y los reflejos que los ocultaban y que nos reenvían a una de las perspectivas o collages, tan característicos de Mies, que pueden recorrerse actualmente. 85 VIVIENDAS SOCIALES CORNELLÀ Peris + Toral Arquitectes A la búsqueda de nuevos modelos para vivir La vivienda para todos es sin duda uno de los temas centrales de las ciudades de Europa. El proyecto de este binomio de arquitectos es una respuesta posible a las siguientes preguntas: ¿cómo viviremos en un futuro próximo? ¿Qué tipologías? ¿Qué estilo de construcción? Tipología, vivienda colectiva El edificio se organiza alrededor de un patio que articula una secuencia de espacios intermedios. En la planta baja,

COMMENTS OF THE JURY

WINNING PROJECTS LOCATION OF THE WINNING PROJECTS IN THE BIGMAT COUNTRIES

SPECIAL MENTIO TOIT & MO Matado

3 NATIONAL PRIZE. FRANCE Kervalet Exercice

SPECIAL MENTION SMALL-SCALE NATIONAL PRIZE. SPAIN Casa O Fieiro Estudio Arturo Franco 1

SPECIAL MENT Mies Missing M Anna & Eugen 15 13

FINALIST. SPAIN Viviendas Socia Peris + Toral Arc NATIONAL PRIZE. PORTUGAL Lisbon Cruise Terminal Carrilho da Graça Arquitectos 5

11 FINALIST. PORTUGAL Bar & Pavilion in Belém Bak Gordon Arquitectos

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BIGMAT INTERNATIONAL ARCHITECTURE AWARD GRAND PRIZE Melopee School XDGA – Xaveer De Geyter Architects 7 FINALIST. BELGIUM Hangar à Sel Goffart Polomè Architectes

NATIONAL PRIZE. CZECH REPUBLIC Prague Eyes – Revitalization of Prague Riverfront Area Petr Janda / Brainwork 2 FINALIST. CZECH REPUBLIC 8 White Shed ATELIER 111 architekti s.r.o.

9 FINALIST. FRANCE Maillon Theater LAN (Local Architecture Network)

N ales en Cornellà chitectes

FINALIST. SLOVAKIA New Park in Leopoldov n-1

4 NATIONAL PRIZE. ITALY Pirelli Learning Center Onsitestudio srl

SPECIAL MENTION Enrico Fermi School BDR Bureau

TION Materiality ni Bach

10 FINALIST. ITALY Panta Rei Beach Toffoli Architetti

NATIONAL PRIZE. SLOVAKIA New Synagogue PLURAL

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A L ON AT I R D N A ER AW INT AT T U R E M B I G I T E C E IZ CH AR ND PR A R G

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INTERNATIONAL GRAND PRIZE. BELGIUM

Melopee School XDGA – Xaveer De Geyter Architects

Project title Melopee School Location Ghent, Belgium Year 2020 Office XDGA – Xaveer De Geyter Architects Author Xaveer De Geyter, architect Collaborators Ney & Partners Position, structural engineer Boydens engineering, mechanical engineer Daidalos-Peutz, acoustics engineer Type of work Public Photographs Maxime Delvaux

In the harbour area a narrow stretch of land along a dock is freed from port activities. A very simple ‘chop stick’ urban plan is developed by O.M.A. in which green open pockets alternate with dense construction. In order to offer a notion of centrality to the linear plan, a public path is meant to cross the whole strip. The site for the school faces one green area at its south side, the dock on its west side, a square and a housing block on the north and the harbour road on the east. The requested program for the building, a combination of a primary school, an after-school care centre, a nursery and sports facilities for both the school and its neighbourhood, is diverse and extensive. On top it requires a great deal of specific outside playgrounds. In order to counter the lack of space, deal with the inside-outside complexity of programs and allow for the public path to pass, the maximum building envelope is divided in two halves: one compact building housing all interior functions, and an outside space in which the playgrounds are stacked. In between both, and under a first level playground realized in glass tiles, the path crosses the volume. A galvanized steel skeleton unifies the two halves. On the side of the interior volume, the façades of the building are designed as a patchwork of opaque and translucent polycarbonate, glass, and aluminium louvres. The outside structure will be overgrown with vegetation climbing along a steel mesh, in which some large ‘windows’ are cut out.

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program + plot

program + plot program + plot

program + plot

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2x volumes 2x volumes

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INTERNATIONAL ARCHITECTURE AWARD INTERNATIONAL GRAND PRIZE. BELGIUM

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INTERNATIONAL ARCHITECTURE AWARD INTERNATIONAL GRAND PRIZE. BELGIUM

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- substratum - filter - drainage layer substratum screen -- mechanical filter sealing -- roof -- drainage layer thermal insulation λ <= 0.027 W/mK, 35 cm -- mechanical screen vapor barrier -- roof fiber sealing cement board thermal insulation λ <= 0.027 W/mK, 35 cm -- woodden twill structure vapor barrier -- acoustic insulation 3 cm fiber cement board -- geoperforated galvanised steel plates with cannelure filling - woodden twill structure - acoustic insulation 3 cm - geoperforated galvanised steel plates with cannelure filling

roof beam galvanised steel aluminium finishing profile roof plate beamagainst pests grid galvanised steel aluminium finishing profile grid plate against pests roof beam sports hall

polycarbonate panel aluminium connector + ventilated cavity

roof beam sports hall

polycarbonate panel regulating wood aluminium connector + ventilated cavity regulating wood

- substratum - filter - drainage layer - mechanical screen - roof sealing - thermal insulation λ <= 0.027 W/mK, 35 cm - vapor barrier - fiber cement board - woodden twill structure - acoustic insulation 3 cm - geoperforated galvanised steel plates with cannelure filling

outer line exoskeleton inner line exoskeleton polycarbonate / glazing line outer line line structure exoskeleton outer inner line line structure exoskeleton inner polycarbonate / glazing line outer line structure inner line structure

column column

support profile, pleated plate, galvanised steel pleated steel plate 3 mm, galvanised + lacquered support profile, pleated plate, galvanised steel glued on multiplex, invisible pleated steel plate 3 mm, galvanised + lacquered glued on multiplex, invisible back support structure window secured on back wall enamelled double glasswindow back support structure secured on back wall enamelled double glass vapor barrier insulation vapor barrier EPDM

insulation glazing bead on outside EPDM line exoscheleton, galvanised steel glazing bead on outside line exoscheleton, galvanised steel roof beam galvanised steel aluminium finishing profile glazing bead on outside grid plate against pests cast floor (PU) on rubber mat - 1,1 cm concrete with levelling layer - 12,1 cm fiber cement board - 1,8 cm cast floor (PU) on rubber cavity mat - 1,1 cm -roof beam sports hall - 2 cm concreteinsulation with levelling - 12,1 acoustic (rocklayer wool) - 10 cm cm -fiber cement board - 1,8 cm -deposit layer - 8 cm cavity- -25 2 cm filling blocks (EPS) cm -acoustic insulation (rock widewool) slabs- -10 7 cm cm -deposit layer - 8 cm filling blocks (EPS) - 25 cm wide slabs - 7 cm -

insulation panel

glazing bead on outside polycarbonate panel aluminium connector + ventilated cavity

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glazing bead on outside glazing bead on outside sound absorbing ceiling sound absorbing ceiling

0 cmplaygrounds details : interface building - 50 exterior

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details : interface building - exterior playgrounds – exterior playgrounds Details: interface building

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outer line exoskeleton inner line exoskeleton polycarbonate / glazing line

outer line structure INTERNATIONAL ARCHITECTURE AWARD INTERNATIONAL GRAND PRIZE. BELGIUM inner line structure column

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SPECIAL MENTION SMALL-SCALE SPAIN NATIONAL PRIZE

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SPECIAL MENTION SMALL-SCALE / SPAIN NATIONAL PRIZE

Casa O Fieiro Estudio Arturo Franco

Project title Casa O Fieiro Location Lugar de O Fieiro, Mazaricos, La Coruña, Spain

Almost like occupying a cave. I will use only 7 cm thick Oregon pine planks to solve the floor slabs. You may wonder why from Oregon and not from my country. That’s a fight between me and the moths. The moths suffer more from the stomach with a wood that is not native and that, at least, is winning the first battle.

Year 2020 Office Estudio Arturo Franco Authors Arturo Franco, architect Collaborators Diego Castellanos, building engineer Patricia Herráez, assistant architect Mario Azorín, assistant architect Type of work Private Photographs Alfonso Quiroga

“These days I am building a house in a village, the land of my ancestors, in the Celtic Olympus.1 In fact, it is a rehabilitation of a small animal stable made of large, well‑arranged, granite ashlars.

The slabs have to bridge a distance of 5.20 meters between supports. The loose planks without gluing or tongue will solve everything with the help of simple truck straps. The carpenter who sold me the wood says that it won’t work, the structural engineer, an infallible guy, has serious doubts, and I do nothing but appeal to common sense or, what is the same, remember that evasive phrase: «But if God works by traction»... We will soon know if, as old Oteiza wrote, «there is a God to the northwest», 2 or maybe not.”

1. It refers to Mount Pindo in the municipality of Carnota in A Coruña. 2. OTEIZA, Jorge: Existe dios al noroeste, Navarra: Pamiela, 1990.

INTERNATIONAL ARCHITECTURE AWARD SPECIAL MENTION SMALL-SCALE | SPAIN FIRSTNATIONAL PRIZE BELGIUM PRIZE 85

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Terraza Terraza 8.92m² Terraza 8.92m² 8.92m² + 5.25 + 5.25 + 5.25

Despacho Despacho 6.91m² Despacho 6.91m² 6.91m² + 4.92 + 4.92 + 4.92

+ 5.67 + 5.67 + 5.67

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Dormitorio doble Dormitorio doble 10.06m² Dormitorio doble 10.06m² 10.06m² + 2.92 + 2.92 + 2.92

Distribuidor Distribuidor 3.03m² Distribuidor 3.03m² 3.03m² + 2.64 + 2.64 + 2.64

Estar Estar 22.26m² Estar 22.26m² 22.26m² + 2.92 + 2.92 + 2.92

Dormitorio Dormitorio 10.06m² Dormitorio 10.06m² 10.06m² + 0.78 + 0.78 + 0.78

Aseo Aseo 2.67m² Aseo 2.67m² 2.67m²

Baño Baño 3.44m² Baño 3.44m² 3.44m² Salón Salón 17.88m² Salón 17.88m² 17.88m² + 0.80 + 0.80 + 0.80

Recibidor Recibidor 7.16m² Recibidor 7.16m² 7.16m² + 0.77 + 0.77 + 0.77

Cocina Cocina 22.02m² Cocina 22.02m² 22.02m² + 0.47 + 0.47 + 0.47

Dormitorio invitados Dormitorio invitados 12.41m² Dormitorio invitados 12.41m² 12.41m² + 0.00 + 0.00 + 0.00

Ducha Ducha 2.45m² Ducha 2.45m² 2.45m²

INTERNATIONAL ARCHITECTURE AWARD SPECIAL MENTION SMALL-SCALE | SPAIN NATIONAL PRIZE

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NATIONAL PRIZES

WO S Y E R AIN E UE A / B AG P R JA N D TR PE IZE

R LP C N A U B LI O I P T E A N HR EC CZ

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Prague Eyes – Revitalization of Prague Riverfront Area Petr Janda / Brainwork

Project title Prague Eyes – Revitalization of Prague Riverfront Area Location Prague, Czech republic, Rašínovo and Hořejší riverfront Year 2019 Office Petr Janda / Brainwork Authors Wim Goes, architect Collaborators Petr Janda Anna Podroužková Maty Donátová Bára Simajchlová Type of work Public

The project has been built for 10 years. We co-initiated it in 2009 as a program and architectural revitalization of the Prague riverfront area that was built as a quay and transhipment point. The area was deserted after the 2002 floods and used as a car park. By gradual program activation, we have achieved spontaneous cultural and social revival, and subsequently, architectural rehabilitation. The vast revitalized riverfront area stretches along the three Prague embankments – Rašín, Hořejší and Dvořák, almost 4 km in length. The completed first phase is Prague’s largest post-revolutionary investment in public space, the first of its kind and sociocultural impact, focused on the reconstruction of 20 vaults in the riverside wall (originally storage areas). Instead of creating classic interiors, the vaults are merged with the exterior with maximum contact with the riverfront area and the river. The vaults will serve as cafes, workshops, galleries and public toilets, with possible adjustments and equipment of the individual tenants. Most tenants who co-created the phenomenon of the riverfront area will continue there. The interventions symbiotically merge with the original architecture of the riverside wall, into which they naturally fuse; by using the acupuncture strategy, they re-create a monumental whole. There are 6 vaults on the Rašín Embankment accessible by elliptical pivoting windows made of organic glass 7cm thick and 5.5m in diameter, derived from the proportion of the vaults, and thus, probably the largest in the world. The 14 vaults on the Hořejší Embankment have steel sculptural entrances. The surfaces are made of send blasted concrete with cast floors, individual elements of titanium-coated black metal. Airconditioning with heat recovery and infrared heaters allow year-round operation. The vaults are wheelchair accessible, with mobile flood protection barriers. The next phases include 8 more vaults, street furniture, a floating pool and a boat terminal.

