Iuav : 140
D e ta i l s . A r c h i t e c t u r e
DETAILS, l’architettura vista in sezione
workshop del corso di laurea magistrale
in Architettura e Innovazione
del Dipartimento di progettazione
e pianificazione in ambienti complessi
(Dppac) Iuav, organizzato dai
proff. Umberto Trame e Marco Pogacnik.
Sala delle Armi, Arsenale
Mostra e incontri
8>10 luglio 2014
Mostra
progetto scientifico
Marco Pogacnik,
unità di ricerca arte del costruire - Iuav
www.iuav.it/artecostruire
team
Andrea Ambroso (Iuav Venezia)
Marco Capitanio (Zürich)
Alberto Franchini (Iuav Venezia)
Orsina Simona Pierini (DAStU, Polimi)
Luka Skansi (Iuav Venezia)
Claudia Tessarolo (Iuav Venezia)
con la collaborazione degli studenti
Elisa Tedeschi, Elena Rampin, Rodrigo
Qyshka, Claudio Vianello, Veronica
Zanusso, Fabio Pizzo, Francesca Martinelli,
Sara Bortolato, Cristian Visintin, Elena
Rampin, Francesca Camerin, Tobia Badoer
grafica a cura di Luka Skansi
allestimento a cura di Andrea Ambroso
mediapartner “The Plan”
giornale Iuav a cura di Alberto Franchini
Università Iuav di Venezia
Santa Croce 191 Tolentini
30135 Venezia
tel 041 257 1826-1414
www.iuav.it
©Iuav 2014
Iuav giornale dell’università
iscritto al n. 1391
del registro stampa
tribunale di Venezia
a cura del
servizio comunicazione
comesta@iuav.it
ISSN 2038-7814
direttore
Amerigo Restucci
stampa
Grafiche Veneziane, Venezia (VE)
seen in section
Introduction
to the study of detail
Marco Pogacnik
To avoid any possible misunderstan-
ding I like to stress that architecture is
not exhausted in the attention paid to
details and I am afraid that, in secular
terms, the detail is not even the place
where the existence of God manifests
itself. Why then dealing with an issue
that the current director of the Biennale
fought already twenty years ago dismis-
sing it as a mere fetishistic exercise, an
opinion perhaps still prevailing nowa-
days? Many concerns led us to pursue a
research that promises to arouse much
suspicion: a reflection on architectural
language and its transformations from
modernity to post-modernity, a passion
for the built rather than an imagined
architecture, the inconsistencies of a
critical vocabulary inadequate to descri-
be today’s architecture and finally the
idea that a school should participate
in the debate on the great issues that
effect the professional and intellectual
life of architects.
The exhibition at the Biennale presents
a semester long study developed by the
undergraduate Iuav students together
with a university research supported
by a grant from Department of Archi-
tecture, Construction and Conservation
(Dacc) Iuav. The aim was to describe the
changes occurred in architecture during
the last fifty years using a tool that
could simultaneously highlight the for-
mal, technological, building and struc-
tural aspects of these transformations.
The choice that best satisfied this goal
was to use the same 1:10 scale for all the
drawings. The redesign of construction
details offered a homogeneous series
of documents which had comparable
graphic layouts and the same scale,
thus facilitating comparative criticism
which is essential to any interpretation.
Our research task was therefore not
only to define its own object, but also to
‘invent’ the documents to exercise on.
Among all the graphic tools available
to architects (from conceptual sketch
to rendering), the detail section is cer-
tainly the most regulated. The graphic
conventions imposed on this type of
graphical representation are such as
to make it almost impossible for any
form of ‘fantasy’ or individual ‘creati-
vity’. A detail in 1:10 scale is an opera-
tional tool, a pure construction drawing
that must be absolutely unique in the
content of its communication. If every
artistic medium is characterized by am-
biguity, polysemic character, rhetorical
excess as the sudden minimalist silen-
ce, then the construction detail is the
furthest thing from the art world. But
art is also discipline, rigour, profound
understanding of the fundamental lan-
guage grammar one wants to use.
Entering a music school and walking
along its corridors one is fascinated to
hear the obsessive practice of young
students required to rehearse a diffi-
cult score or the full range of musical
scales. When we asked our students
to redraw construction details of si-
gnificant contemporary buildings we
imagined them exercising like music
scholars; performing scales and varia-
tions, obsessively repeating a passage
until they would find the right notes
without looking to the instrument. The
didactic experience with the students
confirms the usefulness of this appro-
ach and suggests to make it a custo-
mary educational practice.
The details drawn by the students have
been grouped in three thematic sec-
tions: the Fundamentals, construction
systems and enclosures along two sec-
tions of national character: Italian and
Japanese.
Even if it is a bit outdated, I like to focus
on the first one only, which is our inter-
pretation of the constitutive elements
of architectural language: column, fra-
me and molding.
In this regard, I believe an architect
should be as innovative as a linguist
explaining that words are made up of
vowels and consonants. Elements like
lavatory, balcony, ramp did not seem
adequate to our purpose which was
to retrace the path of modernity from
ancient tectonic (base-drum-frame) to
new forms and articulations of space.
The 2008 installation created by Sejima
- SANAA in Mies van der Rohe’s Barce-
lona Pavilion is the most plastic repre-
sentation of the critical issue we wanted
to investigate. The acrylic panels used
by Sejima are not framed nor tapering,
they do not have a front or back, not an
orientation nor they suggest gravity; on
the contrary in his architecture Mies re-
fers to all these elements even when he
seems to subvert them. Nowadays it is
often difficult to define a wall opening
using the traditional term of ‘door’ or
‘window’ (it is not by chance that we
generically call them ‘openings’). These
are lexical uncertainties that emphasize
the transformations of our language.
A detail is mainly engaged in what the
German theorists of the nineteenth
century defined the Junktur. The term
defines a construction joint (i.e. an ex-
pansion joint) but also the suture line
that marks the intersection between
horizontal floor planes and vertical
façade planes, the line where the roof
meets the perimeter wall, or a window
opening is cut into the wall thickness.
The details presented in the following
pages portray this elementary order.
As a counterpoint to the students’ work
there are the boards prepared by pro-
fessional firms we consider internatio-
nally representative. Each office has
been asked to submit a board with four
significant details of their architecture
and a brief statement explaining the
significance and importance that de-
tails have in their design and creative
strategies.
The offices’ prompt response to our
request makes us believe we have tou-
ched a sensitive point. Detail design is
a mixed blessing for each architect fol-
lowing a project from concept to con-
struction, it is an important viewpoint
to look at the design process and the
evolution of the construction site: to
innovations such as BIM, Building In-
formation Modelling, or to the esta-
blishment of design offices specialized
in construction detailing and shop
drawings. These transformations are
affecting more and more a domain
that Mario Carpo defined as the design
authorship level. Is it good or bad if a
project is increasingly becoming the re-
sult of collective work, sometimes even
anonymous? Let us remember Adolf
Loos’ statement: Only a small part of
the built environment belongs to Archi-
tecture, intended as Monumental Art.
For everything else are worth the princi-
ples of good construction.
I would like to thank prof. Christian
Sumi for his dazzling insights that have
illuminated our work; prof. Donatella
Fioretti for her research at Iuav in 2013
focusing on the theme of detail; ing.
Nicola Leonardi for the support given
to our project by “The Plan” magazine;
prof. Umberto Trame for his intellectual
and institutional support as director of
the Dppac Graduate School.
Iuav : 140
1. Umberto Trame, City Hall, Brugnara. Detail of the iron columns joints.
Detail and the Art of Building
Umberto Trame
The occasion is certainly unique and
in some ways it deepens the general
nature of this Biennal, as if to say that
the divine can be found in the detail
as much as in the syntax that articula-
tes and structures it.
However, we observe that in defining
architecture it is difficult to distinguish
a before and after, the type of architec-
tural space, a concept from its mate-
rial construction. Architecture is built
form, its character is visible, palpable,
can be analysed and documented.
A palace, a house, a loggia are a pa-
lace, a house and a loggia due to the
forms and materials used to build
them, even if their typology may recall
other building categories.
This architectural unity is indeed the
result of a slow process, sometimes
discontinuous, in which materials and
forms, along with design objectives,
have a crucial influence on the work,
they constitute, so to speak, its “style”.
Here lies the essence of these analyses:
to show a founding character of style
in a work of architecture.
If we look at the educational and trai-
ning aim of these analyses - looking at
recent as well as old buildings -we can
2. Umberto Trame, Carabinieri’s station in Cordenons
not stop at a formal representation
of a façade or at the analysis of the
elements creating the transition from
interior to exterior.
This is a first required but not sufficient
step. It is necessary to look deeper into
those elements that represent the es-
sence of form, its condition of viability.
Looking at the construction deve-
lopment of the Regional Government
building in Trento by Adalberto Libera
and Sergio Musmeci one finds that the
evolution of the project - which never
questions the morphological and fun-
ctional layout of spaces and buildings
as defined in the competition brief - is
entirely entrusted to the invention/
definition of the structural features
and construction details of the sin-
gle constitutive parts of the building;
especially in the Regional Council hall,
these features reach an indissoluble
unity, involving also the architectural
elements of the façade. Therein lies
the modernity of the work.
The sections of the buildings that we
show do not constitute a catalogue of
possible solutions, a building manual
for façade detailing, but rather the
first part of a study on architectural
works which implies their complete
knowledge in terms of construction.
This analysis and redesign of the works
teaches us to look very carefully also at
3. Miller&Maranta, Villa Garbald
the nature and combination of mate-
rials in order to learn from them. In my
early works I was influenced by some
of the characters of late nineteenth
century architecture, mostly by Victor
Horta, which informed quite a lot my
first built architecture. The simplicity
in the modelling and transformation
of materials - from stone to iron, from
iron to wood or plaster - and the use
of steel as structural as well as formal
element introduced me to a research
field I no longer abandoned and still
fascinates me. This leads us to devote
a lot of time to design details, in se-
arch of the profound nature of matter
even before any aesthetic or composi-
tional value, almost as if matter would
contain in itself the form related to its
potential use, almost as the architect’s
task was to extract this form applied to
the building. This has always been the
case from the simplest domestic de-
sign to more complex and articulated
constructions. In this regard, beside
individual poetics, architectural pro-
fession has never changed.
4. Steven Holl, Kiasma Museum of Contemporary Art, Helsinki
Detailed shuffling
Marco Capitanio
While inspecting buildings built befo-
re the 1970s energy crisis, or much of
contemporary Japanese architectural
production, we are often impressed
by the straightforwardness and sim-
plicity of the way materials come to-
gether. Inevitably, one wonders how,
in Europe, due to an ever-stricter buil-
ding code and rigorous performance
requirements, a comparable quality of
straightforwardness could be achieved
again, knowing that a simple comeback
is not given.
There are two main tactics that archi-
tects employ to deal with the conven-
tional stratification of construction
systems (i.e. structure, installations,
insulation and finishing). The first is
to work on the individual materials
themselves (concrete, wood etc.) and
question their use or shuffle the order
in which they are layered. The second is
to assign an additional function to an
architectural element, which was initial-
ly monofunctional, so that the number
of layers could be reduced.
Let us examine the first tactic by loo-
king at concrete. If fair-face concrete
buildings seemed impossible to con-
ceive after the heightened performa-
tive requirements of the late 1970s,
we have been recently witnessing the
resurgence of them, thanks to impro-
ved and novel building techniques (the
oeuvre of Miller & Maranta or Stauffer
& Hasler are examples among many -
fig. 3). The concrete structure of a bu-
ilding, being insulated from the inside,
can play again the role of a finishing.
Sometimes, like in the case of Pascal
Flammer’s constructive poetic, one
aspires to an architecture where struc-
ture, insulation and finishing could be
fused together and be expressed with
just one material (be it concrete, wood
or other). In this way the structural “fun-
ctioning” of a building is made clear.
We could even say that such buildings
are “true” since they show what they
are and materials are used according to
their own nature.
The second tactic is what Robert Ven-
turi called “double-functioning ele-
ments”. “Le Corbusier’s and Kahn’s
2
double-functioning elements may be
rare in our architecture. The brise-soleils
in the Unité d’Habitation in Marseilles
are structure and porches as well as
sunscreens. Khan’s clusters of columns
and his open piers “harbor” space for
equipment, and can manipulate natu-
ral light as well, like the rhythmically
complex columns and pilasters of Baro-
que architecture. Like the open beams
in the Richards Medical Center, these
elements are neither structurally pure
nor elegantly minimum in section.”
(Venturi et al. 2002:36) Steven Holl and
his structural engineer Guy Nordenson
offer us poignant examples. In the Kia-
sma Museum of Contemporary Art in
Helsinki (fig. 4) the thick, curved wall
has a structural function and it houses,
in-between its trusses, a great amount
of installations and appliances at the
same time. “The formal moves - thick
wall and glass wall - were tangled up
with technological requirements of the
building [...]. The structure and mecha-
nical and electrical systems are all clo-
sely integrated and become occupants
of the form [...].” In the Cranbrook In-
stitute of Science in Michigan, “[a]gain,
[we] were interested in housing mecha-
nical and electrical systems in structu-
ral elements. The thick wall adjacent to
the stairs contains these systems. The
precast planks, which support the floor
of this gallery space, are fabricated with
hollows, to reduce dead load. We took
advantage of these hollows and used
them as ducts. Within the thick cen-
tral wall, flexiduct carries air from main
runs to open ends of the precast planks,
where it is then forced into the voids
and fed out into the space through ope-
nings in the underside of the planks.”
(Nordenson 2010:313)
These two approaches need a producti-
ve coordination with the structural engi-
neer, and, in such cases, architects and
engineers share their authorship on the
building. The first tactic generally co-
mes out of a specific decision, taken at
the very start of a project, that balances
structural and aesthetic concept, and is
the foundation for all the following de-
sign and detailing. The second tends to
make the best out of given conditions,
is per se efficient and adaptive.
>continues on page 15
 Iuav : 140 3
STUDENTS DRAWINGS

