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ELLE DECOR ANNIVERSARY ay LE ARCHITECTURE SE ML am 7 innovdtion, ti loam, relationshy iv the indivi sociely an. iG bere ono toe Ube is ia Tigre recent les @ C1 f} rent generat Ons, the followi selection of ideds St geste YQASS, concrete, wood di by Porzia Bergamasco DESIGN & ARCHITECTURE THE ARCHITECY/ Wit i umanist vocation an isan. a, proach, oneal etta Tagt lesigns in va OuS ‘Held ex imenting mdleri unusual living solutions Your offices, based in Barcelona and Shanghai, work inthe diferent fs Df architecture, design for public spaces, interior and fumishing design. What unites these different scales of design? | em inked to the humanist ‘tradition of the broadminded universal architect who gets no limits, bu looks for answers tothe questions ofthe moment. | think that the relationship with the dimonsion stimulates rosearch into the magic that can be created (on cach scale. tis a complicated, yot usoful, exorcise to learn to understand how much tne measurements and thar relationships vary when simulating space. Your projects always feature dynamic, lively space. Is this away to maintain an uninterrupted relationship betwoon exteriors and, Interiors? | believe its important to preserve the perception ofthe outside \Worid inside, managing to estabich a relationship, not just visual, with our surroundings: nature, sunlit —they all help to improve ou ives. What's more, In this way, on lave! of erotional perception, what's outside aiso becomes less hazardous, Architecture must not build barirs and this is another reason itis important for ms to study materials that avoid separation. Sharing, cconstant flow are characteristics evident in your projects. Where do you start? First of al, each time we think ofthe activity that vl bring tollfe what we are designing. Then we stat to imagine the flaws, designing the movernent diagrams, the dally “dance routines” that wil ocour inthe streets, squares and buildings. It isa question of foreseeing what vl help the flowing of energy in relation to space. As the artist Gordon Matta. Clark teaches us, energy has its own dosion. And how do materials become part of design? We iks to experiment and understand how naw tachnology ‘materais might work, but we usualy profer natural ones and thass stil anchored to the radon of location. And in any casa, the choice always, falls to materials that ara plaasant to touch, which reflect our attention to the indhidual. The unrivaled ones being primitive, such as brick, ron, wood. ‘and ceramic, which also guide cur studies into the reinvention of new uses. ‘Just like you did, for example, with the wicker used for the Spanish Pavilion at Expo 2010 in Shanghai or with marble in the Braided Marble installation for Decormarmi, in autumn 2014 in Verona. Yes, in Shanghai \we chose wicker, a traditional material that is not used on a building scale. \We worked it wth new-gen technoogy to create a fabric weave. We stated ‘outwith the same idea of weaving with the slabs of marble for Decotmatmi, rendered as fre and light as flres thanks to an experimental process. The flexible, wavy surface changes the idea of merble inked to soy anc fulness land suggests its use in contemporary visions. You have a special flair for ‘making oven the heaviest material ight and, as a consequence, your dosign is ight too. Humanity lkss lightness. Enormous buildings ara boing frected around the world and the lightness achieved by combining structural flemants and materia helps to make them less buky and threatsning If skyscrapers were threatening, we vould not ika them.» aneiged igre PCR 7 We lerial essence of architecture EXPERIMENTAL WICKER/ Wit I's 8,200 pans of woven wicker, the Sparish pauilon was a main feature at Expo 2010ih Snanghal. Designad by tha Spanish archi frm Mires Taglabue EMBT, it wen many ntonational -_aivards forhaving developed the artisan technique of wexking this ancient material in a buleing project. inspired by Traditional baskets, ne weave wes renforced with Tubular Stal to form the siture of volumes, crating the tere ‘of the atmosphere Mside. wave ‘Shape, colour, but especialy materials, each one interpreting ‘he other, are gaining increasing importance in both cesian ‘and architecture. Their roe in design highlights significant Characteristics for both felds, which come together inthe use (of the expressiveness ofthe material's the element that creates the attractiveness of the project, both for products and for architectural constructions and many technologies migrate ‘across from one sector tothe other in a dalogue of technical {and functional performance. Suffice to thnk of prefal ‘and modular panels, Wen it comes to comparing expressive performance, materials are again the testing bench for Improving eotn product and building use. Dasign cuture today is allabout establishing reitionsnips with the diferent \estinations of use and also making a sensorial and aco-tiendly assessment. Materials, especially the most common, amply dally contact with our environment, making It fel tray ours. ‘They allow ight to shine through. They relat the changing colours ofthe cy. They reguiate eneray savings. They create ‘Unexpected transparencies, Through iis materials, architecture ‘comes closer and gives us a sensorial experience with the bui-up space. The architect Benedetta Tagliabue reminded Us that the relationship with certain materias also leads ‘tomanual production, that they are important for estabishing [Inks wit ther location and, if used unusually, can change our imagination. One example is her Spanish pavlion, designed for the Shanghel Expo in 2010—the wicker basket weave looks ‘amir, but the force with which tr'ses up to ferm the building shows an unexpected side to this humble material DESIGN & ARCHITECTURE \ DESIGN & ARCHITECTURE Bice iE } te walls, making it permeable othe landscape, whieh {vie aspenarmuseum.o19 ‘COLOURED OLASS/ Giass is Inferposad withthe sequetice cof spaces, ling them with Palural dBearattone of Fah ‘ang colou: Ookyned with hirer rine ba Eh (Chaparral Educational Centre In Alboote, near Granads In Span, bears the signature Gt algjaridro Mune Miranda, ‘Ths Spanish architect Nas Captured the mage o ight fg ineuded §inagame, {hat continually mocties the interiors ana the perception (volumes, arousing appeal ‘ng amazement anda neu experience of space. wan ‘ajandro ESS cuT-oUT ALUMINIUM/ In this project by the Swiss Herzog & de Meuron, aluminum ciadaing wraps ike cloth te new pavions, atine Saco TadeFar Centre, inking them to the exiting ones. Far om bong a decorate clomont, regulates interior ight, odiates volumes and Breaks up the moncteny Iypleal of rade fai baling Feades, cresting ara covered public space ‘wih ahdge crculr skafant ‘Bay slarvent terings emotional arpifcaton Tone ouksng’s presence, integrating tio sty ee WOOD FOR WELLBEING/ We are onthe sanct of Bornyk, In Gaorgian Bay tothe Nort of Toronto First pre tothe Ortario Wiood Works! 2014, concealed inside a geometric volume, this pihata Sauna designed by the Canadian Partisans is alles Grotto. The cadarwood interes are a grotto Sculpted using 2D modeling to a scanned version ff a phot of tha local rocky formations Aft and natural meet up in the constuction ofa andscape ihn the landscape, where the technalogieal hand fof man morges wih that of nature for an immersive Sensorial experience. WwW DESIGN & ARCHITECTURE ‘LASS AND WOOD/ With iis V-shaped layout the 1.000-seatler auditorium designed! bythe frm Vlinglah for the Swish Univers of mesic, B the Karoinsia institutt in Solna, ts destinod not only ohost lectures by Nobel prize-winnars, bul also to amazing almoephare for aiciencos, The slructuren pine pywood holds sb ferent ends of lass that reflect a geometric pattem inside Mowing as the ight changes, wl slderight down To the pavement, when in this way becomes fan integral part of the Bulg, waw sungardhs se This is what matetals do, they reassure or amaze. We are not taking ‘about the newest generation versions that by emulating or inventing patterns, components and performance, ee perfect for surprising, ‘These ave the most common, the ones we have tried and! tested {amilanty with, Thay are made extraordinary and innevative by the Intution and vision of artisans, entroprenours, enginoers and architects, ‘They become the interpreters of unusual solutions and adiustto ft tha feaing of thei time. The Brazilan Marcle Kagan, founcer of MK27, ‘has, on more than one occasion, used the traditional cabog®, prefabricated perforated concrete eloments tha, with ther decorative ‘motifs, can replace masonry, guaranteeing natural ventlation and urination inside the buldings. Used in Brazl sino the early twentieth ‘century, thelr adoption by this Brazllan firm is strategic inthe creation of hybrid spaces, protected and yet exposed, thanks to the holes, to the surrounding envionment. “The tropical cimate in Brazil makes this solution possible", explains Diana Radomysler, interior design ‘manager for the B4+6 House in So Paulo, “The coboge act 2s walls for the rooms but atthe same tme blur the limits between inside ‘and out. In this house, they ‘ose” one side ofthe ramp that leads to the frst foor, hugging the internal fagade, where the kitchen window is. Fiterod by tho holes, the light lurinates the space pleasant If hore you get the unusual sonsation of no longer beng outside, yot ‘ot yat inside, Aspen, inthe brang new art musoum (AM Aspen Art Musou), the impression is that of a piacs that has boon constructed dlberately so as net to black the view ofthe surrounding Ajax Mountains. Designed by Shigeru Ban, the Japanase architact who ‘won the Prizkar Awvarc in 2014, famous fr his eustainable cardboard ‘buleings and for his emergency Iving solutione, ths isa ractangular book of glass inserted nto a arc wrapping whose inks are strips (of paper and resin with a natural wood veneer. Given an ethereal look by this innovative material, the grid is no longer ust a surface, |thighights the intent of being one with the surrounding landscape, hich the maestro of interpretation of the relationship between interiors «and exteriors has once again decided to preserve. The transperency that the architecture manages to recreate with ferent materials is, by definition, a property of glass. Fora nursery schoo! in Granada, the Spaniard Alejandro Munoz Miranda recently used itn contrast with the solty ofthe geomotic construction, to bring cut the space and make ligt palpable ina rainbow of colour. For the auaitorium that hosts the Nobal Prize Award Coramony, the Swedish architect Gert Wingardh, with Ingogord Raman, croated a palatte whore materia, ‘colour and rflactions lead toa contnuatve experince that starts with the fagade, moves through the interior decor and returns to the pavement. No particularly favourite material for tha Swiss duo Herzog ‘& de Meuron, winners of he Pritzker Award in 2001 and brought to {he notice ofthe global media wiih the stadiums in Munich and Beling In all ther projects, as they have said more than once, “meter 's thereto define the building, but the bulking, in equal measure, 's there to make the material visible", Limit pushers, they are loyal to the idea ofan architecture based on the perceptions” of designers ‘nd users ake, and they emphasise the importance of "creating links between the surface ofthe building and what happens inside, allowing them to affect people unawares, physicaly anc emotional ‘Allowing the alchemy between matorial and immaterial to come about that architecture, sold by its very nature, manages to create.