INTERNATIONAL ARCHITECTURE AWARD NATIONAL PRIZE. CZECH REPUBLIC

Jiráskovo náměstí Palackého náměstí

Tančící dům

Mánes

Celnice na Výtoni Zítkovy sady

Boat terminal

GALLERY

PUBLIC TOILETS

vaults No. 10, 9

Floating pool

Železniční most

Palackého most

11 Jiráskův most

13 12

CAFÉ

vault No. 8

Phase 1 - galleries, cafes, infrastructure

PUBLIC TOILETS

vaults No. 11, 7, 6, 5

small vaults No. 2, 3, 4

Phase 2 - public toilets, street furniture Phase 3 - boat terminal, floating pool, floating toilets

RAŠÍNOVO RIVERFRONT – SITE PLAN

petrjanda/brainwork

náměstí 14. října

Pivovar Staropramen Hořejší nábře ží

Lesnická

Lidická

Na Celné

Na Bělidle

J.Plachty

Vltavská

Na Valentince

Pivovar Staropramen

Pecháčkova

Svornosti

Diezenhoferovy sady

Veslařský klub Slavia Praha

Smíchovská pláž

14 13 12 11 10

8 7 65

4 3 2

Botel Admirál

WORKSHOP

CAFÉ

PUBLIC TOILETS

vaults No. 9, 10, 12, 13, 14, 15, 16, 17

vaults No. 1, 2, 7, 8

vaults No. 3, 11

workshops, galleries, library public toilets

boatel facilities

HOŘEJŠÍ RIVERFRONT- SITE PLAN

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Site plans

CLOSED VAULT DIAGR

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KOBKA 77 kavárna kavárna KOBKA

A, SECTION D SECTIONSECTION A, SECTION D CAFÉ / BAR CAFÉ / BAR

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Ground floor, mezzanine and sections. Café / Bar

GROUND FLOOR AND MEZZANINE CAFÉ / BAR

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FRONT VIEW, SECTION C FRONT VIEW, SECTION C ATELIER / CAFÉ ATELIER / CAFÉ

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FRONT VIEW, SECTION C FRONT VIEW, SECTION C ATELIER / CAFÉ ATELIER / CAFÉ

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Ground floor and section. Atelíer / Café

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T A LE V R KE CI CE R E EX IZE NA

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NATIONAL PRIZE. FRANCE

Kervalet Exercice

Project title Kervalet Location Saint Avé, Brittany, France Year 2020 Office Exercice Authors Gwendal Le Bihan, architect Edouard Danais, architect Type of work Private Photographs Exercice

This extension of a single-family house is located in an exceptional landscaped environment. With a very limited budget (€ 1,200 excl.VAT / m2) and a simple plan, the project involves a few implementation details that will make it possible to offer a living room largely open to the garden. Thanks to the holes in the existing walls, the extension makes it possible to reconnect all the rooms in the house that were no longer in use (office, TV room). The aesthetic of the project is the result of research into the minimum gesture, which allows maximum space to be offered. The result is an assembly of economical materials selected for their intrinsic qualities: – The walls are made of 36 cm cellular concrete blocks. Their thermal performance eliminates the need for insulation and interior linings. – The perforated IPN allows maximum light to pass through. Its red-brown color,which dialogues with the colors of the garden, is the result of a natural oxidation process which has been fixed by a varnish. – The clay concrete screed was made with the earth excavated from the foundations. It incorporates electrical outlets and a heated floor. – The roof is vegetated to provide inertia and improve the acoustic comfort of the room. – The glazed frames are sized to reach 200kg each, the maximum weight allowed by standardized sliding doors. – Outside, three galvanized steel shutters slide thanks to a system of grooved wheels and custom-designed metal.

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Façade Est

Façade Ouest 3,2

Toiture EPDM à refaire

7,5 4,2

Nouvelle toiture EPDM

Extension

8,7

Plan de toiture

Maître d'ouvrage

Maître d'œuvre Exercice 112, rue Ambroise Croizat 93200 Saint-Denis 06.73.74.89.70 contact@exercice.studio

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Légendes

PLAN de toiture Echelle

1/100

Toiture ardoise existante

Phase

CHANTIER

Terrasse extérieure

Format

Extension

Contreplaqué 22mm

Equerre de fixation des poulies guide pour volets coulissants acier galvanisé

Tôle acier galvanisé

Equerre de fixation des poulies guide pour volets coulissants acier galvanisé

Volets coulissants acier galvanisé

295 273

châssis coulissant finition aluminium anodisé brut

Roues a gorge

288

857 214,25

Rénovation d'une véranda et aggrandissement

214,25

Maître d'ouvrage

Maître d'œuvre

Mr et Mme LE BIHAN Kervalet 56 890, Saint-Avé 02.97.45.42.57 gnlebihan@sfr.fr

Exercice 112, rue Ambroise Croizat 93200 Saint-Denis 06.73.74.89.70 contact@exercice.studio

Kervalet 56 890, Saint-Avé

214,25

Légendes

Elévation A

159,5

180

212

Elévation C

420,9

tion D

DET01

91,5

Eléva

Elévation B

Coupe BB'

DET08

28,13

182,5 463

188,62

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Coupe AA' 288

870

100 216

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CHA

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Elevation and plan

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Isolant PolyuréthaneTMS 100mm 2 couches Bastaing bois 10x7,5cm à l'axe de chaques poutres

Bande de rive RIVENET 35/80 RAL 7001 Bastaing 20x7,5

Tôle d'habillage acier galvanisé Equerre support de fixation des poulies acier galvanisé

Pare vapeur

Volets coulissants acier galvanisé

25 Tôle 4mm soudé sur IPE Poutre bois 25x7,5cm

Poulie guide volets coulissants

Ø13

Support bois OSB 22mm

Chassis coulissant Aluminium finition anodisé brut

Poutrelle IPE 300 alvéolaire à ouvertures circulaires

Poteau métallique Diam.15cm

Rénovation d'une véranda et aggrandissement Kervalet 56 890, Saint-Avé

Maître d'ouvrage

Maître d'œuvre

Mr et Mme LE BIHAN Kervalet 56 890, Saint-Avé 02.97.45.42.57 gnlebihan@sfr.fr

Exercice 112, rue Ambroise Croizat 93200 Saint-Denis 06.73.74.89.70 contact@exercice.studio

Légendes Démolition

Isolant Polyuréthane 10cm

Béton

Contreplaqué 22mm

Blocs de béton cellulaire 62,5x36,5cm

Détails 2 Chape plancher chauffant

Hérisson gravier

Echelle

1/5

Phase

CHANTIER

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2,5

Roue à gorge Chappe plancher chauffant 7cm

Rail galvanisé pour roue à gorge

sol fini

3,5

13,5

pente

Isolant TMS 10cm

8 12

Caniveau type EUROLINE 100 discret

Dalle Béton 12cm

Film Polyane Hérisson gravier

Details

INTERNATIONAL ARCHITECTURE AWARD NATIONAL PRIZE. FRANCE Rénovation d'une véranda et aggrandissement

Maître d'ouvrage

Maître d'œuvre

Mr et Mme LE BIHAN

Exercice

Légendes Démolition

Isolant Polyuréthane 10cm

111 Détails 3

Chape plancher chauffant

Echelle

1/5

IN RN A E IL DIO E LL P I R TES TU SI E ON N TI O NA Y L I TA

E GC

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NATIONAL PRIZE. ITALY

Pirelli Learning Center Onsitestudio srl

Project title Pirelli Learning Center Location Viale Sarca, Milano, Italy Year 2020 Office Onsitestudio srl Authors Angelo Lunati, architect Giancarlo Floridi, architect Collaborators Michele Miserotti, architect Stefano Casula, architect Filippo Cattapan, architect Leonardo Chironi, architect Nicolò de Paoli, architect Emilio Ellena, architect Filippo Fagioli, architect Jo Fonti, architect Luca Gallizioli, architect Davide Macchi, architect Gianpietro Manazza, architect Chiara Molinari, architect Ilaria Pisoni. architect Sebastian Sanchez, architect SCE Project s.r.l, Structures & Construction management Deerns Italia Spa, MEP Voltaire Sas, Lighting Studio Giorgetta, Landscape Soluzioni srl, Safe Carron Cav. Angelo Spa, General Contractor

The new corporate building is located inside a historic industrial neighbourhood north of Milan, Bicocca, transformed at the end of the 80s into a new residential and services district following a masterplan designed by Vittorio Gregotti. The building than will contain the learning centre and the canteen is located at the heart of the neighbourhood, directly relating to Arcimboldi Theatre, Pirelli foundation and the corporate headquarter, one of the most significant building designed by Gregotti. Given this context, the project aims to define a contemporary building that echoes the sober urban characters of the campus as well as the historic buildings and that establishes dimensional and proportional relations in terms of facade, windows and decorations with the surrounding environment. The new complex appears as a compact and dense element divided into three levels, parallel to Viale Sarca; however, it opens up towards the broad historic garden through a one floor building with a wide green terrace. Such element yields a sequence of different open spaces and produces various visual relations between the buildings of the campus. As for the functional scheme, its compactness is combined with the creation of two connecting and crossing elements: one on the ground floor that connects the entrance from Viale Sarca with the campus, one other that links different functions of the learning centre: a winter garden, a library, double height relaxing spaces and meeting rooms. This “Learning street” confers great spacial quality to the lecture rooms, which have been designed to be as pragmatic and simple as possible, considering a future conversion into offices.

Type of work Private Photographs Filippo Romano Helene Binet

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S A L E C TO N I M UIT TE R ARQ E S I ÇA RU RA N C DA G O B LI S ILH O R R CA Z E

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Lisbon Cruise Terminal Carrilho da Graça Arquitectos

Project title Lisbon Cruise Terminal Location Lisbon, Portugal Completion 2017 Office Carrilho da Graça Arquitectos Authors João Luís Carrilho da Graça, architect Collaborators Francisco Freire, architect Paulo Costa, architect Yutaka Chiki, architect Gonçalo Baptista, architect João Jesus, architect Mariana Salvador, architect Nuno Caldas, architect Luís Cordeiro, architect Nuno Pinho, architect Pedro Ricciardi, architect Filipe Homem, architect Charbel Saad, architect Fábio Azevedo, architect Teresa Hagatong, architect Ana Costa, architect Nuno Pinto, architect Paulo Barreto, architect Carlo Vincelli, architect Global Arquitectura Paisagista Lda, Landscape architect P-06 atelier, design Fase – Estudos e Projectos SA , Natural Works – Projectos de Engenharia Lda, engineering Consulmar – Projectistas e Consultores, hydraulic Nemus – Gestão e Requalificação Ambiental Lda, environmental

Located on the river front, this compact light concrete building is inserted between the walls of the landfilled Jardim do Tabaco dock, amidst the trees of the boulevard that, along with the building, now inhabit this stretch of the river front. Raised from the ground, it lifts the public space along with itself, transformed into a terrace/viewpoint between river and city, like a transhipment raft that connects and reveals both. Responding to the programme housed under this floating shell, the Terminal becomes a new gate to the city. This topographical analysis and spatial relations is a constant conceptual reference in the development of the project, starting from the decision to build the terminal over the footprint of the previous docks. The creation of this infrastructure has become an opportunity to rethink a large area of connection between the river and the historical city. The strategy was to “liberate” space, making the boundary of the historical city perceptible. The roof of the terminal is a ground with it’s own identity, whose geometric formation suggests the topography of this territory; a space that can also be reached from the outside, therefore conceived as public, for the city; a viewpoint which mediates the visual relations between its users, the river and the city, in a building that is used almost always in motion. The terminal is sort of a exoskeleton that encircles the areas assigned to the its programme, built of structural white concrete with cork — a solution specifically developed to lighten the building’s weight, limited by the bearing capability of the preexisting foundations, stemming from a concept by Carrilho da Graça originally developed for the Lisbon design biennale —, with a particular haptic quality, and that lightens up with the sunlight reflected on the estuary, the famous light of Lisbon.