YLE: FUNDAMENTALS
subtitle 1. THE COLUMN
20
180
26 10
90
13

strong flat
steel
30x290 mm
29
29

87
29
814 407

granit plate
40 mm

0 50cm

Mies Van Der Rohe, New National Gallery, Berlin (D), 1968
scale 1:20 - 1:10
Luigi Moretti, Palazzo Esso & SGI, Rome (I) 1960-66 SANAA - Sejima and Nishizawa and Associates
Building Mies Van Der Rohe, New National Gallery
Berlin (Germany), 1968
The New National Gallery consists of two parts - a large exhibition hall
for temporary art exhibitions and a nuumber of gallery spaces for the
permanent collection of the museum. The exhibition is a glass-enclosed
space of 54x 54 m, (approximately 2500 sq m). It stands on a wide ter-
race and is covered by a flat and square steel roof, wich is supported at
the periphery by eight columns.
Museo Louvre Lens (F) 2012

This large unobstructed space gives complete freedom in arranging

2. THE CORNICE
exhibits. The roof of the exhibition hall is a flat, two-directional steel
structure 1.80 m deep. It consists of welded steel web-girders 3.60 m on 17.5
17,48

centre in both directions forming a square structural grid. Eight cross +22,00
roofing
shaped steel columns, two on each side, support the roof, its load being
transferred through pinjoint connection to the columns.
23

flashing
6

8.3
8,3
Andrea Marigo Peter Carter (a cura di), Mies Van Der Rohe at Work, 1999

uildings rising up
27

17

from one another

30
30
a Via Quadronno,
upport structure precast

7.6
concrete

7,6
s that may be panel
acoustical plaster

55
aluminium stop

masonite panel

charcoal ceramic bricks

habitation
office
240

residence

habitation
Green granite board
211

+4,20
fir wood
frame
7.6
7,6
30
30
27

shop

+0,20

0 25 cm

scale 1:5

Livio Vacchini, Macconi Building, Lugano (CH) 1975 Craig Ellwood, Rosen House, Brentwood, Los Angeles (USA) 1961-63
CHARACTER STYLE: main title
Angelo Mangiarotti, Residential Building, Monza (I) 1972 12 4
Livio Vacchini, Macconi building The aim of Macconi project, that is a commercial building, is particu-
0 25cm
50cm

Lugano (Switzerland) 1975

0 50cm
scale 1:20
scale 1:10 in view that make visible the outer steel frame. They are visible in
addition to the closures themselves, also the structures as key el-

Angelo Mangiarotti, Residential Build- By elaborating on his work in Milan, the solutions for the façades-
ements of the overall architectural design. Together, closures and Craig Ellwood, Rosen House The house, which is near Los Angeles, is intended for a family of five.

CHARACTER STYLE: main subtitle

structures, implement a dimensional warp articulated by horizontal the bedrooms, bathrooms and areas of greatest privacy are set away

ing, Monza (Italy) 1972

in Monza- included four different styles: an opaque reinforced
cement panel, wooden window-anddoor-framfres and a log-
- Brentwood, Los Angeles (U.S.A.) 1961-63 from the entrance along the west wall. The generous living areas are
cal implications of the production and assembly of each component. arranged on the other three sides. Flanking one side is a swimming
gia/balcony with a metal parapet. The plan is totally free (the

3. THE MOULDING
The technical knowledge become “the mean that makes possible the pool and a garage. But this is subordinate to the house; it is sunken.
only exception being the stairs and elevator shafts), the user is formation of the project idea.” The technique becomes the element The house itself is a study in symmetry and formal geometry. The plan
again free to choose cases this was decided on by the builder. that structures the creative act. is foursquare. It is divided into nine lesser squares, each made up of
15

eight modules of 3ft 4in, with the centre one left open as an atrium.
Stairways from the garden, placed in the centre of each of the facades,
CHARACTER STYLE: text main description Ruben Camponogara Livio Vacchini : opere e progetti / Roberto Masiero. - Milano : Electa, 1999
like that in the main entrance facade, serve to emphasize this focus on
the void that lies at the centre. Absolutely, the architecture has been
contrived to skirt and flank and hover above the nature that is around it.
14.5

Federico Munaretto Architectural Digest (AD), Marzo 1965

45

Giacomo Arillotta Angelo Mangiarotti Monograph

granite panel

double glazing
102
36

Preforated steel
facade cladding
living room
20

stained
23 21
102

maple

granite panel office

Cement-bonded board
20

42
102

Living Room

concrete and
23 18 stone
20

stained
laminated fir
101.5

40

linoleum
lightweight concrete
20

20

stained
20

white pine
Control Room
0 25 cm

scale 1:5

UnStudio, Bridge UnStudio,

master’s house, Purmerend (NL) 1998
Bridge master’s house An intense mixture of technique and infrastructure has resulted in a
Eduardo Souto de Moura, Burgo Tower, Porto (P) 2007
0

scale 1:10
50cm

Philip Johnson, Robert Wiley House, New Canaan, Connecticut (USA) 1953
bridge consisting of three individual decks, which open and close asyn- Philip Johnson,Robert Wiley house Among the houses that Philip Johnson designed in New Canaan, Conn.,

Purmerend (Netherlands) 1998 chronously, imitating the movement of playing fingers. In the flat pol-
der landscape, the bridge links a new housing development to the main
road. The longitudinal separation of the bridge deck into two pedestrian
and cycle routes and one road for cars enhances traffic safety. The fin-
ger-like arrangement also results in extra mooring space for pleasure
boats. A cycle path runs below the bridge, along the waterfront.
The bridge elements are controlled from the bridge master’s house, a
small edifice that is perched 8m above the water level. Perforated steel
plates, which are applied to the concrete core of the building, make it
semi-transparent.
Eduardo Souto de Moura, Burgo Tower The building spans 20 floors with a commercial area on the ground floor
New Canaan, Connecticut, 1953
the suburban enclave that became a laboratory for postwar Modernist
design, the Robert C. Wiley house, completed in 1953, remains one of
and offices on every other floor.
Porto (Portugal), 2007 The feature of greatest impact of the project is in the front, you can see his most elegant. It is a strikingly simple composition of two rectangular
boxes: one, a glass and wood pavilion with a single, 15-foot-tall living,
the coincidence of the structure with the shape so pronounced as to
make the language of the repetition of a module. dining and kitchen space, is cantilevered over the other, a stone and
concrete base that contains, among other things, four small bedrooms,
It has been designed so that it can be repeated in different contexts.
bathrooms and a sitting room.
Moura uses mainly glass, steel beams and a type of local granite; ma-
terials and designs mirror the schedules create some interesting play of
light and shadows.
 Iuav : 140 4
STUDENTS DRAWINGS

FORM AND STRUCTURE

240

CHARACTER STYLE: main title

120
37

CHARACTER STYLE: text main description

45
300 internal height

classroom

classroom

299 internal height

120

cladding tube 2 RND

ø 70/75 mm ø 60 mm

130

45
Fritz Haller, Lowenberg SBB training centre, Murten (CH) 1982 Jürg Conzett, Edificio in Ottoplatz, Chur (CH) 1998
70
Peter Meili Architekten, Swiss School of Timber Tecnology, Biel (CH) 1999 0

scale 1:5
25cm

Gordon Bunshaft, SOM

0 50cm

scale 1:10
Meili, Peter Architekten, Swiss School of It’s a specialized institute for engineers and technicians which com-
bines theoretical lectures with applied research into timber in its large

Fritz Haller, Lowenberg SBB The training centre is equipped to cater for all kinds of seminars and Timber Tecnology, Biel (CH) 1999 laboratories. The school complex stands on the edge of the city, where
other events. It’s in the countryside of French-speaking Switzerland, the residential quarters end and the industrial zones stretch away. The
training centre, Murten(CH) 1982 at the heart of a park. The modern construction offers a flexible room building housing the lecture rooms rises four stories high and stands in

CHARACTER STYLE: main subtitle

stark proximity to the old single-story storehouses, in spite of its large
layout and holds many functions: school, restaurant, laboratories, con-
dimensions (93m length, 25m width). The principal circulation through
ference center. It’s characterized by the “Midi” steel construction Sys- the building is organized by its core, a monolithic structure in pressed
tem, a unit construction system for multistorey buildings with a high reinforced concrete. All around it, the timber structure is built on a
density of installations, a modular structure of coordination in which all modular grid which matches the dimensions of the individual rooms, in-
the components of a building were arranged in their mutual interaction dipendent wooden boxes with a prefabricated structure one story high.
as a geometrical overall system. It’s a bearing structure consisting of
precast concrete precast concrete
supports and double trussed girders with spans of up to 14,40 metres. Jennifer Adami Structure as space, J. Conzett, M. Mostafavi, B. Reichlin, 2006
coating panel coating panel
It is primanly suitable for construction of buildings like schools, office
CHARACTER STYLE: text main description
buildings, hospitals, etc.
0 50cm
Jennifer Adami Werk, Bauen+Wohnen, Fritz Haller, 1992
scale 1:10
30 20

30 20
Conzett Jürg, Edificio in Ottoplatz
terrace Lambert’s apartments terrace Lambert’s apartments bolted and welded stainless steel anchors
The building is in fact composed of four volumes combined
with lights ranging from 20 to 30 meters, tied in the same lon-
130

130
Chur (Switzerland) 1998 gitudinal walls which have the task of supporting them. These
walls are the walls of the corridors leading to the upper floors,
30

30

where you deploy your access to the offices from a central elastomeric flashing
30

30

spine. The walls of the corridors secondary, which have the glued 10 mm gypsum
board panels
fixed sash
task of stiffening the structure horizontally, alternating fron- fixed sash
precast concrete precast concrete wood fibre angle
structural unit tally full and empty with the use of reinforced concrete panelsstructural unit support for flashing
spaced apart and arranged in a checkerboard pattern.
342

342

3,5
8

8
344

344
movable sash movable sash

43
integrated heatingMarzia Busetto “Structure and space”, London AA 2006 integrated heating
and services and services
19 35 8

19 35 8
triangular alluminium
344

344

frames with 24 mm
double glazing

suspended ceiling in acoustic insulation

panels on frame in steel box-shaped
offices offices
profiles
stainless steel stainless steel
hinged joint hinged joint

study hall

mineral wood
insulation filling
carpeting

thick panel joints

20 mm

16,5
steel bar securing
concrete cladding

43
polished concreate polished concreate
cladding cladding
390

390

public space public space

steel column steel column

travertine-surfaced travertine-surfaced
podium podium
office
services services
0 50cm 0 50cm 0 50cm

scale 1:25 scale 1:25 scale 1:10

Christian Kerez, School in Leutschenbach, Zurich (CH) 2002-09 Gordon Bunshaft, Banque Lambert, Bruxelles (B) 1963
Gordon Bunshaft, Banque Lambert To obtain a latticed effect the architect study an external structural
Bernard Tschumi, Athletic Center,
Gordon Bunshaft, Banque Lambert
Cincinnati (USA) 2006
Bernard Tschumi, Athletic Center
To obtain a latticed effect the architect study an external structural The new Athletic center designed by Bernard Tschumi covers an area
grid, through special precast concreate structural units. The cruciform grid, through special precast concreate structural units. The cruciform of 24.000 square metres; of its eight storys, three are below ground
Bruxelles (Belgium), 1963 elements are 344cm x 163 cm, they were made by a mixture of con- Bruxelles (Belgium), 1963 Cincinnati (USA), 2006
elements are 344cm x 163 cm, they were made by a mixture of con- level. The building links the south and north entrances to the univer-

ER STYLE: main title

crete, quartz, granite and marble chips and then they were polished crete, quartz, granite and marble chips and then they were polished sity campus and provides a fulcrum for the whole Richard E. Lindner
to a honed finish. The result is a structural unit with the appereance to a honed finish. The result is a structural unit with the appereance Varsity Village. The broad central hallway opens all the way up to the
great glass skylight. There impressive dimensions make it the heartof
and surface of marble. The glass enclosure is set back from the free- and surface of marble. The glass enclosure is set back from the free-
all campus sport events. The upper floors house offices, an audito-
standing exterior structure to prioritize the exterior facade. standing exterior structure to prioritize the exterior facade.
rium, the museum, shops, a gym for training, and sports medical and
The building stands on a travertine-surfaced podim and is composed The building stands on a travertine-surfaced podim and is composed
first aid services; the basaments contain changing rooms and techni-
of three elements: glass-enclouser ground floor with entrance hall and of three elements: glass-enclouser ground floor with entrance hall and

YLE: main subtitle

cal plant. The structural system devised is a rigid trellis-likeperime-
public banking rooms, shaft of seven stories of flexibly subdivided of- public banking rooms, shaft of seven stories of flexibly subdivided of-
ter, an outer skeleton in the formof a steel triangular-shaped lattice.
fice space and private offices and penthhouse with conference rooms fice space and private offices and penthhouse with conference rooms
and Lambert family apartment. Two basements, covering the site, and Lambert family apartment. Two basements, covering the site,
floating floor in 10 mm wood contain vaults, service rooms, mechanical facilities and parking. contain vaults, service rooms, mechanical facilities and parking. Matteo Boveri The Plan - Architecture & technologies in detail, February/March 2007, n°18

glue Riccardo Brasolin Arthur Drexler, Axel Menges (a cura di), Architektur von SOM : 1963-1973, 1974 Riccardo Brasolin Arthur Drexler, Axel Menges (a cura di), Architektur von SOM : 1963-1973, 1974
plywood panel
wood block supports
waterproofing membrane
100 mm XPS
main description waterproofing membrane

3 mm thick aluminium panel facade cladding

shaped steel upright support
steel L-profile anchor

EPDM expansion joint

55,52

spinning
room

20 mm acoustic panels,
supporting frame of steel C-profiles

rubber flooring
EPDM expansion joint
bridge
50,52

aluminium painting panel

laminated insolated tempered glass

men’s locker
room

0 50cm

scale 1:10

Steven Holl, Linked Hybrid, Beijing (China), 2008

Linked Hybrid, Steven Holl Linked Hybrid is a multifunctional urban complex consisting of 8 tow- SANAA - Sejima and Nishizawa and Associates, Rolex Learning Center Toyo Ito, Sendai Mediatheque, Sendai (J) 1995-2001
Basel (CH) 2010
ers connected by skybridges in a semi-lattice-like form. The complex is
Beijing (China), 2008 described as an “open city within a city” which includes spaces for resi-
dential, commercial, educational and recreational use. The project pro-
motes interactive relations and encourages encounters in the public
spaces. The 8 towers have concrete exoskeletons that diminish the need
for interior columns and allow the residential apartments to vary in size
and design. The skybridges connect to the towers by 4 roller mounts
called isolators which allow for their own independent movement during
earthquakes. The entire complex is a three-dimensional urban space
 Iuav : 140 5
STUDENTS DRAWINGS

THE CLADDING

Nottingham Contemporary

17
Nottingham Contemporary is on the oldest site in Not-
tingham, Garners Hill, it once housed cave dwellings, a

12
Saxon fort and a medieval town hall – before the Victo-

18
aluminium

18
panel
rians swept all aside for a railway line. It is in the historic

210
Lace Market, a showcase for a world famous fabric when

52
technical innovation gave lace a mass market. A revolu-
tionary concrete casting technique, carried out in Not-
spacer (stainless steel)
tingham, hasexhibition
embossed hall a lace design into the building’s
panels, some up to 11 metres high.

20
15
40
18

precast

780
158
concrete
exposition gallery

31
panel

6
25
foyer

280
14
underfloor heating

98
31

0 50cm

scale 1:10

Herzog & de Meuron, Sammlung Goetz, Munich (D) 1992

0

scale 1:10
50cm
Caruso St John, Nottingham Contemporary
Caruso St John, Nottingham Contem- Nottingham Contemporary (formerly known as the Centre for
Walter Gropius - TAC, John F. Kennedy Federal Building, Boston (USA) 1966
0 50cm

Nottingham (E) 2009 porary, Nottingham (England) 2009

Contemporary Art Nottingham is a contemporary art centre scale 1:10

Herzog & de Meuron, Sammlung Goetz The gallery is a freestanding volume situated within a park-like garden in the Lace Market area of Nottingham.To celebrate the area’s

Munich (Germany), 1992

between the street and a house from the 1960s. A timber configuration
rests on a reinforced-concrete base that is half buried, so that only its
history of lace manufacture, the cladding of the building is em-
bossed with a traditional Nottingham lace pattern. Nottingham
John F. Kennedy Federal Building John Fitzgerald Kennedy Federal Building is a United States Federal
government office building located in the Government Center area of
upper glazed perimeter is visible from the outside. A similar matt glass Contemporary opened on 14 November 2009 with an exhibi- Boston (USA), 1966 Boston, Massachusetts. It is adjacent to City Hall Plaza and is located
strip surrounds the timber volume at the uppermost section, admitting tion of early works by David Hockney and recent works by Los diagonally across from Boston City Hall. An example of 1960s modern
diffuse glare-free daylight from a height of 4 meters into the exhibi- Angeles based artist Frances Stark, including some from the Tate architecture, it is a complex that consists of two 26 floor towers that
collection. Nottingham Contemporary is one of the largest con- sit on-axis to each other and a low rise building of four floors that con-
tion spaces. Two reinforced-concrete tubes are set laterally between
temporary art spaces in the UK, with four galleries, an auditori- nects to the two towers via an enclosed glass corridor.
the lower and upper galleries. Depending on the daylight conditions and
um, an education space, a study centre, a café-bar and a shop. The exterior of the towers is constructed of pre-cast reinforced con-
the point of view of the observer, the gallery appears either as a closed,
crete. The lower sections are faced with polished granite. All aluminum
flush volume consisting of related materials (birch plywood, matt glass, work has a dark anodized finish in a medium gray tone. A glass-enclosed
untreated aluminium) or as a wooden box, resting on two trowels in the Giacomo Arillotta el croquis 166 walkway connects the four-story building to the towers. Like the tow-

100
garden. ers, the low building’s facade is made of concrete and glass.
Giada Amelio Haus fur eine zeitgenossische Kunstsammlung, Werk, Bauen + Wohnen, 1992 Luca Cocco Architectural Record, February ,1965

waterproofing membrane, thermal insulation

16
15 2 8
52

17
office
31

sunscreen

flugged and screwed

to concrete through
aluminium
sliding clest and
draught seal
plaster

20
metal lathe shot fixed to
11

beam wired to brackets

supporting window frame
31

visual library

office

offices apartment

larch cladding
with fireproofing
treatment
11

insulation crows
31

S/150 fibreglass
110

vapor barrier

YLE: main title

gallery
11

25
31

40

apartment

subtitle
thick vermiculite

Bevk Perovic
0 50cm
plaster

David Adjaye, Rivington Place, London (UK) 2007 Sauerbruch Hutton Architects, Offices Dessau (D) 2002 - 2005 Farrel/Grimshaw Partnership, Park Road Apartments, London (UK) 1960
scale 1:10