Type of work Private Photographs Fernado Guerra, Rita Burmester, Fábio Azevedo

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20 m

Alçado noroeste

Alçado sudoeste alçado sudoeste

20 m

10 1

04 02

09 06

05 2

alçado sudoeste

20 m

Planta piso 0

rua

10 m

alfân

s ba

lhoe

iro

planta piso 0 rua jardim do tabaco

santa apolónia

praça do comércio

aram

eiros

rua

rua do

alfân

terreiro

do trigo

rua dos

rua

cais

santa

rém

ribeira das portas do mar

campo das cebolas

avenida infante d. henrique

doca da marinha

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128

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NATIONAL PRIZE. SLOVAKIA

New Synagogue PLURAL

Project title New Synagogue Location Zilina, Slovakia Year 2018 Office PLURAL Authors Martin Jancok, architect Michal Janák, architect Eva Strocholcová, architect Type of work Private Photographs Daniela Dostálková, Katherine Thude

In 2011 a unique public initiative was formed. Its aim was to gradually revitalize and transform the neglected neologic synagogue, designed by Peter Behrens and built in 1931, into a cultural centre. Based on volunteering, crowdfunding, private sponsorship and grant applications it became an unprecedent example of civic activism in Slovakia. The main ambition was to achieve a dialectic relationship between the exceptional heritage and its new contents. Numerous changes in the use of the synagogue have had a strong influence on the condition of the building. While the exterior of the building remained relatively preserved, the interior of the synagogue has been fundamentally altered. Fortunately, none of the interventions were destructive enough to endanger the principal qualities of the generous building. It is precisely the ability of absorbing all the changes without a substantial damage on the synagogue that allowed it to survive. It is what makes it so remarkable for us. We follow the idea of a monument in constant flux by refusing to add any permanent new architectural elements to structure the space. Instead, we propose a seasonal exhibition architecture to host different shows and diverse additional programmes of the new cultural institution. The generous central space of the building is simply divided horizontally into two chromatically different parts becoming a “half-white” gallery. While the lower half provides a neutral background for new contents the upper half presents the synagogue itself. The exhibition space will change constantly according to curatorial cycles, each time radically altering the exhibition space. The idea of a solid monument with a fluid content will persist.

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Site plan

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East elevation

East section

Ground floor plan

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FINALIST PROJECTS

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FINALIST BELGIUM

Hangar à Sel Goffart Polomè Architectes

Project title Hangar à Sel Location Houffalize, Belgium Year 2020 Office Goffart Polomè Architectes Authors Brice Polomè, founding architect Damien Goffart, founding partner Marie Maerckx, partner Collaborators Benoit Hargot, (Ney&Partners – Ney Wow) Structural engineer Martin Guillaume, (Ney&Partners – Ney Wow) Structural engineer Type of work Public Photographs Antoine Richez

Located in the heart of the Belgian Ardennes, in a rural context where coniferous forests and agricultural clearings punctuate the landscape, the project for a salt warehouse echoes to agricultural hangars shaping the horizon. The project uses a traditional volumetry whose codes are reinterpreted in a neo-vernacular approach transcending ancestral building principles of sylvicultural storehouses, typical of the region. The important dimensions of the project which are induced by its function, give to the project a singular silhouette at the scale of the site. In that respect, the materiality softens the incidence of the warehouse on the horizon by playing with the transparency of the volume. Facades are covered with polycarbonate panels in a diaphanous approach using the ambiguity of its transparent and reflexive properties: its presence is felt both from the inside and the outside similarly to a stained-glass window. By night, when the snow sweeps across the fields, the building starts to glow and acts as a reassuring lantern shining through the darkness. In the middle of the storm, the building is activated with the movement of the spreading trucks. From the building point of view, the project spontaneously reveals its frugal sincerity – a warehouse firstly is a covered structure. Referring to the sylvicultural characteristic of the region, the wooden structure is revealed both inside and outside reinforcing the integration of the project into the context. Along with this architectural position, the wood also refers to a practical choice. Indeed, its properties give to the wood a natural resistance to the corrosive environment of storing salt. In the end, this project tries, with humility, to design a building that transcends its simple use. A luminous and pleasant space offering a real attention to the spatial quality, too often relegated to a secondary level in the design of industrial infrastructure. However, this simplicity seems not to be understood by everyone. Probably by a lack of confidence in the natural resistance of the wood, the project owner decided to seal the external envelope of the building with EPDM membranes and profiled steel sheets. Apparently, it seemed inconceivable to offer an alternative to the traditional shoebox.

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AXONOMETRIC DRAWING

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100 m

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FORMAT A4

ECHELLE 1/5000 0 50 200(m)

AA SECTION

FORMAT A4 ECHELLE 1/5000

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200(m) 4(m)

FORMAT A4

ECHELLE 1/5000 0 50

200(m)

GROUND FLOOR PLAN

FORMAT A4 ECHELLE 1/5000

50 1

200(m) 4(m)

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White Shed ATELIER 111 architekti s.r.o.

Project title White Shed Location Opatov, Czech Republic Year 2019 Office ATELIER 111 architekti s.r.o. Author Jifí Weinzettl, architect Veronika lndrová, architect Collaborators Michal Hamada, engineer Type of work Private Photographs Alex Shoots Buildings

The project draws from traditional local archltetcural forms, but the ínterpretation is exceptional among everything that is commonly built today for similar purposes. The new workshop building, located in an agricultura! compound on the periphery of Opatov, is designed mainly for service and maintenanceof large agricultura! wagons and machines. Facilities for employees of the whole compound, consisting of changing rooms, day room and sanitary facilities,are also part of the building. The architectural expression bears elements of the typical agricultura! buildings in the surroundings, but at the same time the volume is tailored for its primary use.The main intention was to create very effective industrial space, which serves well the people working there. There was a need for well-lit and capacious space for the repa irs and maintenance of the machines. This was achieved by a straightforward and purposeful solution. We designed a simple volume with a saddle roof and a big skylight. Four gates leading to the maín hall are placed on opposite sides, which makes ít easy to drive through. The utility spaces, such as changing rooms and storage rooms, are located on both sídes of the main hall. The structure of the building is designed as a prefabricated steel trame. Structural element in a form of a truss beam creates a distinct linear skylight in the position of a roof ridge. The skylight and side walls are designed from translucent profiles (Profilit system), therefore the truss structure shows through and becomes a character istic element of the expression of the building. The facade, made from the white trapezoidal metal sheet cladding, is corresponding with the adjacent biogas plant.

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Site plan

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FINALIST FRANCE

Maillon Theater LAN (Local Architecture Network)

Project title Maillon Theater Location Boulevard De Dresde, Strasbourg, France Year 2019 Office LAN (Local Architecture Network) Authors Umberto Napolitano, architect Benoit Jallon, architect Collaborators Michel Fayet, scenography – changement à vue Jean-Pierre Poribal, technical and elevators engineering – terrell group Camille Stadelmann, ac engineering Aurélien Untereiner, telecomunication engineering Philippe Clément, structure engineering – batiserf Yannick Gerardin, fire protection engineering – namixis & ssicoor Florence Capoulade, consultant for environmental engineering Michel Forgue, economist – office michel forgue Jean-Paul Lamoureux, acoustics engineering – cabinet lamoureux Jean-Christophe Dalmar, project management – C2Bi Type of work Public Photographs Charly Broyez

The Maillon theater was founded in 1978 with the aim of disseminating culture through the peripheral neighbourhoods by taking the theater out of its sometimeselitist posture. Chance reinforced the popular and transient identity of the theater: when, in 1999, the Maillon moved to occupy the former reception pavilion of the Parc des Expositions, the theatre discovered a very simple place which presented strong limitations of use but stimulated creativity. Thus, the occupation of this temporary site inspired the program for the new theater, at the intersection of the performing arts and at the heart of contemporary design. In this process of co-designing the program, the user’s involvement played an important role, allowing us to achieve a result unique in France. The users were aware of the potential of the site, and the project was designed to exceed their requirements by relying on a partition of void, generating large volumes and creating free spaces for appropriation, so that everywhere could become a stage. It was necessary to reimagine the typology of the theater: a single roof, a single floor, and identical facades. Modularity and maximum flexibility. The new Maillon theater is composed of two performance halls, a social space, a service area, an administrative area, spaces for artists, a technical area and two exterior courtyards (one for the entrance and one for logistics). Circulation plays a major role: it defines the spaces without restricting their transformation. Thus, in its entirety, the place is open, free of functional constraints, and between the circulation and social spaces, the uses are mixed and continuous. Each place is a discovery, each detail an invention: the delivery courtyard is transformed into a stage, the foyer and the courtyards become exhibition spaces, the small theatre is added to the social space. The structure, resulting from the scenographic requirements, reinforces the flexibility of these places with a high potential of use. The load-bearing structure is made of concrete walls, cast in place for the façade, prefabricated for the interior elements. This choice allowed the realization of large free volumes, uninterrupted by columns, for maximum flexibility, while optimizing considerably the construction time, thanks to the prefabricated elements. The roof, composed of metal structure, allows for very large spans, especially for the rooms and social areas.

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20 m

PLAN MASSE

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Panta Rei Beach Toffoli Architetti

Project title Panta Rei Beach Location Pescara, Italy Year 2018 Office Toffoli Architetti Authors Ubaldo Toffoli, architect Giovanni Enrico Toffoli, architect Collaborators Vincenzo Marchetti, engineer Annalisa Boccafoli, architect Rinaldo D’Agnese, consultant Type of work Private Photographs Iacopo Pasqui

Both the characteristics of the land lot and the architectural-regulatory constraints have significantly influenced the proposed building design. The given size and constraints have led to a compact volume where all services of the beach club have been concentrated. The construction itself, elevated from the beach level, creates the floating appearance of a moored ship. The ship connects to the pier, i.e. pavement of the Riviera by two distinct walkaways. The first walkaway connects the Lido Bar to the Riviera on the west side. The second walkaway is transformed in a platform which runs along the entire southern front all the way up to the ramp with leads into the sandy beach. On the south side, we propose to install pneumatic hatches which regulate the opening of the building towards the outside: in a closed configuration the hatches protect the windows, in the open mode they form a continuous shading canopy. The entire length of the internal space is dominated by the truncated volume of the false ceiling, which hides electric installations and integrates the lighting system, setting the scene for a distinct interior design experience for Lido visitors. The structure is modular, fully customized, integrated and removable. It is created of foundation poles and steel rafters, on which pillars, beams and trusses in laminated wood support the roof.

INTERNATIONAL ARCHITECTURE AWARD NATIONAL FIRST PRIZE INTERNATIONAL ARCHITECTURE AWARD FIRST PRIZE FINALIST BELGIUM 165 SPAIN ITALY 165 165

166

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INTERNATIONAL ARCHITECTURE AWARD FINALIST ITALY

167

168

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1 2 3 4 5 6 7 8 9

metallic pole metal platform wooden floor wooden pillar pneumatic hatches wood ventilated cladding wooden truss electrical, water and air conditioning system flat wooden roof

9 7

4 3 2

1 mt

EAST ELEVATION

SOUTH ELEVATION

1:200

EAST

WEST ELEVATION

7 7

1 7

WEST 7 7

1:200

NORTH ELEVATION

1:200

1 2 3 4 5 6 7 8 Bar Wc Restaurant Locker room Kitchen Service Cabin Shower

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169

170

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BIGMAT INTERNATIONAL ARCHITECTURE AWARD

FINALIST PORTUGAL

Bar & Pavilion in Belém Bak Gordon Arquitectos

Project title Bar & Pavilion in Belém

The Lisbon waterfront is an outstanding environment which is the setting far numerous work and leisure activities.

Location Lisbon, Portugal

Cultural and tourist attractions bring many visitors to Belém, and they need supporting infrastructures.

Year 2020

This bar/esplanade is built like a garden house with a skeleton in painted reinforced concrete, under which the areas of activity are set out.To avoid a shut-in space with an added terrace, the construction includes a small enclosed area just 60m2 as well as two esplanade areas totalling 100m2.

Office Bak Gordon Arquitectos Author Ricardo Bak Gordon, architect Collaborator Luís Pedro Pinto, architect José Pedro Cano, architect Maria Manuel Barreiros, architect Walter Perdigao, architect Nuno Costa, architect Daniela Cunha, architect

Glazed elements separating the interior and exterior can be completely removed, thus enabling the var ious areas to function as one continuous space. The pavilion’s geometry and the way it was built create an environment that is open to the river as well as an intimate atmosphere under the roof.