0 50cm
The Federal Environmental Agency Headquarters is a long and tight
building that wraps around a gallery covered with a structure of steel
Dessau (Germany), 2002 - 2005 and glass, designed for the optimization of energy savings. An evolved
Rivington Place, Adjaye David
CHARACTER STYLE: main subtitle
atrium solution characterizes the new headquarters in Dessau.
On the external front the bands of the parapets are covered in larch
London (UK) 2007 wood, while the band of windows is entirely overlaid with transparent

CHARACTER STYLE: main subtitle

and colored glass. There are six types of energy rules: minimize heat
0 50cm
loss from the outer shell, minimize heat loss by ventilation, optimiz-
scale 1:10
ing the thermal protection in the summer period, maximize the use of
passive solar energy, temper the indoor climate through the atrium,

metal shingle
optimize the use of natural light. Both the external and internal facades
are entirely prefabricated. Farrel/Grimshaw Partnership,Park Road It was designed in the late 1960s by the architects Farrell/Grimshaw
Partnership for the Mercury Housing Society. Both Terry Farrell and
CHARACTER STYLE: text main description
Ilaria Villanucci Arketipo, n° 12, Aprile 2007, pp 42 - 53 Apartments, London (UK), 1960 Nicholas Grimshaw were members of the society and lived in the block.
It was their second scheme and, when listed in 2001, was commend-
CHARACTER STYLE: text main description ed for pioneering the High-Tech movement in British architecture. The
building is widely known for its corrugated aluminium cladding, radiused
corners and sloping glazed roof. The exterior belies the light and spa-
zinc counter flashing cious interiors of the flats. Living space is maximised by concentrating
bathrooms, lifts and stairs in a central structural core. Natural light is
33

maximised by placing the freestanding perimeter columns behind con-

tinuous window glazing. Curved corners add the sensation of panoramic
views over London.
attic
Francesca Martinelli A.D. volume XL, October 1970.

channel for suspension rail

240

second floor
living room

elm wooden panel

living room
24

first floor
270

foyer

entrance
stone base

metal profile
64

0 25 cm

Alejandro Aravena, Lakefront House Pirehueico, Lake (Chile) 2004 Bearth & Deplazes, Family House, Sumvitg (CH) 1998
0 50cm
Bevk Perovic, House SB, Ljubljana (SI) 2002-2004
scale 1:5

scale 1:10 House SB, Bevk Perovic Located in a suburban settlement on Ljubljana’s outskirts, House SB
is not at all a typical Slovenian single-family house. The architects
Ljubljana 2002-2004 opted for a patio typology with two wings on different levels fram-
0

scale 1:10
50cm
Bearth & Deplazes, Family House This tower like , larch-shingle clad house is located in the out-
skirts of the Swiss village of Sumvitg. A clean cut, compact form
ing a small garden area. While the house opens welcomingly towards

Sumvitg (SWISS), 1998 has been achived througt the conscious reduction of matherials an-
its surroundings, its street face is almost standoffish. But unlike tra-
ditional houses, House SB is not hidden from curious passers-by be-
drestained detailing . Floor to ceiling glazing on the narrowed fa-
hind a fence. Instead, the house itself is designed as a fence that keeps
Alejandro Aravena, Lakefront House The task was to design a summer/winter house in a remote landscape
in the most southern part of Chile: a volcanic site, with 157 In of rain
cade denotes the entrance and then wraps around the building to
offer ground floor access to the garden. There are two long rooms
street life at distance. The light-filled living area in the upper wing is
 Iuav : 140 6
STUDENTS DRAWINGS
TER STYLE: main title
THE MASSIVE CONSTRUCTION
TYLE: main subtitle
ext main description

105
17
380mm clay block

24

14
7

12
38

12
triple glazing

200
terrace bedroom

veranda
298 internal height

350 internal height

offices

exhibition hall

34
28

460 internal height

8mm slaked lime

370 internal height

plaster

380mm clay block

living room

14
17

12
12
24

34

45
0 50cm

U. Burkard & A. Meyer, Flat Martinbergstrasse, Baden (A) 1999 David Chipperfield, House in Berlin (D) 2009 Baumschlager Eberle, Bürohaus 2226, Lustenau (A), 2013
scale 1:10

CHARACTER STYLE: main title

Baumschlager Eberle, Bürohaus 2226 Atmosphere without machines: the building has no heating, ventila-
tion or cooling system, the flow of energy being controlled by human
Lustenau (Austria), 2013 hand. Above all, however, this is a stone building with walls, doors and
high-ceilinged rooms. It needs little grey energy, and elementary archi-
0 50cm 0 50cm 0 50cm tectural means are used to create a sense of well-being that derives
scale 1:10 scale 1:10 scale 1:10 from the pleasant proportions and self-explanatory use. The envelope

CHARACTER STYLE: main subtitle

U. Burkard & A. Meyer, Flat Martinberg-
strasse, Baden Österreich, 1999
has a cavity wall structure with each wall consisting of 36-centimetre
bricks. The inner layer of this interconnected shell ensures high com-
David Chipperfield, House in Berlin
This building is composed by four floors and a basement where there Erected in a fashionable district in south-west Berlin. Viewed
from the road, the house at first appears to be an almost im-
Peter Zumthor, Kunsthaus Bregenz The art museum stands in the light of Lake Constance. It is made of glass
and steel and a cast concrete stone mass which endows the interior of
pressive strength while the outer layer guarantees efficient insula-
are the garages. Watching the global composition, living and sleeping
room, divided with a stairwell, present different heights, first is 3,06 m
Berlin, Germany, 1994 - 1996 penetrable block. On closer examination, though, one sees that Bregenz, Austria, 1990 - 1997 tion. Deep window reveals reduce the heat input, while vents fastened
the building with texture and spatial composition. The outer skin of the
inside are controlled by sensors to provide a pleasant room climate.
the three-storey structure is made up of various cubic elements. building consists of finely etched glass. The glass panels, which are all
instead the second one is 2,46 m creating a staggered floor. Architec- From street level, a broad, gently rising external flight of brick steps the same size, are neither perforated nor cut. The multi-layered facade
tural system is composed by brick with perimeter supporting walls made leads up to the spacious reception and living areas on the slightly raised is an autonomous wall construction which harmonises with the interior Luca Silvestrin Baumschlager Eberle, Be. BaumschlagerEberle OfficialSite, 2013

with cinder blocks realized with diluted concrete and covered with a sec-
CHARACTER STYLE: text main description ground floor. The rooms are laid out in an L-shaped form about an en- and acts as a weather skin, daylight modulator, sun shade and thermal

49

49
ond skin of facing bricks (creating a sort of air cavity), floors, stairs and closed, southfacing courtyard incised in the overall volume. In addicted, insulator.
8 4

stairwell made in reinforced concrete. All the internal walls are made of the 3,7 metre high living space opens via room height glass sliding doors Exonerated from these functions, the space-defining anatomy of the

49
to an outdoor terrace. The load bearing structure is in reinforced con- building is able to develop freely in the interior. The building is just as we
27

plasterboard rib covering little beam of wood, this is in order to give the
15

teak panelling crete, but the hand made bricks are the dominant feature of the house. see it and touch it.
tenant more possibilities to change the flat as necessary. Curbs which

35

35
divided each floor are realized in manufactured concrete. on timber
sheathing Giulia Vignotto Christian Schittich (a cura di), Case unifamiliari, 2006 Giulia Vignotto Peter Zumthor, Kunsthaus Bregenz, 1999

35

24

24
Gianmarco Visentin Deplazes Andrea: Constructing Architecture, material processes structure, 2005

24

29

29
studio 2 4 14 4 24

29
300

280 internal height

280 internal height

280 internal height
cement
render finish
7,3

study room
20

58
26

19

19
4
4,7

24

24
19
24

29

29
29
garden room
300

630 internal height

630 internal height

630 internal height
10 6

bigger classroom
36
5 15

Hermann Hertzberger, De Evenaar school, Amsterdam (NL) 1984-1986 Alvar Aalto, Villa Mairea, Noormarkku (Finland) 1939 61
Anton Garcia Abril, Scuola di alti studi, Santiago del Compostela (E) 1999-2003
0

scale 1:10
50cm

Anton Garcia Abril, Scuola di alti studi The project of the Musical Studies Centre in Santiago de Compostela is
located in the Vista Alegre plot of land, one of the most relevant green
Santiago del Compostela (SP), 1999-03 areas in the surroundings of the old quarter of Santiago. Described as a
university park, the Vista Alegre plot of land hosts a group of buildings
link to activities related to academic and research practices. Here it’s
possible to find the House of Europe, the Advanced Studies Centre, the
0 50cm
IDEGA (a university research centre) and the Centre for Musical Studies,
scale 1:10 10.50 dedicated to postgraduate studies for musical improvement, intended
for the training of the Galician Orchestra musicians.

Alvar Aalto, Villa Mairea smooth plaster Villa Mairea is located in Noormarkku, in Western Finland and was com-
missioned in 1937 by the industrialist wood Gullichsen Harry and his
Noormarkku (Finland) 1939
two component roof sealent
60

wife Mairea (hence the name of the villa) architect Alvar Aalto.
waterproof membrane Sara Bortolato The Plan, 006, 2004
The villa, built between 1938-39, stands on a hill surrounded by a pine
forest, not far from a sawmill that was being driven by the current of the
river, the last remnant of the primitive industry of the place.
The area was within the large family property of the commissioners,
which were already present in the villas of his father and grandfather.
The purpose of the project was to build a 10.00villa for holidays, writing, fixed glazing
painting, get friends or relax.
270

Marco Bisetto Alvar Aalto, Villa Mairea, 1998

ø 20 mm stainless-steel spout
30

floor construction second floor:

300mm reinforced concrete
slab, white coloured and surface
sanded

4.10
270

timber casement window

3.75

450 mm insulating concrete

glass heating and service conduit

30

220 mm reinforced concrete slab

2.50
solid wood

drywall

vapor barrier 1.58

270

1.50
bitumen

reinforced concrete
21

thermal insulation
1 5

1.17 30x180 mm larch boarding

50 mm battens on fabric

2 12 10 1.5

Valerio Olgiati, School, Paspels (CH) 1998 Diener & Diener, Apartment Buildings, Basel (CH) 1981-1986 Patrick Gartmann, House in Chur, Chur (CH) 2003
0 50cm

scale 1:10

Patrick Gartmann, House in Chur High above the upper Rhine valley, on the slopes of Hochwang mountain,
is this three-storey detached house. Situated within an area subject to a
Chur (Switzerland) 2003 rigorous development plan by Bearth and Deplazes, this cuboid volume
unfolds inside in a virtuoso sequence of spaces – from the living room
1:5 at the top with a picture-book view of Chur and the mountains beyond
to the large kitchen/dining room on the ground floor, which has direct
 Iuav : 140 7
STUDENTS DRAWINGS

glass envelope

++ 7.55
755

7.5
7.5
37.5
37.5
105

29.5
29.5
66
38

243
200

bedroom
office

270
270
27
exposition hall

1069
exhibition hall

783
773
460
34

HEA 140
28

460 internal height

++ 4.04
404

28
28
339

2 12

29.5
29.5
370 internal height

66
32
living room

8 5
office
steel pillar ø 11

280
parking
34

+ 71
+ 0.71
45

28
28
0

++0.00
0.00

0 50cm 0 50cm

scale 1:10 scale 1:10

Peter Zumthor, Kunsthaus,Peter

Bregenz (A) 1990-97
Zumthor, Kunsthaus Bregenz
Erected in a fashionable district in south-west Berlin. Viewed The art museum stands in the light of Lake Constance. It is made of glass Gigon/Guyer, Extension Kunstmuseum, Winterthur (CH) 1995
Gigon/Guyer, Extension Kunstmuseum The expansion of Kunstmuseum Winterthur offers the challenge of a low Wiel Arets, Police Station, Cuijk (NL) 1997
0

scale 1:10
50cm

R STYLE: main title

from the road, the house at first appears to be an almost im-
penetrable block. On closer examination, though, one sees that
the three-storey structure is made up of various cubic elements.
From street level, a broad, gently rising external flight of brick steps
leads up to the spacious reception and living areas on the slightly raised
ground floor. The rooms are laid out in an L-shaped form about an en-
and steel and a cast concrete stone mass which endows the interior of budget project that combines different building systems through the
Bregenz, Austria, 1990 - 1997 the building with texture and spatial composition. The outer skin of the Winterthur (Switzerland) 1995 study of individual elements and their materials. The additional space
building consists of finely etched glass. The glass panels, which are all created in the use of the museum are in continuity from the previous Wiel Arets, Police Station In Cuijk the form of the police station has been compacted to produce
a much more dense, sculpturally closed volume in order to assimmilate
the same size, are neither perforated nor cut. The multi-layered facade structure, the work of Rittmeyer and Furrer and hosting, as well as temporary
is an autonomous wall construction which harmonises with the interior exhibitions, a extensive permanent collection of contemporary Cuijk (Netherlands), 1997 itself to its more restricted corner site and the trffic that flows around
and acts as a weather skin, daylight modulator, sun shade and thermal art. the low-cost of the project has determined to design a synthetic its edges. Here pedestrian and vehicular entrances have been separated
by the bulk of the building. The visual strasparency through the building

E: main subtitle
closed, southfacing courtyard incised in the overall volume. In addicted, insulator. and efficient whose elements are united according to a pragmatic principle
the 3,7 metre high living space opens via room height glass sliding doors Exonerated from these functions, the space-defining anatomy of the that combines the pieces available to get a high quality result. has been kept but in this case internalised in keeping with the general
to an outdoor terrace. The load bearing structure is in reinforced con- building is able to develop freely in the interior. The building is just as we A simple grid was used to divide the inner surface of 1000 square meters reduction of the form. The reception forms the fulcrum for the whole
crete, but the hand made bricks are the dominant feature of the house. see it and touch it. in size and proportions for different rooms, which retain the common building filtering the orizontal visual connection through the building
rectangular shape and follow the ‘north-south orientation of the but physically separating the public entrance from the police and pris-
shedroof. oner entrance. The vertical connection is created by the staircase and
Giulia Vignotto Christian Schittich (a cura di), Case unifamiliari, 2006 Giulia Vignotto Peter Zumthor, Kunsthaus Bregenz, 1999 Claudio Vianello El Croquis n.102, 2001
skylight above. Arround the reception, on the ground floor, are situated
retractable textile sunscreen the public offices, interrogation rooms and cells.

ain description Giovanni Donazzan Arets, Wiel. Wiel Arets : 1993-1997. - Madrid : El Croquis, 1997

glass bracing system

12 mm carpenting
10 mm screed
auditorium hall
150 mm concrete
composite slab
aluminium strip
coated with
cedar wood
76,5

service access
catwalk

600/400 mm structure in
steel bearer welded steel
tube wall: 25 mm cal-
plate with fire
cium silicate fire-resistant retardant
cladding+ 6 mm sheet office space coating
Shop

60
60
steel with reinforcing ribs
profile
250/180 mm aluminium
steel I-sections glazing beads
3370

welded on site with

silicone seals
200

3200/2000 mm rhom- pillars of

boid glazing elements: 12 extruded
mm float glass+ 16 mm aluminium
air-fixed cavity facade

laminated safety
floatglass
60

sandblasted
200

insulating safety
glass laminated
25 mm calcium silicate
fire-resistant layer,
painted matte cream

frame made of
cedar wood
200

floor vent with tufa

exhibition space
stone finish as a joint
for sismic structural
movement

concrete base
to view

0 50cm

scale 1:10 0 50cm

Herzog & de Meuron, Prada Aoyama Store, Tokyo (J) 2003 0

scale 1:20
100cm
Jean Nouvel, Fondation Cartier, ParisFondation
Jean Nouvel, (F) 1994
Cartier, Jean Nouvel’s achievement was to harmoniously combine 1,200 m² of
exhibition space with six floors of office space and nine floors above
Rafael Moneo, Kursaal, San Sebastian (E) 1999
scale 1:10

Paris (France), 1994 ground. Large, flexible areas are made possible by the structural beams Auditorium Kursaal, Rafael Moneo The project is situated on the right side of the mouth of the Urumea, on
land reclaimed from the sea. The International Congress of San Sebas-
Herzog & de Meuron, Prada Aoyama Store The ambivalent, always changing and oscillating character of the building’s
identity is heightened by the sculptural effect of its glazed surface structure.
which span sixteen meters without intermediate columns. With the ex-
tension of the glass facade in specific edges of the building, there is a San Sebastian (ES) 1999 tian is composed of two huge glass cubes. The same architect describes

Tokyo (Japan), 2003 The rhomboid-shaped grid on the facade is clad on all sides with a com-
fusion of interior and exterior spaces. Behind this transparent wall, a ce-
dar of Lebanon planted in 1823 emerges from a monumental flower pot.
it as a “stranded rock” next to the Cantabrian, some areas of 7,000
m2 connected underground, sheltering in their bowels two multipurpose
bination of convex , concave or flat panels of glass. But the grid on Acting both as windows and mirrors, the glass walls allow the spectator auditoriums, an exhibition hall, a restaurant and parking. The Kursaal is
the facade is not simply an optical illusion; it is actively incorporated glimpses of the works exhibited, or reflect the drifting clouds and the ur- composed of two large translucent glass cubes deformed and oriented
in structural engineering. Linked with the vertical cores of the build- ban environment. As a result, the building is in perpetual metamorpho- with respect to Mount Urgull in the west and the Ulía in the east. These
ing, it supports the ceilings. The horizontal tubing stiffens the struc- sis. The 8-meter-high sliding windows, that separate the gallery space
steel angular closure corrugated blocks, with their unbalanced geometry, seem to assume the scale and
ture and also provides more private areas for the changing rooms and from the outdoors, are entirely removable in the summer.
sheet 55 mm
nature of the bay. The construction is resolved with a metal structure
the checkout on the otherwise open, light-flooded floors of the build- Angela Bertiato Christian Schittich, Atlante del vetro, 2003 that leads to the formation of a double-walled complement, interior and
ing.The materials are either huper-artificial, like resin, silicon and fiber- exterior, with a block of laminated safety floatglass and sandblasted.
glass, or hyper-natural, like leather, moss or porous planks of wood.
Elena Rampin Thomas Herzog, Roland Krippner, Werner Lang, Atlante delle Facciate, 2005
External shading
Michela Mansutti Rivista monografica El Croquis, Herzog & de Meuron, 2006 corrugated sheet 55 mm

Carpet
Raised floor
Cement wood chipboard
Rubber matt
Mineral wool
Sand
330 internal height

3-Layer Timber wood

Cooling\Heating panel office

Open Lounge Office

floating floor with

linoleum finish

Glass balustrade

adjustable feet for floating floor

33

Heating unit aluminium angular

37
75

beam IPE 360

36
22
16
26

26

24
Void Area Office

curtain formed in aluminium framewith

panels of polycarbonate sp 40 mm
330 internal height
270

270

office
curtain wall formed by aluminium
frame with doble glazing 6/12/6 mm
5
37

steel plate 25 mm anchor base internal linoleum floor

32
10 6 8 6 7
26 10 28

38
18
26

36

0 50cm
0 50cm
scale 1:10
scala 1:10
Shigeru Ban, Tamedia New Office Building, Zurich (CH) 2013 Abalos & Herreros, Office Building, Barcelona (E) 2006
Abalos ed Herreros, Edificio per Uffici The project idea corresponds to a strategic vision for the enhancement Rem Koolhaas, Dutch Embassy, Berlin (D) 2003
7 21 44 260 12 44
of the places on the edge of the city , already destined for industrial and Rem Koolhaas, Dutch Embassy The glazed embassy of the Netherlands in Berlin radiates a sense of

Barcellona (Spain), 2006 service operation in complex and highly significant , even symbolically
Berlin (Germany), 2003
openness. The Dutch selected a site on the River Spree, with a view of
barges and riverbank promenades. The “urban villa” has a 17 ≈ 17 m
0 50cm as a manifestation of political sensitivity and attention to environmental footprint. Safety glass was used only for the ground floor windows to
scale 1:10 issues , multicultural and recovery for public use of an entire sector the consular spaces. The offices on the upper floors are enclosed within
urbano. In the area of intervention are placed for the supply of energy a double-skin facade, through which extract air flows up the aid of fans.
services , the collection of used tires, the reservoir , the facilities for
Shigeru Ban, Tamedia New Office Building The timber main structural system is in great extent the most significant
innovation of the project. From a technical and environmental point of
the disposal of waste , equipment for the network gas distribution and
In the case of the offices along the south face, expanded-metal sheeting
was inserted between the outer panes of glass to provide sunshading,
Zurich (Switzerland), 2013 view the proposed this timber structure is a unique response to this type
widening existing incinerator , further comprising an office building and
cultural museum, a recycling plant and the ecological park .
protection against glare, and visual screening. The three-dimensional
quality of the facade is a reflection of the spatial complexity internally.
 Iuav : 140 8
STUDENTS DRAWINGS

THE ITALIAN CONTRIBUTION

galvanized sheet

botticino bocciardato

tile floor

gress bruno
30

0,85
curtain wall

Beam UPN 400

3,00
galvanized sheet edge protection

Canteen

beam UPN 230

beam UPN 400

0,66
precast concreate

panel lining
330 internal height

shopping center

40
Bar - Play Room

3,00
alluminium closure concrete slab

horizontal pipe conditioning

beam UPN 230

beam UPN 400

40

shopping center

0,45
0 50cm

scale 1:10 0 50cm

Franco Albini, Franca Helg, La Rinascente, Rome (I) 1960

Franco Albini, La Rinascente La Rinascente is a commercial building located in the Town Hall II,
between the Via Salaria and of course Italy. The stringcourses advance
Rome (Italy), 1960 to the facade thus giving the effect of three-dimensionality of prospects.
The value of the string courses molding is accented by frames,
channel lighting, and gutters. All metallic elements that emphasize the
horizontality of the building. A balance vertically, there are ripples rising
from the bottom to the top of the facade boards which receive the air-
conditioning ducts, downspouts and pipes of the sprinkler system. Six
windows are placed symmetrically on the main front.
Andrea Bocola La Rinascente:Disegni e progetto de la Rinascente di Roma
Albini-Helg. Milano-Abitare Segesta, 1982
Ignazio Gardella, Mensa Olivetti, Ivrea (I) 1959
Ignazio Gardella, Mensa Olivetti
Ivrea (Italia), 1959
The building made by Ignazio Gardella can be seen as a crystal which
Luigi Caccia Dominioni, Office and apartment buildings in corso Europa
Milano (I) 1959
deforms according to the shape of the soil, without however losing its
geometrical rule based on the triangular form.
Inside, a particular attention has been paid to the problems associated
with large horizontal development. To avoid the feeling of a space exces-
sively dispersive, Gardella resort to the use of decorative elements as
“centers of attention” such as the choice of keeping in view the cooling
channels.
Outside, the building is distinguished from the unifying of the balconies
jutting out that interfere with the tight rhythm of the vertical pillars in
front. The iron railing, fixed above a band of coating botticino marble
bushhammered, helps to confer to the building unit.
Stone coping
Fiorese Francesco Ignazio Gardella e il rofessionismo italiano, 1986