Type of work Public Photographs Francisco Nogueira

INTERNATIONAL ARCHITECTURE AWARD FINALIST PORTUGAL

171

Site 0plan

172

25m

INTERNATIONAL ARCHITECTURE AWARD

25 m

INTERNATIONAL ARCHITECTURE AWARD FINALIST PORTUGAL

173

174

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A B

1.5m

0 C

1.5m

0 0

1.5 m

1.5m

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175

176

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BIGMAT INTERNATIONAL ARCHITECTURE AWARD

FINALIST SLOVAKIA

New Park in Leopoldov n-1

Project title New Park in Leopoldov Location Leopoldov, Slovakia Year 2019 Office n-1 Author Jakub Kopec, architect Klára Zahradníčková, landscape architect Tomáš Džadoň, artist Collaborators JV PROJEKT VH, s.r.o., water management Dubrovay, s.r.o., electrical installation Ondřej Fous, garden and landscaping consultations Juraj Ondreas, visual identity Luboš Zbranek, visualisations Marek Repáň, restoration works Type of work Public Photographs Ján Kekeli (project photos), Jakub Kopec (original state)

The conversion of a former croft cemetery into a park with playground equipment for children transforms a halfforgotten walk-through garden into a site of active fun where people of all ages will find ways to wind down. The design works with three basic principles – activating the park boundary, enabling free movement within, and introducing new additions to the existing structures. The project was created in cooperation between an architect, a landscape architect and an artist based on winning the architectural design competition. The original fencing along the Hlohovská Street was newly positioned behind the chapel, the enlarged pavement, a so called piazzetta, created more generous entrance to the park from this thoroughfare. Based on an outcome of a meeting with the residents of neighbouring houses access wickets were added for those of the residents who chose so in selected spots of their gardens. The gate in a new fencing along Rázusova Street follows the gate on the opposite side leading to the nearby Associational Garden, which the city council is planning to open. The New Park is perceived as a singular playground in a shade. All shrubs and other barrier species of woody plants were removed. Full-grown deciduous trees with underpassable treetops were treated and younger trees were added so as to prevent the break-up of the green area and also to support its further growth. The additional planting creates an extension of the zigzag tree arrangement of the original alley into a diagonal tree grid across the entire area of the park. Maintaining gaps around the root system of the trees, the area was stabilized with a walkable gravel surface, thus relieving the only existing thoroughfare axis. The historical layer of the original cemetery structures was preserved. The chapel became a landmark of the piazzetta, roadside crucifixes on both sides of the original alley still open up the entrances to the park. Crafted gravestones were displayed in a new lapidary next to the gate from piazzetta. The inner park area was enhanced mainly by new ready-made objects originating from industrially manufactured engineering elements, certified as playground equipment. In comparison to the madetomeasure atypical counterparts these are an economically more convenient alternative, and in comparison, to the standardized playground equipment they offer a fresh solution inviting the children to explore and develop their imagination. Apart from these functional sculptures new public furniture including benches, dustbins, bike racks and public lighting were installed.

INTERNATIONAL INTERNATIONAL ARCHITECTURE ARCHITECTURE AWARD NATIONAL AWARDFIRST FINALIST FIRST PRIZE PRIZE SLOVAKIA BELGIUM 177 SPAIN 177 177

178

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179

180

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181

182

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BIGMAT INTERNATIONAL ARCHITECTURE AWARD

FINALIST SPAIN

Viviendas Sociales en Cornellà Peris + Toral Architectes

Project title Viviendas Sociales en Cornellà Location Cornellà de Llobregat, Spain Year 2020 Office Peris + Toral Architectes Authors Marta Peris Eugenio, architect Jose Manuel Toral Fernández, architect Collaborators March-Rius Arquitectes Tècnics, Construction engineer L3J Tècnics Associats, Engineer Bernuz Fernández Arquitectes, Structures consulting Societat Orgànica, Environmental consulting Aurea Acústica, Building acoustics consulting Type of work Public Photographs José Hevia

Eighty-five social dwellings have been distributed in 5 levels across a 10,000 m2 built-up area in Cornellà de Llobregat, on the outskirts of Barcelona. A total of 8,300 m2 of proximity wood from the Basque Country were used for their construction. Since this is a social housing development, it has been crucial to keeping costs down. Economic feasibility has been achieved by optimising resources, such as reducing the amount of timber to 0.24m3 per square meter, without compromising on the quality of the end result. The axes of this new residential building are the design of a matrix of interconnected rooms, eliminating corridors to guarantee the maximum use of space; enabling industrial production by using wood as primary material; improving the quality of construction; having shorter and faster delivery times, and reducing carbon emissions significantly. The building is organised around a courtyard that articulates a sequence of intermediate spaces. On ground floor, a portico filters the relationship between the public space and the communal courtyard. The four vertical communication cores are located on the four corners of the courtyard, so that all neighbours converge and meet in the communal area, creating a safer space from a gender perspective. The 85 dwellings are divided into four groups, with a total of 18 units per floor. Four to five apartments are articulated around each core, so that all typologies have cross ventilation and dual aspect. The apartment layout is the result of adjoining five to seven modules of 13 m2, depending on the number of rooms. The modular size of the rooms not only allows for flexibility and adaptive use of the space, but also defines an optimal span for a timber structure. At the core of the unit, an open and inclusive kitchen acts as a circulation nexus and eliminates the need for corridors. Exposing the activities carried out in this key space increases the visibility of housework and encourages all members of the household to contribute to house chores, regardless of their gender.

INTERNATIONAL INTERNATIONAL ARCHITECTURE ARCHITECTURE AWARD NATIONAL AWARD FIRST FIRST FINALIST PRIZE PRIZE BELGIUM 183 SPAIN SPAIN 183 183

184

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INTERNATIONAL ARCHITECTURE AWARD FINALIST SPAIN

185

186

INTERNATIONAL ARCHITECTURE AWARD

INTERNATIONAL ARCHITECTURE AWARD FINALIST SPAIN

187

SPECIAL MENTIONS

I MO & T I TO D O R TA A N M TI O SP

190

IA EC

INTERNATIONAL ARCHITECTURE AWARD

BIGMAT INTERNATIONAL ARCHITECTURE AWARD

SPECIAL MENTION

TOIT & MOI Matador

Project title TOIT & MOI

The “Toit & Moi” Company is a public housing company in the Mons region in Belgium.

Location Ghlin, Belgium

Until 2015, the administrative centre is located in a mansion in the heart of the historical fabric of the city while the technical centre is located beyond the boulevards, in the periphery. If the logic of representation for one and accessibility for the other are legitimate, this dispersion of the business park is detrimental to the community spirit and the rationality of the organization of work.

Year 2020 Office Matador Authors Marc Mawet, associate architect Oliver Bourez, associate architect Jean-Philippe Jasienski, associate architect Collaborators Arnaud de Francesco, junior architect Arthur Lovera, junior architect Xavier Lelion, senior architect Grégory de Belder, special technical engineer (DETANG) Axel Remont, stability engineer (GREISH) Eric Bruyère, acoustician (ATS) Jean-François Cadorin, fire specialist (Delta-GC) Type of work Public Photographs Filip Dujardin

So, in 2015, its administrative council decided to bring these two entities together on a new site, outside the city, on the edge of a housing district that the company manages. A competition was held for a new building. The Matador office emerged as the winner in 2016. The project concerns the construction of a new building which gathers the administrative and technical services of the company in a single entity. The client insisted on the flexibility of the equipment. The project is intended to be an open tool that invites all possible exercises of appropriation and evolution. The entity is instituted by a “porous enclosure” that ensures the link between all the parts of a project that Matador has fragmented into 5 distinct parts: major building, pavilion, covered space, courtyard and parking area. The program includes all the offices for the administrative staff, reception areas for the tenants, various meeting rooms, a stock of materials and small workshops as well as the amenities for the workers, a large cafeteria, a parking lot for maintenance vehicles, a storage area for containers and various materials.

INTERNATIONAL ARCHITECTURE AWARD NATIONAL FIRST PRIZE INTERNATIONAL ARCHITECTURE AWARD FIRST SPECIAL PRIZEMENTION BELGIUM 191 SPAIN 191 191

0 0

192

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100 m

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193

194

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0 north elevation

10 m

North elevation Longitudinal section

0 longitudinal section

10 m

0 5 10 25 m 0 5 10

10 m

Second floor plan First floor plan

INTERNATIONAL ARCHITECTURE AWARD SPECIAL MENTION

195

H I SC

M FER O C U A RI E N B U RE R N BD TI O SP

196

IA EC

INTERNATIONAL ARCHITECTURE AWARD

BIGMAT INTERNATIONAL ARCHITECTURE AWARD

SPECIAL MENTION

Enrico Fermi School BDR Bureau

Project title Enrico Fermi School Location Torino, Italy Year 2019 Office BDR Bureau Authors Alberto Bottero, architect Simona Della Rocca, architect Collaborators Structural and executive planning: Sintecna srl Mechanics and electrical advisor: Proeco ss Sustainability and acoustics advisor: Onleco srl Construction supervision: Sintecna srl Project Manager: FCA Partecipazioni S.p.A Type of work Public with private fundings Photographs Simone Bossi

The project transforms a school of the 1960s in a semiperipheral district of Turin, rethinking the architecture according to the school new pedagogical needs. Recognizing some spatial qualities in the existing building, the intervention reorganizes the spaces and works mainly by addition. The project intervenes by reorganizing the spaces of the existing school and rethinking the envelope through the addition of a device that creates new spaces and therefore new teaching opportunities, inspired by the educational models of the “open air schools”. The definition of the connecting spaces is a fundamental feature of the project: rather than simply allowing movement from one class to another, galleries, corridors, halls, courtyards and gardens form an interlaced network of internal and external rooms for recreation and learning, each equipped with movable pieces of furniture that allow students to appropriate them at will. This continuous space is controlled by means of a system of liminal devices, such as sliding doors and tents, which expand or parcel it according to functional needs, extending the use of spaces whose program is traditionally limited to certain hours of the day. As a consequence, the project inverts the traditional idea of the school as a protected citadel, making the building a focal point in the life of its neighbourhood. Since the competition phase, construction was expected to last one academic year, to minimize the temporary displacement of the school community. This affected the design choices, proposing pre-assembled steel structures to speed up certain construction processing. The existing reinforced concrete structure has been maintained and made seismically suitable while the building envelope made energyefficient. The finishing material, colored plaster, is processed through the use of different grain, breaking the uniformity of surfaces and creating slight façade depths, according to the existing concrete exoskeleton. It is also a way to relate, with limited means and manners, to the variety of textures that characterized the constructions of the 60s. The work on colour and texture has transformed the caracter of the complex, redefining its identity within the neighborhood. Interior spaces have been design to provide the school with a domestic character without overdetermine them.

INTERNATIONAL INTERNATIONAL ARCHITECTURE ARCHITECTURE AWARD NATIONAL AWARD FIRST FIRST SPECIAL PRIZE PRIZE MENTION BELGIUM 197 SPAIN 197 197

0 0

198

INTERNATIONAL ARCHITECTURE AWARD

50 m

INTERNATIONAL ARCHITECTURE AWARD SPECIAL MENTION

199

200

INTERNATIONAL ARCHITECTURE AWARD

0 1

South-East elevation South elevation

E.3 1 E.2

E.1

0 1

10 m

Ground floor plan

INTERNATIONAL ARCHITECTURE AWARD SPECIAL MENTION

201

IA TE R A G M C H S I N I BA S I N GE SM M I E & EU NA N AN TI O SP

202

IA EC

LIT

INTERNATIONAL ARCHITECTURE AWARD

BIGMAT INTERNATIONAL ARCHITECTURE AWARD

SPECIAL MENTION

Mies Missing Materiality Anna & Eugeni Bach

Project title Mies Missing Materiality

Dressing the Mies van der Rohe Pavilion to strip it of its materiality.

Location Barcelona, Spain

This simple act turns the Pavilion into a representation of itself that opens the door to multiple interpretations about aspects like the value of the original, the role of the white surface as an image of modernity and the importance of materiality in the perception of space.

Year 2017 Office Anna & Eugeni Bach Authors Anna Bach, architect Eugeni Bach, architect Collaborators Abert Cabrer, architect Type of work Private Photographs Adrià Goula

The Pavilion in Barcelona upon which we act is a reconstruction, a replica so faithful to the original that it is often difficult to remember its true nature. A building that should have been temporary was immortalised first by the written account of the modern movement and later by its own reconstruction. Turning the Pavilion into the image of itself, with all the surfaces restricted to the same material, reveals the building’s representative role both that of the original, as a national symbol, and that of the replica, by representing the former. For a time, the Pavilion becomes the 1:1 scale mockup of the replica of the longest-standing temporary pavilion in modern architecture. The installation turns this paradox into an experience. It helps visitors to consider these ideas and many more through their own experience in a pavilion that loses its materiality for a few days to assume all its representative potential. Among others, it allows us to reflect on transversal aspects like the value of imperfection, we can compare it with the image of that model made of white cloth that Mies supposedly made for the Kröller-Müller family, and furthermore, it shows us the power of the joints, that remind us of the perspectives and collages so characteristic of Mies, a collage through which we now can walk. An installation that, in short, works as a trigger for reflection.