Gravel
Lightweight concrete
Galvanized fascia

Insulation

Glass

r.c.Horizontal
screen

Metal Travertine Exposed

bracket screen concrete

Fibre
glass

Heating
pipe

Asbestos
cement

HARACTER STYLE: main title Downpipe

Ludovico Magistretti, S. Maria Nascente, Milano (I) 1947 Ignazio Gardella, case Borsalino, Alessandria (i), 1949-51 Marcel Breuer, Pier Luigi Nervi, Unesco Building, Paris (F) 1952-58

ACTER STYLE: text main description

0 50cm

scale 1:10

The main structure of the conference hall consists of continu-

UNESCO, Pier Luigi Nervi
18

ous r.c. corrugations which form the roof and both end wall. The
Place Fontenoy (Paris) 1952/58 continuation of the folded slab around the gable walls provides
the necessary lateral stiffness. The roof is stiffened by a central
upstanding beam carried by six columns which are circular at
the bottom and rectangular the top. The roofing slab is moved
from top bottom of the compression forces; the raising of it in
the main conference hall has the effect of increasing the sense
of spaciousness. The side walls are statically independent, and
their connection with the main structure is by means of a joint
33

which assures lateral stability to the walls, but permits thermal

displacement of the roof. They are of brick and concrete covered
with travertine.
Marzia Busetto Architectural design February 1959
5 11
25
270
39

395

Annibale Fiocchi, Marcello Nizzoli, Olivetti Office Building, Angelo Mangiarotti, Bruno Morassutti, Aldo Favini Cino Zucchi, D Building 39.5

Milano (I) 1954-55 Chiesa della Nostra Signora della Misericordia, Baranzate (I) 1956-57 Giudecca, Venezia (I) 1997-2000
0 50cm

STUDENTS DRAWINGS
scale 1:10

The building D is a construction for sixteen apartments of

 Iuav : 140 9
ARCHITECTS DRAWINGS

Burkhalter - Sumi the construction process and enjoyed broken into a series of subjects—eco- and a subsequent history of serial cer- clarity with which Burkhalter Sumi put
timber cladding: facade/loggia considerable respect and autonomy. nomics, sociology, law etc.”. And from tainties, they acknowledge that the it in “Form and Profession” belies the
But the forecast demise of the profes- this chilling history of dissolution they condition they describe involves one in position’s complexity: “The discipline
In their succinct essay “Form and sion through its disintegration now calmly derive their precepts for being a continual struggle, for, “It is not the of architecture has [...] its relation to
Profession”, the only instance where has such a long history that it forms an architect: “First, the continual ad- elimination of […] conflicts, but their society [as] its central concern [...] The
they have written something close to its own tradition, they say with a Pop aptation of our profession to an ever- prompt resolution—the centring of the decisive question for us is whether
a manifesto, Burkhalter Sumi observe nonchalance, and has become its defi- changing environment is a sign, not centrifugally dispersing demands and the completed structure is capable of
that architecture and architects seem nition. They recount the split between of weakness, but of strength [...] Like the consequent revelation of the hid- surviving everyday life [...] Such an ap-
under attack from any number of quar- the École des Beaux Arts and the Roland Barthes’s Argonauts who con- den core—which constitutes the pri- proach seeks an architecture which, at
ters. He or she is increasingly impinged newly founded Écoles Polythecniques, tinually renew their spaceship during mary task of our profession.” its best, has a self-evident character.”
by the market forces and procurement and briskly trace a series of crises flight, without ‘intermediate landing [...] The continual struggle described
methods under which the Anglo- through the Deutscher Werkbund, the or interruption’, architects must also above is an ambitious definition of Steven Spier, Resolving the hidden
American world already suffers. This various Bauhaus[es] and CIAM, reach- continually reconstruct the edifice of the architect, which ironically must core in Burkhalter Sumi – recent works,
is true even in Switzerland, where the ing a climax in “1968 with demands their theoretical knowledge.” But in manifest itself in a kind of humility, “2G”, 35, 2005.
architects has traditionally controlled that the discipline of architecture be a break with modernism’s confidence professional as well as formal. The

Stadtvillen Witikon 2002 Einfamilienhaus 2005 Fabrik Forsanose 2013

Kengo Kuma & Associates the body. And this thickness is gained By being layered, the skin could beco- two elements are indistinguishable.
Exterior Wall with Thickness from accumulated layers. In my view, me a structure to support architecture. As the result, such skin with thickness
façade of architecture can be thick The skin of sea cucumber is a great becomes soft and warm. Stroking it is
We want to create a façade that fe- with the existence of layers, there- reference for this. Their bone is not so relaxing – like when you caress your
els like animal skin. The skin of living fore must be much thicker and more located at the center of the body. It sweetheart.

es things has thickness. The thickness

balances environmental differences
stratified. Accumulated layers show
that the exterior changes gradually to-
is broken into pieces and tucked into
the skin. In my design also, bone is
between the inside and the outside of wards the interior – outdoor to indoor. often scattered into the skin and the

structural plywood t=12

calcium silicate sheet t=8x2 galvanium plate
180 20 20

bonderized steel sheet t=1.6 t=1.2 SOP

roof: galvalume steel sheet louver door
t=0.4
60 8 8 12

2640

handrail: 2040 450 150

galvanized steel flat bar 12x40

downpipe:
19.8

SUS HLφ105
190
300

155 147

302
300

steel angle: 100x75

1100

silica calcium board t=12

300

softfit:
340
383.2

silica calcium board t10

194

plywood t24
45

65 232

180 180

silica calcium board t8

wooden louver: Conference Room asphalt roufing
joinery ceder
70 60

t=15 90/w300
20 20 100 100
fancy plywood 60x180
40 50 200
roof: galvalume steel sheet
t=0.4
170

terrace meeting room

double glazing
2270

Low-E glass

cork flooring t40 hollow section

structural plywood t12 Cidori-Goshi polycarbonate sheet t40
glass wool 24k
Max.CH=2721

sound insulation
900

floor panel 16 external cladding:

1733.2
tuff stone (re-use of exhisting material)
500
300.0
1567.2
367.0
70

234

250
steel plate t =6ࠉ
steel panel

382
42.4

70.2

209 louver door Machine

216 214 Space
roof: galvalume steel sheet float glass t4
t=0.4

glued chaff sheet t20

shop asphalt coating

crushed stoneࠉ

30 30 1/100

90 70 60
30 20

mirror-finishing RC galvannealed drift pin:

St φ10x60
100
70 7040

Conference galvannealed plate:

274

St 9x55x274
Room
2016 130 20 30
16 64 30

gravel
30

20
5
100

235 100.1
250

650.9
80
200
98

500 500

Shrinkage-compensating mortar galvannealed base plate:

St 16x80x160

Sunny Hills Omotesando, Tokyo (J) 2013 Asakusa Culture Tourist Information Center GC Prostho Museum Research Center, Aichi (J) 2010 Chokkura Plaza, Tochigi (J) 2006
60

170

Tokyo (J) 2012

Sunny Hills Omotesando Asakusa Culture Tourist Information Center GC Prostho Museum Research Center Chokkura Plaza
This shop, specialized in selling pineapple cake (popular sweet in Taiwan), is in the shape of a bamboo basket. It is built on a joint system In the corner premise of just 326m2 across Kaminari-mon Gate, the building was required to accommodate plural programs such as tourist This is architecture that originates from the system of Cidori, an old Japanese toy. Cidori is an assembly of wood sticks with joints having A project to create a new station plaza that would play a leading role in the community activities, centered round an old storehouse, an Oya
called “Jiigoku-Gumi,” traditional method used in Japanese wooden architecture (often observed in Shoji: vertical and cross pieces in the same information center, conference room, multi-purpose hall and an exhibition space. unique shape, which can be extended merely by twisting the sticks, without any nails or metal fittings. The tradition of this toy has been stone masonry, which was to be preserved.
width are entwined in each other to form a muntin grid). Normally the two pieces intersect in two dimensions, but here they are combined The center extends Asakusa’s lively neighborhood vertically and piles up roofs that wrap different activities underneath, creating a “new passed on in Hida Takayama, a small town in a mountain, where many skilled craftsmen still exist. Debris of Oya stone from the storehouse are reused and combined with steel plates arranged diagonally in order to create attempts to achieve

Tokyo (J) 2013
in 30 degrees in 3 dimensions (or in cubic), which came into a structure like a cloud. With this idea, the section size of each wood piece was
reduced to as thin as 60mm×60mm. As the building is located in middle of the residential area in Aoyama, we wanted to give some soft and
subtle atmosphere to it, which is completely different from a concrete box. We expect that the street and the architecture could be in good
chemistry
Tokyo (J) 2012
section” which had not existed in conventional layered architecture. Equipments are stored in the diagonally shaped spaces born between the
roof and the floor, and by this treatment we could secure large air volume despite its just average height for high-and medium-rise buildings.
Furthermore, the roofs not only divide the structure into 8 one-storied houses but also determine the role of each floor. First and second floor
has an atrium and in-door stairs, creating a sequence from which you can feel the slope of the two roofs. On 6th floor, taking advantage of
the slanted roof, we were able to set up a terraced floor with which the entire room can function as a theater. As angles of the roofs inclined
toward Kaminari-mon and the heights from the ground vary from floor to floor, each floor relates differently to the outside, giving a unique
Aichi (J) 2010 Tochigi (J) 2006
Cidori has a wood 12 mm square as its element, which for this building was transformed into different sizes. Parts are 60mm×60mm×200cm transparency by making the most of the material’s texture.
or 60mm×60mm×400cm, and form a grid of 50cm square. This cubic grid also becomes the grid on its own for the showcase in the museum.
Jun Sato, structural engineer for the project, conducted a compressive and flexure test to check the strength of this system, and verified that
even the device of a toy could be adapted to ‘big’ buildings. This architecture shows the possibility of creating a universe by combining small
units like toys with your own hands. We worked on the project in the hope that the era of machine-made architectures would be over, and
human beings would build them again by themselves.
 Iuav : 140 10
ARCHITECTS DRAWINGS