INTERNATIONAL ARCHITECTURE AWARD NATIONAL FIRST PRIZE INTERNATIONAL ARCHITECTURE AWARD FIRST SPECIAL PRIZEMENTION BELGIUM 203 SPAIN 203 203

Muros, podio, remates

204

INTERNATIONAL ARCHITECTURE AWARD

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205

206

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207

SELECTED PROJECTS

SELECTED PROJECTS BELGIUM

BE 086 305

Musée de Folklore Vie Frontalière de Mouscron

Location

Mouscron, Belgium

Completion 2017 Office

V+, Bureau Vers plus de bien-ètre

Authors

Thierry Decuypere Jörn Aram Bihain Hervé Bouttet Reza Azard Daniel Mézáros

Type of work

Public

Photographs

Maxime Delvaux

BE 229 297

BBS214 St. Gilles Parvis

BE 341 718

Villa Sept Petites

Location

Brussels, Belgium

Location

Ham-Sur-Heure-Nalinne, Belgium

Completion 2018

Completion 2017

Office

Bureau Bas Smets

Office

Goffart Polomé Architectes

Authors

Bas Smets

Type of work

Public

Photographs

Michiel De Cleene

Authors

Brice Polomé Damien Goffart Marie Maerckx

Type of work

Private

Photographs

Antoine Richez

SELECTED PROJECTS BELGIUM

209

BE 413 356

Habitat «Kangourou» / Kangaroo Housing

BE 545 537

Province Headquarters

Location

Brussels, Belgium

Location

Antwerp, Belgium

Completion 2017

Completion 2019

Office

vvv architecture urbanisme

Office

XDGA – Xaveer De Geyter Architects

Authors

Willemet Nicolas Vanneste Guillaume

Authors

Xaveer De Geyter

Type of work

Public

Type of work

Private

Photographs

Maxime Delvaux

Photographs

Severin Malaud

BE 762 1080

Cera Headquarters

BE 827 1037

“Waalsekrook” Mediatheque

Location

Leuven, Belgium

Location

Ghent, Belgium

Completion 2018

Completion 2017

Office

dmvA architects

Office

RCR + Coussée & Goris architecten

Authors

Paul Robbrecht Hilde Daem Johannes Robbrecht

Type of work

Private + Public

Photographs

Kristien Daem Maarten Vanden Abeele

Authors

Rafael Aranda Quiles Carme Pigem Barceló Ramón Vilalta Pujol Ralf Coussée Klaas Goris

Type of work

Public

Photographs

Hisao Suzuki

210

INTERNATIONAL ARCHITECTURE AWARD

SELECTED PROJECTS CZECH REPUBLIC

CZ 222 186

Office extension in Vysoké Mýto

Location

Vysoké Mýto, Czech Republic

Completion 2019 Office

Prokš Přikryl architekti

Authors

Marek Přikryl Martin Prokš

Type of work

Private

Photographs

Tomas Rasl

CZ 288 252

Primary School Nezamyslice

CZ 305 272

Church of Beatified Restitute

Location

Nezamyslice, Czech Republic

Location

Brno, Czech Republic

Completion 2017

Completion 2020

Office

Malý Chmel s.r.o.

Office

Atelier Štěpán s.r.o.

Authors

Zdeněk Chmel

Authors

Marek Jan Štěpán

Type of work

Public

Type of work

Public

Photographs

Pavel Mezihorák Martin Binder Malý Chmel

Photographs

Boys Plays Nice

SELECTED PROJECTS CZECH REPUBLIC

211

CZ 305 282

Memorial Chapel

CZ 307 406

Vila Na Ořechovce

Location

Střelice, Czech Republic

Location

Prague, Czech Republic

Completion 2019

Office

Atelier Štěpán s.r.o.

Office

monom works s.r.o.

Authors

Marek Jan Štěpán

Type of work

Private

Authors

Michal Bernart Igor Hobza

Photographs

Ota Nepilý

Type of work

Private

Photographs

Alexandra Timpau

CZ 448 395

Family House in Jinonice

Location

Prague, Czech Republic

Completion 2019

Office

ATELIER 111 architekti s.r.o.

CZ 502 572

Children’s Cabin

Authors

Jiri Weinzettl Barbora Weinzettlová Veronica Indrová

Location

Prague, Czech Republic

Type of work

Private

Photographs BoysPlayNice

212

INTERNATIONAL ARCHITECTURE AWARD

Completion 2019 Office

A69 – architekti

Authors

Jaroslav Wetig Boris Redcenkov Prokop Tomasek

Type of work

Public

Photographs

Jolana Moravcová Lubomir Stiburek Tomas Rasl

CZ 584 640

River Loučná embankment in Litomyšl

CZ 607 678

Lasvit Headquarters

Location

Litomyšl, Czech Republic

Location

Cnovy Bor, Czech Republic

Completion 2017

Completion 2019

Office

Rusina Frei, s.r.o.

Office

Authors

Martin Rusina Martin Frei

Authors Štěpán Valouch Jiří Opočenský

Type of work

Public

Type of work

Private

Photographs

Tomas Soucek, Jan Slavik

Photographs

BoysPlayNice, Tomas Soucek

CZ 673 882

Budova Univerzity J. E. Purkyně, Ústí nad Labem

CZ 819 1042

Fire Station and the Technical Services building

Location

Ústí nad Labem, Czech Republic

Location

Libeznice, Czech Republic

ov architekti, s.r.o.

Completion 2020

Office

Pelčák a partner architekti, s.r.o.

Office

Ehl & Koumar Architekti

Authors

Petr Pelčák

Type of work

Public

Photographs

Filip Slapal

Authors

Tomas Koumar Lukas Ehl Jan Lankas Jaroslav Malina

Type of work

Public

Photographs Monolot

SELECTED PROJECTS CZECH REPUBLIC

213

SELECTED PROJECTS FRANCE

FR 042 027

Maison Mouvaux

Location

Mouvaux, France

Completion 2018 Office TANK

FR 042 072

Lycée Léonard de Vinci

Location

Saint-Germain-en-Laye, France

Completion 2020 Office TANK

Oliver Camus Lydéric Veauvy

Type of work

Private

Photographs

Julien Lanoo

FR 190 179

14 Timber Dwellings in the heart of a Parisian block

Location

Paris XII, France

Completion 2020 Office

MARS Architectes

Authors

Sylvain Rety Julien Broussart Raphael Renard

Public

Type of work

Private

Julien Lanoo, Camille Gharbi

Photographs

Charly Broyez

Authors

Oliver Camus Lydéric Veauvy Benjamin Colboc Arnaud Sachet

Type of work Photographs

214

Authors

INTERNATIONAL ARCHITECTURE AWARD

FR 206 184

Le Belvedere by Ronan and Erwan Bouroullec

Location

Rennes, France

Completion 2020 Office

Atelier blam

Authors

Aurélien Meyer

Type of work

Public

Photographs

Studio Bouroullec, Atelier blam

FR 273 652

Eau Medoc

Location

Saint-Vivien-de-Médoc, France

Completion 2020 Office

SARL A6A

Authors

Michel Hardoin Antoine Ragonneau Roberto de Uña

Type of work

Private

Photographs A6A

FR 278 312

Sports center Asnières-sur-Seine

FR 494 536

Maison Perchée

Location

Asnières-sur-Seine, France

Location

Verpillères-sur-Ource, France

Completion 2019

Office

Dominique Lyon

Office

Hérard & da Costa architectes

Authors

Dominique Lyon Pierre Du Besset

Type of work

Public

Authors Type of work

Natalina da Costa Frédéric Hérard Private

Photographs

Axel Dahl, Michel Denance

Photographs

Philippe Ruault

SELECTED PROJECTS FRANCE

215

FR 519 922

Tiers-Lieux

FR 519 924

Maison a Lambersart

Location

Capelle en Pévèle, France

Location

Lambersart, France

Completion 2019

Completion 2020

Office HBAAT

Authors

Hart Berteloot AAT

Authors

Hart Berteloot AAT

Type of work

Public

Type of work

Private

FR 563 579

Ecole Nationale Supérieure de la Photographie

Location

Arles, France

Completion 2019 Office

Atelier Marc Barani

Authors

Marc Barani

Type of work

Public

Photographs

Serge Demailly

216

INTERNATIONAL ARCHITECTURE AWARD

SELECTED PROJECTS ITALY

IT 050 073

Headquarters Chiesi Farmaceutici

Location

Parma, Italy

Completion 2020

IT 095 096

Casa Balboni. Restoration of a Carlo Scarpa’s work

Location

Venice, Italy

Completion 2020 Office MAP Authors

Francesco Magnani Traudy Pelzel

Type of work

Private

Photographs

Claudia Rossini

Office

EFA studio di architettura

Authors

Pietro Chierici Maria Pilar Vettori Laura Piazza Francesca Pesci Dario Cea Giorgia Fochi

Type of work

Private

Photographs

Marco Introini Pietro Savorelli Kai-Uwe Schulte-Bunert

IT 095 126

Annex Building

Location

Bologna, Italy

Completion 2020 Office MAP Authors

Francesco Magnani Traudy Pelzel

Type of work

Private

Photographs

Claudia Rossini

SELECTED PROJECTS ITALY

217

IT 343 985

Sassuolo A.C. Football Center

Location

Sassuolo,, Italy

Completion 2019 Office

Onisitestudio srl

Authors

Giancarlo Floridi Angelo Lunati

Type of work

IT 420 374 LCM 2018 / Regenerating The Ordinary: Kindergarden–House Location

Mazzarrone, Italy

Completion 2018 Office

Maria Giuseppina Grasso Cannizzo

Authors

Maria Giuseppina Grasso Cannizzo

Private

Type of work

Private

Photographs

Filippo Romano Stefano Graziani

Photographs

Giulia Bruno Fabio Mantovani

IT 444 696

Tree Hugger – Tourist Information Office

Location

Bressanone (Bolzano), Italy

IT 476 529

Planetarium and Science Museum of Cosenza

Location

Cosenza, Italy

Completion 2019 Office MoDusArchitects Authors

Matteo Scagnol Sandy Attia

Type of work

Private

Photographs

Oskar Da Riz Samuel Holzner Leonhard Angerer

218

INTERNATIONAL ARCHITECTURE AWARD

Completion 2018 Office

Monestiroli Architetti Associati

Authors

Antonio Monestiroli Tomaso Monestiroli

Type of work

Public

Photographs

Tomaso Monestiroli Roberto Conte Marco Introini

IT 489 648

Final Outcome

IT 490 461

H-FARM CAMPUS

Location

Arzignano, Italy

Location

Roncade TV, Italy

Completion 2020

Office

AMAA Collaborative Architecture Office For Research And Development

Office

ZAA Zanon Architectti Associati

Authors

ZAA Zanon Architectti Associati

Authors

Marcello Galiotto Alessandra Rampazzo

Type of work

Private

Type of work

Private

Photographs

Marco Zanta, H-FARM Archive

Photographs

Simone Bossi – Francesca Vinci – The Cool Couple

IT 550 539

Chiostri di San Pietro

IT 574 624

Piazze e spazi pubblici a Castelfondo

Location

Reggio Emilia, Italy

Location

Castelfondo, Italy

Completion 2019

Completion 2020

Office

ZAA Zamboni Associati Architettura

Office

franzosomarinelli architetti

Authors Type of work

Andrea Zamboni Maurizio Zamboni Alessandro Molesini Daniela Conti Public

Authors

Mauro Marinelli Mirko Franzoso

Type of work

Public

Photographs

Mariano Dallago

Photographs

Alessandra Chemollo – Kai-Uwe Schulte Bunert

SELECTED PROJECTS ITALY

219

SELECTED PROJECTS PORTUGAL

PT 042 450

Casa da Calçada da Serra

Location

Vila Nova da Gaia, Portugal

Completion 2019 Office

Cannatà & Fernandes arquitectos Lda

Authors

Fátima Fernandes Michele Cannata

Type of work

Private

Photographs

Luís Ferreira Alves

PT 045 557

INBETWEEN pavilion

PT 153 929

Liquid Pavilion

Location

Ponta Delgada, São Miguel Island, Portugal

Location

Porto, Portugal

Completion 2020

Completion 2018

Office PONTOatelier

Office

depA architects

Authors

Ana Pedro Ferreira Pedro Maria Ribeiro

Type of work

Public

Authors

Carlos Azevedo João Crisóstomo Luís Sobral

Photographs

Mariana Lopes

Type of work

Public

Photographs

José Campos

220

INTERNATIONAL ARCHITECTURE AWARD

PT 175 168

São Pedro do Sul Roman Baths

PT 239 213

Reasonable Housing

Location

São Pedro do Sul,, Portugal

Location

Penafiel, Portugal

Completion 2019

Completion 2018

Office

João Mendes Ribeiro Arquitecto Lda

Office fala

Authors

João Mendes Ribeiro

Type of work

Public

Photographs

José Campos

Authors

Valeriia Samovich Filipe Magalhães Ana Luisa Soares Ahmed Belkhodja Rute Peixoto Julia Andreychenko

Type of work

Private

Photographs

Ricardo Loureiro

PT 242 220

Casa Agostos II

PT 286 335

House in Costa do Castelo

Location

Agostos, Santa Bárbara de Nexe, Faro, Portugal

Location

Lisbon, Portugal

Completion 2018 Office

Pedro Domingos Arquitectos

Authors

Pedro Domingos

Type of work

Private

Photographs

Fernando Guerra Pedro Domingos

Completion 2019 Office

Bak Gordon Arquitectos

Authors

Ricardo Bak Gordon

Type of work

Private

Photographs

Francisco Nogueira

SELECTED PROJECTS PORTUGAL

221

PT 319 381

Grândola’s Library and Municipal Archive

Location

Grândola, Portugal

Completion 2020 Office

Matos Gameiro Arquitectos

Authors

Pedro Matos Gameiro

Type of work

Public

PT 370 722

Centro Cultural das Carpintarias de São Lázaro

Location

Lisbon, Portugal

Completion 2019 Office

Borges de Macedo Arquitectura, Lda

Authors

Filipe Borges de Macedo

Type of work

Private

Photographs

Nuno Almendra

Photographs

Francisco Nogueira Inês d’Orey

PT 385 949

Galeria De Proteçao do Vale da Ribeira de Joao Gomes

PT 385 950

Passagem Pedonal na Ribeira de Santa Luzia

Location

Funchal, Madeira, Portugal

Location

Funchal, Madeira,, Portugal

Completion 2020

Office

Paulo David Arquitecto, Lda

Office

Paulo David Arquitecto, Lda

Authors

Paulo David Abreu Andrade

Authors

Paulo David Abreu Andrade

Type of work

Public

Type of work

Public

Photographs

Atelier Paulo David Arquitecto Matias Andrade Fg+Sg – Architectural Photography

Photographs

Atelier Paulo David Arquitecto Matias Andrade Museu De Fotografia Da Madeira | Atelier Vicente’s Federica Felici Fg+Sg – Architectural Photography

222

INTERNATIONAL ARCHITECTURE AWARD

PT 495 674

Pé no Monte Fase II

PT 525 1043

Carnival Arts Center

Location

Odemira, Portugal

Location

Torres Vedras, Portugal

Completion 2018

Completion 2020

Office

[i]da arquitectos

Office

José Neves, Gabinete de Arquitectura, Lda

Authors

Ivan de Sousa Inês Antunes

Authors

José Neves

Type of work

Public

Type of work

PRIVATE

Photographs

Paulo Catrica

Photographs

[i]da arquitectos José R. Santos

PT 615 700

Casa Triangular

PT 635 991

Forja House

Location

Lisbon, Portugal

Location

Vale Bestança, Portugal

Completion 2018

Office

Studio LPP

Office

Pablo Pita Arquitectos

Authors

Luís Pedro Pinto

Type of work

Private

Authors

Pablo Rebelo Pedro Pita

Photographs

Daniel Malhão

Type of work

Private

Photographs

José Campos

SELECTED PROJECTS PORTUGAL

223

PT 645 777

Douradores

PT 704 831

Portugal Vineyards Concept Store

Location

Lisbon, Portugal

Location

Porto, Portugal

Completion 2020

Completion 2019

Office

José Adrião Arquitectos

Office

Porto Architects

Authors

José Adrião

Authors

Ricardo Port Ferreira

Type of work

Private

Type of work

Private

Photographs

Hugo Santos Silva Nuno Almendra Fg+Sg – Architectural Photography

Photographs

Ivo Tavares Studio

PT 759 976

Jazigo

PT 810 1085

ULISSEIA

Location

Golegã, Portugal

Location

Lisbon, Portugal

Completion 2020

Completion 2018

Office

Phyd Arquitectura

Office JQTS

Authors

Paulo H. Durão

Type of work

Private

Authors

João Quintela Tim Simon

Photographs

Emontenegro architectural photography

Type of work

Private

Photographs

Diana Quintela

224

INTERNATIONAL ARCHITECTURE AWARD

SELECTED PROJECTS SLOVAKIA

SK 029 021

House V

Location

Bratislava, Slovakia

Completion 2019 Office

Martin Skocek

Authors

Martin Skocek Lucia Miklová Michal Marcinov

Type of work

Private

Photographs

Matej Hakar

SK 056 049

City cemetery Presov – Svaby

SK 154 140

Domy Roličky

Location

Prešov, Slovakia

Location

Bratislava, Slovakia

Completion 2018

Completion 2019

Office

STOA architekti, s.r.o.

Office cakov+partners

Authors

Miro Macejko Andrea Macejkova Adam Macejko

Authors

Kalin Cakov Metodiy Monev Jan Obusek

Type of work

Public

Type of work

Private

Photographs

Jonás Verespej

Photographs

Tomáš Manina

SELECTED PROJECTS SLOVAKIA

225

SK 332 486

Summer house

SK 418 362

Location

Bratislava, Slovakia

Location Malá Polana, ridge of the Spisska Magura, Slovakia

Completion 2019 Office Totalstudio Authors

Aleš Šedivec Tomáš Tokarčík

Type of work

Private

Photographs

Eva Benková

Bachledka – vrcholová vybavenost

Completion 2019 Office

Compass, s.r.o.

Authors

Matej Grébert Roman Janata Juraj Benetin Miroslava Gasparova

Type of work

Private

Photographs BoysPlayNice

SK 610 683

Dom pre brata / House for a brother

Location

Presov, Slovakia

Completion 2019 Office

Pavol Silla.

Authors

Pavol Silla Silvia Sillova

Type of work

Private

Photographs

Pavol Silla

226

INTERNATIONAL ARCHITECTURE AWARD

SELECTED PROJECTS SPAIN

ES 017 020

Helga de Alcear Museum of Contemporary Art

Location

Cáceres, Spain

Completion 2020 Office

Tuñón Arquitectos

Authors

Emilio Tuñón Álvarez

Type of work

Public

Photographs

Luis Asín Amores Pictures

ES 187 281

Colgando del Centro

ES 218 274

Casa estudio para un pintor

Location

Madrid, Spain

Location

Madrid, Spain

Completion 2019

Completion 2018

Office

HFE Arquitectos

Office

Idearch Studio

Authors

Héctor Fernández Elorza

Type of work

Public

Authors

Syra Abella Bule Joaquín Mosquera Casares

Photographs

Montse Zamorano

Type of work

Private

Photographs

Joaquín Mosquera Casares

SELECTED PROJECTS SPAIN

227

ES 384 855

Dirk and the Chocolate Factory

ES 414 494

Topo’s Shed

Location

La Bisbal d’Empordà, Spain

Location

Madrid, Spain

Completion 2019

Completion 2020

Office

Anna & Eugeni Bach

Office

Pia Mendaro

Authors

Eugeni Bach Anna Bach

Authors

Pia Mendaro

Type of work

Private

Type of work

Private

Photographs

Manuel Ocaña

Photographs

Eugeni Bach

ES 429 389

Agora

Location

Olot, Spain

ES 452 396

Una Aldea Vertical En La Ciudad / A Verrtical Hamlet In The City

Location

Madrid, Spain

Completion 2017 Office unparelld’arquitectes Authors

Eduard Callís Freixas Guillem Moliner Milhau

Type of work

Public

Photographs

José Hevia

228

INTERNATIONAL ARCHITECTURE AWARD

Completion 2020 Office

Llps arquitectos

Authors

Eduardo Pérez Gómez Miguel Angel Sánchez García

Type of work

Public

Photographs

Javier Callejas, Estudio 0710

ES 501 476

Extension of the Ribas Winery in Consell, Mallorca

Location

Mallorca, Spain

Completion 2019 Office

CanalsMoneo Arquitectos

Authors

Valerio Canals Revilla Rafael Moneo Vallés Clara Moneo Feduchi

Type of work

Private

Photographs

Luis Asín

ES 551 540

Ca’n Terra

Location

Menorca, Spain

Completion 2020 Office

Ensamble Studio

Authors

Antón García-Abril Ruiz Débora Mesa Molina

Type of work Photographs

ES 536 519

Cabanon 1005

Location

Cádiz, Spain

Completion 2019 Office MyR Authors

Marta Moreno Cantero Ricardo Fernández González

Type of work

Private

Photographs

Ricardo Fernández González Marta Moreno Cantero Alberto Amores

ES 568 599

Vaciado del Antiguo Hospital de San Sebastián

Location

Badajoz, Spain

Completion 2020 Office

Jose María Sanchez García

Authors

Jose María Sanchez García

Private

Type of work

Private

Ensamble Studio

Photographs

Roland Halbe

SELECTED PROJECTS SPAIN

229

ES 568 603

Casa 9 Bóvedas

ES 616 706

Recovery of Merola’s Tower

Location

Badajoz, Spain

Location

Barcelona, Spain

Completion 2021

Completion 2019

Office

Jose María Sanchez García

Office

Carles Enrich Studio

Authors

Jose María Sanchez García

Authors

Carles Enrich Giménez

Type of work

Private

Type of work

Public

Photographs

Roland Halbe

Photographs

Adrià Goula

ES 646 848

Rehabilitation of the San Fernando school and new sports pavilion

ES 732 873

Intermodal Station, Urban design and Felipe VI Park

Location

Granada, Spain

Location

Logroño, Spain

Completion 2020

Office elisavalero

Office Ábalos+Sentkiewicz

Authors

Elisa Valero Ramos Leonardo Tapiz Buzarra

Authors

Renata Sentkiewicz José Ignacio (Iñaki) Ábalos

Type of work

Private

Type of work

Public

Photographs

Fernando Alda

Photographs

José Hevia Jesús Rocandio Miguel Esteban Alonso Juan Carlos Esteban

230

INTERNATIONAL ARCHITECTURE AWARD

ES 791 1001

RE HOUSE. Countryside house in Lerruz

Location

Navarra, Spain

Completion 2021 Office

Lecumberri & Cidoncha Arquitectos

Authors

Jokin Lecumberri Larrea Antonio Cidoncha Perez

Type of work

Private

Photographs

Pedro Pegenaute

SELECTED PROJECTS SPAIN

231

BIOGRAPHIES JURY MEMBERS

SCIENTIFIC COORDINATION

JESÚS APARICIO AWARD PRESIDENT

JESÚS DONAIRE AWARD SECRETARY

Doctor of Architecture and Professor of Architectural Projects at the Superior Technical School of Architecture of Madrid (ETSAM)

Doctor of Architecture and Associate Lecturer in Architectural Projects at the Superior Technical School of Architecture of Madrid (ETSAM)

Holding a degree in Architecture from the Superior Technical School of Architecture in Madrid (ETSAM), a Master of Architecture from Columbia University in New York, and a Doctorate in Architecture, Jesús approaches architecture from three different fronts: research, teaching and professional practice. As a researcher, he has obtained funding from the Academy of Spain in Rome, as well as grants from Fulbright/MEC and Bankia. He is full professor of Architectural Projects at the ETSAM and guest lecturer and speaker at numerous architecture schools and institutions across Europe, Asia and the Americas.

Jesús holds a degree in Architecture from the ETSAM and won the award for project excellence as part of the Master Degree in Advanced Architectural Design at Columbia GSAPP in New York before earning his Doctorate in Architecture. As a researcher, he has earned funding from the Academy of Spain in Rome and the Fulbright Commission, as well as the William Kinne Fellows Traveling Prize and grants from the Social Council of Madrid Polytechnic University. He has lectured as Assistant Professor at the Architecture Department of Barnard College at Columbia University and he is currently an Associate Professor of Projects at the ETSAM and at Nebrija University in Madrid. He is also visiting professor at the Polytechnic University of Milan and at Suffolk University in Boston and is a regular conference speaker, project panellist and lecturer at international workshops on architecture and director of architecture seminars at various European and American institutions.

The buildings designed by Jesús have earned numerous accolades, including the ar+d Award, the Architecture and Town Planning Award from Madrid City Council, the HYSPALIT Brick Architecture Award and the Saloni Award. In 2000, he represented Spain at the Venice Architecture Biennale and in 2005 he was selected to take part in the Spanish Architecture Biennale. In 2008, he was nominated for both the Klippan Award and the Swiss Architectural Award, and in 2012 he won the 39th edition of the IIDA Awards. More recently in 2016, he was runner-up at the XIII edition of the Spanish Architecture and Town Planning Biennial. He is also curator of the exhibitions “Young Architects of Spain” and “Domusae, Spaces for Culture”, director of the Ceramic Tile Studies Department in Madrid and editor of the Ceramic Essays Collection. Both his theoretical research and his architecture projects have received international acclaim and his publications include the likes of: “El Muro”, “El Hogar del Jubilado”, “Terragni, la densidad en el espacio”, “El Danteum”, “Construir con la razón y los sentidos” and “Jesús Aparicio AA40”.

Jesús is Deputy Curator of the “Young Architects of Spain” exhibition and curator of the “Domusae, Spaces for Culture” exhibition. His work has earned him the Architizer A+ Award in New York, the Excellence Award of the International Interior Design Association in the United States, as well as an award from the Association of Architects in Madrid. He has also been short-listed for the Arquia, Enor, ASCER and Lledó awards. His work, research articles and interviews have been published internationally and he is the editor of various catalogues on architecture.

BIOGRAPHIES JURY MEMBERS

233

VOCALS

ADRIEN VERSCHUERE BELGIUM JURY MEMBER Architect and founder of architecture studio Baukunst Studies in Architecture at ISA St-Luc Tournai, Belgium and at the École Polytechnique Fédérale de Lausanne, Switzerland (diploma with Prof. E. Zenghelis in 1999). He was a design architect at the office of Herzog & de Meuron, Basel between 2000 and 2003 and collaborated with the Office for Metropolitan Architecture Rem Koolhaas, Rotterdam until 2001. Adrien Verschuere is the co-founder of the architecture firm Made in, Geneva, Switzerland. In 2008, he established BAUKUNST in Brussels and from 2017 in Lausanne. Besides his current teaching position at the Université Catholique de Louvain, diploma tutor, Adrien Verschuere is regularly invited as guest critic or lecturer in various institutions, among others : the FAUP Porto, IRGE Universität Stuttgart, Berlage Institute Rotterdam, USI Accademia di Architettura Mendrisio, ETH Zürich and the EPF Lausanne.