Takaharu + Yui Tezuka Architects window joinery manufacturers. It is about the assembly of members and with people is no more than boxes. mitted to occupy a special position
Beyond Architecture important to know the reason and the how they age over time. It is vital to An architect always seeks the future. among humanity’s various creations.
amount of effort and time given into understand the meaning of material With the current advances in techno- Time is the enemy of architecture, and
Architecture should support society each architectural detail. Materials, to overcome the challenging factor of logy, architecture is now extremely li- at the same time is its ally. Architec-
and exceeds its era. Following the pas- whether wood or steel, have their own time. Good details can only be created berated. Structures exceeding 2000m ture that cannot coexist with people
sion of the architect, architecture that character and construction method. when materials are behaving the way and all kinds of free-form surfaces are cannot carry out its greatest mission,
continues to survive across several cen- We must understand the nature of they should. achievable. Nevertheless, the essence the transcending of time. No matter
turies will mature due to the affection each material and how they behave Throughout the ages, there is only one of architecture is constant. Architec- the technological advancements, our
it receives from people. differently. For example, wood is he- constant convention of architecture. ture can become art, but architectu- pursuit to understand material, detail,
ZUKA ARCHITECTS
Architecture is an interdisciplinary
field. We, as an architect, need to col-
avy, thus wooden structure does not
need to be thin. Steel structure follows
Architecture exists to serve people. In
the same way that a pair of chopsticks
re is not art. Architecture is charged
with the mission of transcending eras,
and people will always remain as the
significant aspect of architecture.
laborate with different experts such as the ra- tionality of structural dynamics; unused by people is no more than two from today into the future. Because it
mechanical, structural engineers, and on the other hand, wood structure is rods, architecture that does not coexist transcends time, architecture is per-

Tent/Titanium Oxide
Photocatalyst Coated
Membrane

waterproof membrane on pitched stylo foam

W PP

Connecting Joint for Tents beam(perimeter) 䠖 cedar

/ cast iron beam(eave) 䠖 cedar ŌPPðPP
ŌPPðPP
䚷䚷

site welding : groove angle 45

lintel 䠖 cedar
20mm longer for cut snow 䚷䚷
roof: 6mm thick cor-ten steel site welding
insulation: urethane foam in situ 70mm Balustrade:rope
Ｌ−50ｘ50ｘ6 %DOXVWHUVVWHHOURGǗ
3/ 
exterior wall : 6mm thick cor-ten steel site welding
insulation: urethane foam in situ 70mm
(hot dip galvanized)

Ｌ−50ｘ50ｘ6

Net
Roof
Artwork/created by the artist
20mm longer for cutwater Finish: Amazon cherry wood (wood deck) t=20 column 䠖 cedar
fasner : steel angle piece Ｌ−90ｘ90 Fall prevention net
6XEVWUDWH)ORRUMRLVWV # ŌPPðPP
SLOHV # Vinylon (white) 䚷䚷
door frame : cor-ten steel Ｌ−175ｘ85ｘ6 Waterproofing: Ǘ 60mmsquare
Vulcanized rubber sheet waterproofing
site welding : groove angle 45
site welding : groove angle 45
exterior wall : 6mm thick cor-ten steel site welding door panel : 3.2mm thick cor-ten steel stainless screw
insulation: urethane foam in situ 70mm
Ｌ−50ｘ50ｘ6
Ｈ−350ｘ175ｘ7ｘ14
Ｌ−90ｘ90ｘ10＠500Ｌ＝150 handrail
capping timber 䠖 cedar timber framed window
cealing : plasterboard t=12.5 mm
ŌPPðPP frame 䠖 cedar
cover : steel plate ｔ＝2.3ｍｍ
䚷
site welding : groove angle 45 smoke venting window
vertical rail 䠖 cedar glass 䠖 paired glass
intake : use crean cut board
ŌPPðPP#PP PPPP
to sharpen the edge
cutwater : bent cor-ten steel t=3.2mm
seal filling backside
glassfibre sheet
plasterboard ｔ-12.5ｍｍ
freeze proofing cover plate for sealing:
emulsion paint
bent cor-ten steel : Ｌ−114ｘ37ｘ3.2 vinyl break line
epoxy rasin painting for insulation site welding : groove angle 45
(only within the frame) frame of acrylic window : site welding : between door frame and exterior wall
bent cor-ten steel L-140x120x6
Ceiling
Douglas Fir Glulam
Finish: perforated acoustic board t=9
Teak-oil finish
Substrate: Light gauge steel substrate
H: 360 - 520 mm
W: 220 - 360 mm

window sill 䠖 cedar

䚷䚷

floor sleeper 䠖 cedar

ŌPPðPP
handrail base 䠖 cedar 䚷䚷
ŌPPðPP
interior wall : plasterboard (super hard board) 䚷䚷
ｔ＝12.5＋ｔ＝9.5
/glassfibre sheet
/emulsion paint

frame of acrylic window : LGS100＠455

bent cor-ten steel L-140x120x6
acrylic plate t=75 mm
floor : dust-proof painting on exposed concrete

baseboard : alminium angle

freeze proofing cover plate for sealing: Ｌ−20ｘ20ｘ3 exterior wall : 6mm thick cor-ten steel site welding
bent cor-ten steel : Ｌ−114ｘ37ｘ3.2 nsulation: urethane foam in situ 70mm
epoxy rasin painting for insulation insulation 䠖 hard urethan foam
(only within the frame)
W PP
Existing 䚷䚷
Ｈ−350ｘ350ｘ12ｘ19 zelkova tree
site welding : groove angle 45 + ｍ
blowout :
galvanizing grating FB3x19 W=115 Timber joint detail
setting block
safety mesh 5 mm angle
Ｈ−350ｘ175ｘ7ｘ14
gasket（hokusho：ＧＶ−452） Floor Air-conditioning intake
lower than concrete head for cutwater bent cor-ten steel Ｌ−115ｘ115ｘ12 Finish: untreated pine wood
Ｌ−90ｘ90ｘ10＠500Ｌ＝150 $SHUWXUHǗ#
Z W  Intake rate 20%
loose setting to adjust ＳＣ−12100(SUS)＠600 6XEVWUDWHSO\ZRRGW 
thermal contraction Free floor
15

Concrete Troweled Finish

cor-ten steel t=2.3 mm
gravel to save-all rust drop W=300
corrosion proof painting backside

timber wedge

No piles in the surroundings of the trees.

Foundation Connecting Joint
/ Cast Iron
washer : steel plate−32ｘ300ｘ180 welding with ABT Drainage with Heaterd Water
stainless sheet ｔ＝0.6 timber peg
BPL−19ｘ300ｘ710 loose hall 100Ʒ for melting snow
stainless sheet ｔ＝0.6 Cover / Douglas Fir
BPL−6ｘ300ｘ710
sill anchor 2−Ｍ20 Ｌ＝700
H = 360~520

Timber dowel pin

Ǘ ∼ 180(W/2)

W = 220~360
teak-oil finish glulam

Matsunoyama Natural Science Museum Fuji Kindergarten, Tachikawa (J) 2007 Woods of Net, Hakone (J) 2009 Asahi Kindergarten, Minamisanriku (J) 2012
Echigo-Matsunoyama (J) 2003

Matsunoyama Natural Science Museum: The Echigo-Matsunoyama of Natural Science Museum is located in the
forest-covered mountains of Matsunoyama, a region of Niigata Pre-
Echigo-Matsunoyama (Japan) 2003 fecture known for its heavy winter snowfalls. The facility was designed
kfXZZfddf[Xk\Yfk_k_\^\e\iXcglYc`ZXe[jZ`\ek`ÔZXZk`m`k`\j%K_\
Fuji Kindergarten: A large oval building of about 183m outer circumference, and about
108m inner circumference. Three existing zelkova trees (two of 25m
Tachikawa (Japan) 2007 and one of 15m) pass through the architecture. This is a kindergar-
ten for 560 children. All the architectural spaces are at the scale of a
Woods of Net: Woods of Net is a new pavilion for the Hakone Open-Air Museum. The
concept for shaping an area in Woods of Net is similar to an open-air
Hakone (Japan) 2009 ZXdgÔi\%8ggifXZ_`e^]ifdX[`jkXeZ\#fe\ËjYf[p^iX[lXccpY\^`ej
to feel the light and warmth, and then enters a circle of people. The
Asahi Kindergarten: This project is the reconstruction of a kindergarten lost in the huge
tsunami in 2011. The project is funded by UNICEF. We used massive
Minamisanriku (Japan) 2012 trees killed by sea water. These trees used to be religious symbols
of the local villager. They were planted after tsunami in 1611, which

Shim-Suitcliffe Architects it washes across the surface while the ravine edge in Toronto, we create thick project, but in all cases, our spaces are of nature. Our work is engaged by
total length of the building is 160meters, including a 34-meter tower. child. It is a one-storey building, with the ceiling heights restricted to size of the dome is equivalent to the center dome of the blue mosque happened exactly 400 years before the tsunami in 2011. Every piece
The difference between the temperature between summer and winter 2100mm. There is hence an extremely close relationship between the in Istanbul. The structure is entirely composed of timbers without any f]k_\Yl`c[`e^f]8jX_`B`e[\i^Xik\e`eZcl[`e^jkilZkli\#ÕffiXe[
causes the whole structure to expand and contract almost 20 centim- Õffic\m\cXe[k_\iff]kfgc\m\c%E\m\i$\e[`e^Z_Xj\jjfd\k`d\jfZ- metal parts. Each of the 598 timber members has a different length handrail, was curved out from these trees. The circumference of some

Walls of Light thickness of the wall simultaneously shaped and articulated wooden fins given a humane dignity. this on-going dynamic engagement.
eters in length, and the total load of snow can amount to some 2000 cur on the endless oval roof. Wherever you are, the entire garden can and thickness, as the sheer force and the bending moment balance of the trees exceeded 5m. No metal joint was used. We used tradi-
tons of pressure. So 6 millimeter-thick welded Corten steel plates be viewed. The spaces extend with nothing being excluded. throughout structure. No member has been wasted. This project is tional joinery and wedges, because we know these old techniques has
were chosen for the buildings outer shell. At key points inside the With regard to zelkova trees, the spread of the roots is only the span looking random yet very much rational structure. Cutting-edge struc- been making Japanese traditional architecture to survive more than

provides containment and substance in which natural light washes across In our practise we are constantly expe- By intertwining wood and light, we
Yl`c[`e^#dXjj`m\Õffi$kf$Z\`c`e^n`e[fnjf]]\iXjg\ZkXZlcXim`\n of the branches. Therefore, there are no foundations around the tree tural analysis has been employed to overcome the variablity that 1300 years. The massive column with sectional dimension of 600mm
on the surrounding environment. To sustain the weight of the snow iffkj%Kfgi\m\ekk_\Xi\XjXifle[k_\iffkjY\`e^`eÔckiXk\[Ypk_\ characterizes timber. While employing traditional wood joints we have x 600mm are the message to the children who are going to live after
and give the structure a proper isolation, all windows were made of alkali compounds in concrete, a sheet underlay was installed prior to searched for a futuristic form,which should result in a completely new 400 years, to tell “these trees were killed by tsunami, and you have to