PAVOL PAŇÁK CZECH REPUBLIC AND SLOVAK JURY MEMBER Architect and founder of architecture studio Architekti B.K.P.Š.

ALEXANDRE THERIOT FRANCE JURY MEMBER Architect and founder of architecture studio Bruther

Born in 1948. I have been working as a practising architect since graduating from Faculty of Architecture of the Slovak University of Technology. I established an office Architekti B.K.P.Š. along with my partner Martin Kusý in 1991.

Alexandre Theriot founded the BRUTHER studio in Paris in 2007 with Stéphanie Bru. BRUTHER takes design back to basics in its projects, exploring the fields of architecture, urban planning, landscape, research and teaching. It employs resiliencebased design, free from any kind of mannerism, style, fashion or excess.

The office portfolio consists of urban studies, zonal plans, projects of buildings and interior designs. Our realisations include for example: Headquarters of the National Bank of Slovakia, Reconstruction of the Slovak National Gallery, Slovak Ambassy in Berlin, various apartment buildings and interiors. Our work has been awarded several prices.

The studio’s projects are characterised by a delicate balance of strategy and form, rigour and freedom, unique and generic, immediate and evolving. Combining programme and future considerations, the projects focus on open infrastructure that is able to meet multiple future needs and offers a wide range of uses.

From 2019, Adrien Verschuere is Visiting Professor at the École Polytechnique Fédérale de Lausanne, Switzerland.

BRUTHER is part of a “new wave” of practices that are contributing to a radical renewal of French architectural culture. The studio has won numerous awards and tenders and was the subject of a monograph entitled ‘Introduction’ in 2014. It has also appeared in a variety of other international publications (2G, released in June 2017, and El Croquis, released in 2018) and conferences. Since 1998, Alexandre Theriot and Stéphanie Bru have also taught architectural theory and design. They are regularly invited to speak at prestigious international schools (EPF in Lausanne, UQAM in Montreal, Stuttgart, HSD in Düsseldorf, ENSAV in Paris, among others). In 2018, Alexandre Theriot was appointed Professor of Architecture and Construction at ETH Zurich.

234

INTERNATIONAL ARCHITECTURE AWARD

VOCALS

NICOLA DI BATTISTA ITALY JURY MEMBER Architect and director of the magazine l’Architetto Nicola Di Battista (Teramo, 1953). From 1981 to 1985, he worked as an apprentice at Giorgio Grassi’s agency in Milan, before creating his own agency in Rome in 1986. He has won tenders to extend the Archaeological Museum in Vicenza and the Archaeological Museum in Reggio Calabria, among others. Between 1997 and 1999, he was a visiting professor at the Federal Institute of Technology (ETH) in Zurich and has since been active in teaching at a number of universities in Italy and abroad. He ran Domus magazine from 2013 to 2017. In September 2013, he organised an exhibition on Adalberto Libera at the Museum of Modern and Contemporary Art of Trento and Rovereto. He is the current editor of l’Architetto magazine.

INÊS LOBO PORTUGAL AND SPAIN JURY MEMBER Architect and founder of architecture studio Inês Lobo, Arquitectos Lisbon, 1966. Inês Lobo trained as an architect at the École Nationale Supérieure des Beaux-Arts in 1989. Since then, she has taught Architectural Design and is currently a visiting professor in Architecture at the Autonomous University of Lisbon and the University of Lisbon. Her professional career began in 1989 and she founded her own agency, Inês Lobo Arquitectos, in 2002. She is regularly invited to speak at seminars in Portugal and abroad. She was an invited participant at the 2016 Venice Biennale, Reporting from the front, and the 2018 Venice Biennale, Freespace. She also works as a curator and commissioner of architecture exhibitions, as well as leading the Portuguese representation at the 2012 Venice Biennale and serving as the Portuguese delegate at the 8th BIAU – Ibero-American Architecture and Urbanism Biennial. She regularly participates in juries for national and international architecture prizes, including the FAD Awards in 2012 and the Secil Awards in 2006. She received the Order of Merit from the President of the Portuguese Republic in 1999, the Women Creators of Culture Award from the Portuguese government in 2013, the international arcVision Prize – Women and Architecture in 2014, and the AICA Award from the Portuguese section of the International Association of Art Critics in 2017.

BIOGRAPHIES JURY MEMBERS

235

BIOGRAPHIES WINNING PROJECTS

XDGA – XAVEER DE GEYTER ARCHITECTS BIGMAT INTERNATIONAL ARCHITECTURE AWARD GRAND PRIZE XDGA is a Brussels/Paris – based office practising architecture, urbanism and landscape design founded in 1988 by Xaveer De Geyter (°1957), after his experience as project architect for OMA/Rem Koolhaas. During the thirty years of its existence, XDGA has managed to build up a significant portfolio and obtain worldwide recognition thanks to its unique approach, diversified expertise and international. XDGA’s most relevant realised projects include, amongst others: the Kitchen Tower in Brussels (2011), the subway station and public square ‘Place Rogier’ in Brussels (2015), the new Headquarters for the Province of Antwerp (2019) and the Multipurpose School Building in Ghent (2020). XDGA counts to this day 5 monographs, numerous awards (Mies Van der Rohe Award, Bigmat Award, Flemish Culture Award for Architecture) and 3 travelling solo exhibitions.

ARTURO FRANCO SPECIAL MENTION SMALL-SCALE SPAIN NATIONAL PRIZE (PhD) Arturo Franco. Architect, critic and editor. As a critic and editor, his work has been focused on the exploration of contemporary Latin-American reality as well as intervention in heritage. His work has been acknowledged by the Swiss Architecture Awards (2010); the great FAD award of Spain and Portugal (2012) and the FAD INTERNATIONAL (2022); a first prize by the Madrid City Council (2007); the Madrid Architects’ Association (2021, 2014, 2011 and 2007); the Galicia Architects’ Association (2002); the Latin-American Biennales of Cadiz (2012) and Rosario (2014); the Spanish Ministry of Public Works (2003); the Natural Stone Awards (2004); the Hispalyt Awards (2007); Arquia Proxima (2008); the FAD Awards (2014, 2012 and 2010); the ENOR Awards (2011, 2007 for two Works and 2017); the Saloni Awards (2010 and 2008); the Construmat Prize (2011) and the BAM Award (2012); as selected in the Venice Biennial (2016) included in the winning pavilion of the Golden Lion. Nominated for the National Architecture Award in 2015. But without a doubt the most moving recognition is the fact that he was chosen by the students in the I Compás de Oro as the best teacher of the ETSAMadrid in 2016 and in the II Compás de Oro as the best teacher of the DCA in 2017.

PETR JANDA / BRAINWORK

EXERCICE

ONSITESTUDIO

NATIONAL PRIZE. CZECH REPUBLIC

NATIONAL PRIZE. FRANCE

NATIONAL PRIZE. ITALY

We look for authenticity hidden in every task. We always start from scratch, trying to avoid usual architectural cliché and reinvent the core basics in slightly different shades and moods. Our approach is based on interconnecting physical and metaphysical layers of the project, resonating of form and content and engaging sculptural methods with the conceptual tendencies. We consider initiation of projects to be part of our work, reflecting not only architectural, but also programme, content and social aspects. Spectrum of our designs is wide, from detailed artistic projects such as memorials and unique museum expositions to, specific projects like church, airport, terminal for cruise boats, floating pool, individual housing etc.

Exercice est une agence d’architecture et de design basée à Saint-Denis qui s’attache à décloisonner les disciplines pour les faire dialoguer, à développer des projets alliant technicité et créativité, rigueur et liberté, dans lesquels les savoir-faire des artisans sont replacés au cœur du processus de conception.

Onsitestudio is an architectural practice in Milano, directed by Angelo Lunati e Giancarlo Floridi.

Petr Janda is an architect and an artist graduated from the Faculty of architecture at Czech Technical University in Prague and the Academy of Fine Arts in Prague. In 2008 he founded his own studio petrjanda/brainwork. Between 2011 and 2014 he was a member of the board of Czech Chamber of Architects and a chairman of the Promotion of architecture working group. He has been engaged in revitalization of the Prague riverfront since 2009 and in 2017 he became the main architect of this area.

REFERENCES (sélection) Architecture 2021 Rénovation d’une maison, Saint Laurent sur-mer, MO privé, études en cours. 2021 Construction d’un pigeonnier, Roubaix, Ville de Roubaux, études en cours. 2020 Espace public, Jardin POCPOC, Tourcoing, SEM VR, études en cours. 2020 Extension d’une maison, Chevaigné, MO privé, livré. 2020 Extension d’une maison, Vannes, MO privé, livré. 2019 Aménagement d’une boutique, Paris, MO privé, livré. 2018 Construction d’une maison, Mauvières, MO privé, chantier en cours. Design 2021 Chaise en aluminium, conception d’une chaise pour Théorème Editions. 2021 Création de tables de ping pong insolites pour NEDJ. 2021 Pylône, conception d’une gamme de meubles modulaires en aluminium, livré. 2020 Monolog, conception d’une gamme de meubles, Lille, Miroiteries Dubrulle. 2018 Cuisine Néo-Prouvé, Wasquehal, Vilogia, livré.

We are interested in the intriguing relationships between the individual object and the city, between the need and specificity of the forms of a building and the collective character of the urban space. We believe that these relationships can significantly inform the qualities of the architecture and that the city is still the privileged place of these possible resonances. The projects confront reality, trying to amplify the already existing characters of the places and investigating new combinations between the complexity of contemporary life and the urban dimension. Among the most relevant projects and realizations of the office: the school complex at Cascina Merlata Milano (2016), the Pirelli learning center (2016), Duca d’Aosta Hotel (2015), EXPO service architectures (2015), the new Hotel Palace in Bruxelles (2018), Masterplan of exCaserma Mameli Milano (2016), Training center for Sassuolo football club (2018), Rolex headquarters Milan (2018). Onsitestudio work has been published in magazines and books (Casabella, Domus, Le Moniteur, etc..) and displayed in several exhibitions. On 2017 Onsitestudio has been mentioned at the “Architect of the Year” prize by the Italian Architects Council and recently selected by Domus among “50 world best architecture firms 2020.

BIOGRAPHIES WINNING PROJECTS

237

CARRILHO DA GRAÇA ARQUITECTOS NATIONAL PRIZE. PORTUGAL João Luís Carrilho da Graça (Portalegre, 1952), architect, graduated from the Lisbon School of Fine Arts in 1977. Has been recognized with the Royal Institute of British Architects International Fellowship in 2015, the medal of the “Académie d’Architecture Française” in 2012, the title of “Chevalier des Arts et des Lettres” in 2010, the “Pessoa Prize” in 2008, the Order of Merit of the Portuguese Republic in 1999 and the “AICA Award” by the International Association of Art Critics in 1992. Was distinguished with the “AIT Award” 2012, the “Frate-Sole” International Prize, in 2012, the “Piranesi Prix de Rome” prize, in 2010, the “Valmor Prize” in 2010 and in 2008, the “FAD” prize in 1999, the “Valmor Prize” in 1998, and the “Secil Prize for Architecture” in 1994.

PLURAL

GOFFART POLOMÈ ARCHITECTES

NATIONAL PRIZE. SLOVAKIA

FINALIST. BELGIUM

PLURAL proposes architecture with special emphasis on its social and cultural relevance. Operating in national and international contexts the office, established in 2009, it is led by two partners: Martin Jančok and Michal Janák. The scope of the studio’s work ranges from exhibitions and interior design, through individual and collective housing, buildings for culture, transformation and restoration of architectural heritage, renewal of public spaces, to larger scale city planning. PLURAL works mainly for public clients and cultural institutions including the Slovak National Gallery, New Synagogue Žilina or Kunsthalle Bratislava.

Damien Goffart and Brice Polomé are both graduated from the Institut Supérieur d’Architecture Saint-Luc in Brussels. They start their professional careers in offices in Belgium and Switzerland.

Was selected or nominated for the Mies van der Rohe Award, in several occasions. Participated in the main exhibition of the 15th Venice Architecture Biennale in 2016, and in the portuguese official representation to the 12th, 13th and 16th editions. Lecturer at the University of Lisbon between 1977 and 1992. Professor at the Universidade Autónoma de Lisboa from 2001 to 2010 and at the Universidade de Évora from 2005 to 2015. Visiting Professor at the University of Navarra between 2005 and 2015, at the College of Architecture, Art, and Planning of Cornell University, in 2015 and at USI Academia di Architettura in 2020 and 2021. Received an Honoris Causa doctorate degree by the School of Architecture of the University of Lisbon in 2013.

238

INTERNATIONAL ARCHITECTURE AWARD

In 2012, Brice and Damien establish together their own office Goffart Polomé Architectes. After having worked in Luxembourg, Marie Maerckx joins the atelier in 2016 and becomes partner in 2019. The atelier method consists in a rational and holistic approach, instead of focusing on formal or discursive preoccupations, meanwhile following the path of a happy frugality. The practice is frequently solicited as invited jury or lecturers by cultural or academic institutions among which : LOCI Brussels (UCLOUVAIN), UMons, ULiège and La Cambre-Horta (ULB). In 2019, the practice receives the Grand Prix d’Architecture de Wallonie – GPAW. In 2020, the atelier is invited with seven Belgian architecture offices to present its architectural production during the ACROSS 2020 lectures cycle coproduced by A+ Architecture in Belgium, VAI, ULiège and deSingel, Antwerp. The A+ magazine also selected the office in its special issue 284 as part of the new generation of Belgian architects. In 2021, the atelier presents abroad its approach during the fifth edition of the Cities Connection Project in collaboration with WBA.

ATELIER 111 ARCHITEKTI S.R.O. FINALIST. CZECH REPUBLIC Atelier 111 architekti Atelier 111 architekti was founded in 2007. Our team has gradually profiled itself, the main creators today include Barbora Ditzová, Veronika Indrová, Miroslava Šešulková, Barbora Weinzettlová and Jiří Weinzetll, the studio´s founder. In the recent years we have been focused on designing residential and public buildings including interior design and reconstructions of public spaces in our cities. We are based in Prague and in South Bohemia. Our architecture is best characterized by contextual approach, conceptual thinking and sobriety. Ing. arch. Jiří Weinzettl *1977 in České Budějovice Jiří Weinzettl studied monument restoration at the Secondary School of Applied Arts of St. Anežka Česká in Český Krumlov and at the Faculty of Architecture of the CTU in Prague (studios Jeníček and Vojtěch). After graduating in 2004, he was one of the two founders of Atelier 111 architekti and is still its executive director. Ing. arch. Veronika Indrová *1991 in Šumperk Veronika Indrová studied at the Faculty of Architecture of the CTU in Prague. She developed a diploma project defended in 2017 under the guidance of the Novotný – Koňata – Zmek studio, in which she spent five semesters during her studies. In 2014, she studied abroad within the ERASMUS + project at TUE in Eindhoven. She has worked in Atelier 111 architekti since 2015.

LAN (LOCAL ARCHITECTURE NETWORK) FINALIST. FRANCE Founded by Benoit Jallon and Umberto Napolitano in 2002, LAN explores the multidisciplinary fields of architecture. This approach is a methodological guide to investigate the social, urban, ecological and functional issues of the project. The firm’s projects reflect this spirit of openness and cover a wide range of scales and programs : the Maillon Theatre (Équerre d’argent 2020), the Euravenir Tower (nominated for the Mies van der Rohe Award 2015 and Prix Soufaché), the experimental housing in Bègles (Venice Biennale 2016), the student residence on Rue Pajol in Paris (first national BigMat prize), the Neue Hamburger Terrassen (International Architecture Awards 2014) are some of the iconic operations that the office has produced over the last two decades. LAN is currently working on projects in Europe and is expanding internationally through experiences in the Middle East and Asia.

TOFFOLI ARCHITETTI FINALIST. ITALY Lo studio “Toffoli Architetti” nasce dall’esperienza professionale di Ubaldo Toffoli il quale, dopo aver collaborato con lo “Studio Valle Progettazioni” di Roma, si dedica alla libera professione realizzando in oltre 30 anni di attività numerosi progetti in ambito italiano ed europeo. Nel 2015 fonda lo studio “Toffoli Architetti” con il figlio Gianrico che, completati gli studi in architettura nelle università di Koblenz e Pescara, arricchisce il suo percorso professionale lavorando presso lo studio “CVDB Arquitectos” di Lisbona. Attualmente lo studio “Toffoli Architetti” si occupa di progettazione alle diverse scale spaziando dal design industriale all’edilizia pubblica e privata, passando per l’arredamento di interni e retail. I progetti realizzati hanno ottenuto riconoscimenti da parte dell’Istituto Nazionale di Architettura (IN/ARCH) e dal Consiglio Nazionale degli Architetti.

In addition to architectural and urban design, the office is actively involved in the disciplinary debate and develops a significant theoretical production through exhibitions (Venice Biennale in 2016, Haussmann – model city), publications (Traces, Napoli Super Modern) and conferences. Since 2019 two new projects have emerged in the LAN ecosystem: the Research Laboratory dedicated to Architecture and Reality (RAAR) and the Pianoterra gallery restaurant.

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BAK GORDON FINALIST. PORTUGAL Ricardo Bak Gordon was born in Lisbon in 1967. He graduated in 1990 at Faculdade de Arquitectura da Universidade Técnica de Lisboa. During his studies, he also attended Faculdade de Arquitectura da Universidade do Porto and Politecnico di Milano. He was teaching at the Integrated Master Degree (MSc) in Architecture at Instituto Superior Técnico (IST), Lisbon between 2009 and 2019, and at the Escuela de Arquitectura da Universidad de Navarra, Pamplona, Spain, between 2017 and 2019. He was also a Visiting Design Critic between 2015 and 2017 at Harvard GSD, Cambridge, Massachusetts. He lectured (and/or attended as visiting teacher) at several universities and institutions such as Universidad de Navarra, Accademia di Architettura di Mendrisio, IUAV di Venezia and Escuela Técnica Superior de Arquitectura de Barcelona. His activity as an architect has been developed since 1990, and in the year 2002 he created the studio Bak Gordon Arquitectos, where currently works. He was a nominee for the Mies van der Rohe prize in 2009 and 2011; winner of the FAD Prize 2011 (Barcelona, Spain), BIAU Prize 2012 (Cádiz, Spain), CICA Prize BA2015 (Buenos Aires, Argentina) and APCA Prize (São Paulo, Brazil). He was one of Portugal’s representatives at the Venice Biennale in 2010, 2012, 2018 and in the 2017 Chicago Architecture Biennial. His work is part of the Art Institute of Chicago (AIC) architecture collection. In 2019, he was awarded the prize by the International Association of Art Critics (AICA) for his work as a whole.

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N-1 / JAKUB KOPEC, KLÁRA ZAHRADNÍČKOVÁ, TOMÁŠ DŽADOŇ FINALIST. SLOVAKIA n-1 is engaged in interdisciplinary transgressive work in cooperation with guests from the fields of visual and performing arts or natural and human sciences. Such complex approaches to projects operate with open systems and wide range of relationships at different levels and scales. (www.n-1.cz) Jakub Kopec is an architect. He runs self-undermining architectural practice n-1. He is a member of editorial boards of architectural magazines ERA21, ARCH and gallery board of MEDIUM Gallery at AFAD. He founded a publishing house 4AM Forum for Architecture and Media and is a member of the same name NGO. He lives in Bratislava. Klára Zahradníčková is a landscape and garden architect. She graduated from Mendel University of Agriculture and Forestry in Brno (2005) and ÉNSA Versailles (2008). In interdisciplinary cooperation, she deals with the solution of public spaces and, conceptually, on larger landscape scales as well. She lives in Brno. Tomáš Džadoň is a visual artist. Since 2014 he has been an assistant, PR, friend, psychologist and producer in the Studio of Visiting Artist at the Academy of Fine Arts in Prague. He is a multiple unsuccessful finalist of the Oskar Čepan Award and the Jindřich Chalupecký Award. He lives in Prague. www.tomasdzadon.com

INTERNATIONAL ARCHITECTURE AWARD

PERIS + TORAL ARCHITECTES FINALIST. SPAIN peris+toral.arquitectes is a Barcelona‑based architecture practice, whose’s built work developes around public hounsing and urban space. Marta Peris and José Toral adress architecture under a line of thought that focus on users and places the architect as a social agent capable of/able to reframe/ reconsider/reformulate dwelling/ housing in order to meet the emerging needs that the society’s transformation causes in the ways of inhabiting. Marta Peris and José Toral are architects and lecturers in Projects at the Barcelona School of ArchitectureETSAB. In 2016 Marta Peris received her PhD. in Architecture from the UPC with the thesis “The Japanese house in the films of Yasujiro Ozu”, published in 2019 under the title “The House of Ozu”. Their works have been exhibited at the Cité de l’Architecture de Paris 2009, at the UIA Tokyo 2011, in the Spanish Pavilion of the Venice Biennale 2016, and in the context of the Cities Connection Project at Mendrisio 2013, in Geneva 2015 , in Zurich 2016, and in Brussels 2017. Their work has been recognized by various awards, including Shorlisted in the Mies Van der Rohe Award 2017 and the European Life Challenge Award 2018, for the homes for the elderly in Glòries. Emporia Gold Award for Ephemeral architecture and ATEG Award for the Glòries Temporary Information Point, The Plan Award for Social Housing 2022 and a Gold Award in the Best Architects award 22 for the social housing in Cornellà.

MATADOR

BDR BUREAU

SPECIAL MENTION

Matador is a studio.

BDR bureau works in the fields of architecture, is based in Turin and is the collaboration between Alberto Bottero and Simona Della Rocca. It develops projects ranging from the habitat unit to the urban scale, paying particular attention to the architecture of re-use and the re-adaptation of living, work and educational spaces. Projects originate through a broad interpretation of the sites and a deep understanding of the context, with the intention of transforming limits into opportunities. Each project experiments with spatial solutions based on the idea of an open, simple and unexpected architecture that meet the evolving needs of our times.

Anna & Eugeni Bach is a Finnish‑Spanish architecture studio based in Barcelona working within a broad concept of architecture. Their interests spread across four activities: Professional, through projects ranging from art installations, interior design, housing, public buildings and public space design; Academic, as associate professors at ETSAB UPC and EINA UAB, and via lectures and workshops in different European universities; Research, being part of PhD research groups and via installations that deal with the perception of space; and Culture, being active in the boards of different associations that promote the values of architecture for society, as well as curators of the XVth Spanish Architecture and Urbanism Biennial.

The studio refers to those factories where knowledge is constituted according to the productions of their author(s). An author’s architecture is defined by its political commitment, its critical position, its cultural vocation, its thinking beyond the strict factual contingency, its concern for the context, its qualitative virtue, as much from the spatial and formal point of view as from its attachment to the human being. It refers to a practice considered as a vocation beyond its strictly professional dimension. The studio thus militates for an author’s architecture as defined here. Its energy is deployed in the participation in competitions and public tenders. Its practice crosses the scales of urbanism, building, public space, scenography and furniture. Although it has written several essays, the Matador studio does not theorize much, considering that concepts are not prerequisites to the design activity, but rather are developed in the latter, that ideas are shaped beyond words and are embodied in the projected material. Associates Olivier Bourez; Jean Philippe Jasienski, Marc Mawet, Martin Outers. Collaborators Tony Jandolo, Tomás Barberá Ramallo, Boris Bardonneau, Mihai Pop, Morgan Delvaux, Arthur Stache, Alexis Monti, Thibault Benghozi, Paul Ponsin, Thibaut Dequirini.

BDR bureau’s works has been published in several magazines such as Detail, Architectural Review, Bauwelt, exhibited at MAXXI museum and Triennale Milano among others, and received various awards including “Young talent of Italian architecture 2019”, promoted by the the National council of architecture. BDR bureau has also participated in two editions of the La Biennale di Architettura in Venice: in 2016 (Venice Pavilion) and in 2018 (Italian Pavilion) and has lectured at Politecnico di Milano, IUAV Venice, UN Second University of Naples, University of Munich, Finnish Association of Architects.

ANNA & EUGENI BACH

Their work has been exhibited among others, in venues like the Lisbon Architecture Triennale 2019-2020, the Spanish Pavilion at the Venice Biennale 2016 (Golden Lion), or in their solo exhibition “Elective Affinities” in different Spanish locations in 2015. Some highlights from among their recent awards and recognitions include the FAD Award 2019 in Ephemeral Interventions, Finalist and Selected at the Spanish Architecture Biennial in 2018 and 2016, the nomination for the EU Mies van der Rohe Award and the nomination for the Iakov Chernikhov International Prize for Young Architects in 2015 and the International FAD Award in 2014.

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CREDITS

Published by BigMat International S.A. Edited by Jesús Aparicio Jesús Donaire BigMat International S.A.

Acknowledgments We would like to thank architect Jesús Aparicio for the development and scientific coordination of the BigMat International Architecture Award 2021. We would like to thank Villamayor City Council for opening the doors of its sandstone quarries.

Coordination Alberto Luengo Óscar Cruz

More information: BigMat International Architecture Award www.architectureaward.bigmat.com

Translations Marcella Bracco Virginia Cabañas Design gráfica futura Printed and bound by Composiciones RALI S.A. Paper 135 gram matt coated Typography Montserrat © of the edition BIGMAT INTERNATIONAL S.A. 42-44 Avenue de la Gare L-1610 Luxembourg Tel. +352 28 4878 1075 www.bigmat.com © of the images The authors of the images © of jury images Vincent Urbani © of cover image Jesús Aparicio All rights reserved. The total or partial reproduction of this book, its inclusion in a computer system or its transmission by electronic mechanical or other means by photocopy or recording, is forbidden without the copyright holders’ prior authorization in writing Periodic publication ISSN 2535-8847 Printed in Spain Bilbao 2021

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