We want to create thick walls of light as well as enables the dematerializa- its face. For the Craven Road Studio, rimenting and exploring the possibili- more accurately register the subtle
55 to 75-millimeter-thick acrylic - a material with an extremely high the leveling concrete. type of architecture. run up to the building when a big earthquake comes.”
98-percent degree of transparency.

that transform our architectural spaces tion by the light. For Congregation Bet we create narrow skylights combined ties of light and its amplification and and changing atmospheric conditions
through the seasons and from day to Ha’am in Portland Maine, we create with articulated wooden light coffers dematerialization into space. We are around us.  By wrapping our buildings
night. We have selected four projects apertures above with skylights and to amplify the light. For the House on interested in the intense relationship in walls of light, we link the inside and
that modulate light in very different clerestory windows that wash with Henry’s Meadow, we transform logs between man-made materials that are outside making us aware of our human
ways, but in each case, the thickness light the inside face of a sacred spa- into conceptual screens demonstra- controlled and shaped and how they condition on a daily basis.
of the wall assembly allows for the gra- ce allowing the space to glow from ting their visual delight and plasticity. react with changing light conditions
dation and transformation of light as within. For The Integral House on a We use wood in different ways in each and the larger unpredictable forces

Congregation Bet Ha’am, Portland, Craven Road Studio, Toronto, House on Henry’s Meadow Integral House, Toronto, Ontario (Canada), 2009
Maine (USA), 2008 Ontario (Canada), 2006 Vale Perkins, Quebec (Canada), 2009

ARCHITECTS DRAWINGS
 Iuav : 140 11
ARCHITECTS DRAWINGS

OAB - Office of Architecture way of approaching project design. To touch upon the theoretical aspects Different circumstances have led to the programs, to the utilization of light
in Barcelona The renewal and creation of this new of the project and upon the innovation the birth of this new platform, based as design’s raw material, with a capac-
Light and Materiality platform will attempt to confront the and investigation of new technologies, on a transversal way of working that is ity to generate spatiality and emotion,
challenges that the architecture of this without forgoing a respect for the lo- open to innovation and experimenta- and to the materiality that impinges
Architecture should support society century has posed in the intellectual cation, the social origin of the work of tion, flexible in its conceptual proposi- on the more sensitive and sensorial
and exceeds its era. Following the pas- and social, technological and environ- the architect, and the constructional tions, and convinced of the fact that aspects that bring the piece of archi-
sion of the architect, ar- chitecture that mental fields. rationale in the latent aspects of the each new project offers a different ex- tecture closer to its future users and
continues to survive across several Growing out of the socialization of proposal and the development of the perience in which we must start from inhabitants as the final recipients of
centuries will mature due to the affec- collective work and based on the per- design. scratch and be selective as we develop the architect’s work.
tion it receives from people. sonal tendencies of its members, this OAB has enabled us to experiment the project. This is something that has These questions of content and form
Architecture is an interdisciplinary report includes the projects and works in different areas of architectural en- been learned beforehand, it having are the ones that have led to the cre-
field. OAB picks up on the trajectory built during this most recent period, deavor—buildings of varying sizes and been demonstrated that the essence ation of OAB as a platform with which
of the earlier Carlos Ferrater Studio, projects and works that privilege the factures, public spaces, interior spaces, of the architect’s task does not lie in to confront the architectural challeng-
whilst incorporating new ways of desire to work in different contexts by ephemeral installations or themes to language or in displays of style but in es of this new century.
understanding architecture on the extending and enriching OAB’s range do with landscape—thus facilitating, his or her response to the conditions
OAB
chitecture
Office
rchitecture
e of-Architecture
Office
of Architecture
inof
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Detail in these examples is a means, an in determining what it should do. that produce in all cases strong visual (normatively) fixed building, but also drawings that help determine con-
instrument, for fabricating façade sys- The section drawing favors (indicates) affect. Repetitive geometric patterning, in these examples by light and envi- struction and material interfaces.
tems whose primary goal is to produce a relationship to our bodies and also including hyperbolic surfaces, stacked, ronmental changes moving over re- The sectional drawings here are pro-
visual affect. A façade is a primary con- shows shape-of- space as a priority. or facetted elements generate deep flective glass, or moving (kinetic) walls jected so that the section is combined
temporary site (within the larger site These examples show façades drawn textured façades, visually dynamic. of fabric that change shape physically. with an oblique elevation so that the
of a building) for architecture where, in section as a spatial condition that This locates the detail not as a fetish These examples both materialize as objective might combine with the vi-
arguably, the architect has the great- generates dimensional depth as a kind of precision or formal compositional loadbearing walls or dematerialize as sual hinting at the phenomenal and
est freedom to determine a building’s of tectonic poché. This is a depth that beauty (alla Mies) per se, rather, the curtain walls. experiential that only buildings them-
technical/environmental performance, is utilitarian (space for sun screens, detail is instrumental, in its aggregate The façade section is positioned ide- selves can convey ultimately.
iconographic image, aesthetics, mate- mechanical systems, blinds, heating repetition for producing visual/ opti- ally to illustrate the logic of how and
rial character, and form. A façade is the elements etc.), spatial and optical (con- cal effect. The visual aspect is one that where material systems intertwine

Trutec Building, Seoul (Korea) 2006 Tour Total, Berlin (D) 2012 Gate House, Stuttgart (D) 2007 Kinetic Wal, Venice (I) 2014
 Iuav : 140 12
ARCHITECTS DRAWINGS

Studio Valle Architetti Associati of them pursue structural expression not exist outside of construction. more than one job with the same ele- les design choices. The building detail
The detail as synthesis and others celebrate cladding; some The detail does not choose one archi- ment. This multiplicity is not apparen- does not transcend the building mar-
deal with depth and others with sur- tectural language or another: It arti- tly visible. It needs to be analyzed in ket to isolate custom made or hyper-
The building detail does not prefer one face; some are layered and others have culates all of them in the relations of a plurality of representations to unveil technological solutions: it transcends
construction system or another: It ex- a single material, some are light and the parts to the whole of a building. In its layering. The detail is therefore syn- the ordinary only by showing that the
press all of them by developing their others are heavy. All of them are cohe- this regards, the detail does not exist thetic and not necessarily all visible. same components can be endlessly re-
own peculiarities. Within this board rent with specific strategies of mate- in a realm that is separate from the The building detail deals with the ar- arranged.
are pre- sented four exterior wall si- rial expression that dialogue with the general design concept. The material rangement of standard construction
tuations that differ from one another: in- dividual context of each building. is visible but its visibility disappears components that are interrelated in a
curtain wall, steel frame with HPL There is not a general principle in this within the whole of a building. coherent whole. It deals with market
cladding, concrete wall with brick and approach to construction: each project The detail articulates the relationships availability, budget constraints and
SOCIATI stone cladding, monolithic wall with
prefabricated concrete panels. Some
develops its own materiality. Formal
and spatial articulation, though, do
among structure, cladding, insulation
and openings. The best details do
comparison among parallel offers
where the most economic bid often ru-

0 50cm 0 50cm 0 50cm

dings, Portello Office Buildings

An exterior light frame of steel pilasters, each measuring 10x15cm. in
section and spaced 1,50mt. apart, support a standard concrete floor
2014 Milan (I) 2003-2014
structure. The pilasters hold on the outside a curtain wall with glass
windows and alucobond parapets. On the inside they are clad in gypsum
board and form a sequence of separate windows that allow partitions to
be placed between them with multiple layouts. Under the parapet, the
cooling system with fan coils is located. The facade system therefore
offers on the outside a continuous flat glass and metal skin while on the
inside it has individual windows that seem excavated within a “deep”
wall. The combination of the thin pilasters and layered cladding de-
materializes the structure on the edge of the building shell while at the
same time offering a “thick” edge that frames the exterior light.
New Municipal Theater, New Municipal Theater
The theater is located along the historic city walls: here a urban master
plan inserts it in a new complex of public buildings that form a central
Vicenza, Italy, 2001-2007 Vicenza (I) 2001-2007
square where its main entrance is placed and marked by a large por-
tal. The outside cladding is characterized by a succession of horizon-
tal bands in brick and white stone that recall the nearby city walls but
invert their mutual relation: while in the city walls horizontal bands of
brick are inserted in a stone surface, in the theater horizontal bands of
white stone underline a basic brick volume. The structure is a concrete
wall and brick and stone are hanged in a ventilated facade to make the
whole appear as a monolithic wall pierced by deep openings.
B1 and
B1 Residential Residential
Office Tower,and Office TowerThe fourteen-story B1 tower offers small apartments and offices: a
flexible modular typical floor plan can offer hotel like single rooms (1
Rome, Italy, 2007-2011
Rome (I) 2007-2011 module), small apartments (2 modules) or office units (3 modules). All
units have a generous exterior loggia that enlarges the interior spaces.
The structure is a steel frame clad in HPL panels on the outside and
gypsum board on the inside. It has microforated screen loggias grouped
in textured pattern groups and a full photovoltaic façade. The exterior
shows a metal skin screened by the rhythmic patterns of the loggia vol-
umes. behind the loggias, the exterior cladding turns from silver to blue
to underline their depth.
MABO Prefabricated
MABO Prefabricated Housing System, HousingInsystem
System 2008-2010
the last years, Studio Valle has developed a prefabricated concrete
for the manufacturing of multiple story housing for the Italian
2008-2010 MABO manufacturer. Four prefabricated panels, each formed by two
layers of concrete with interposed insulation, form a basic enclosure
measuring Mt. 13 x 6,50 in plan. This can be linearly aggregated with a
staircase-plus-elevator module and vertically stacked up to four levels
to form many residential types (linear, block and courtyard building)
with different units (2, 3 and 4 bedroom apartments). The exterior con-
crete surface can be simply painted or finished with plaster to make the
whole appear as a solid monolithic wall pierced by individual openings.
The basic shell can be integrated with preassembled metal windows and
balconies that are inserted within the panel openings.

Artec Architekten - Bettina Götz The detail can be described as the structure of the surface of a form. everyone today through the possibili-
and Richard Manahl transition from one surface condition A specific way of articulating the de- ties of information processing, makes
The contour of the space to another. In the fine arts, painting tails is a prerequisite to the distingui- a new Classicism conceivable. Next to
is, for example, concerned with the shability of designer and building in a devising space, the detail, in combina-
- Bettina Götz
Architecture and Richard
is three-dimensional thou-
ght accompanied with craftsmanship.
Manahl surface, and the drawing with the de-
tail – or, to be more precise, with the
homogenized world.
The arbitrary applicability of the
tion with the structure, continues to be
a means to authentic architecture.
The craft of architecture is revealed in fault-lines between the surfaces. The most diverse of formal conceptions,
the detail. articulation of the details defines the which are available everywhere and to

0 50cm

Zita Kern Space, Raasdorf (AT) 1998
Zita Kern Space The vast land, industrialized agriculture, villages straddling the
thoroughfares, in proximity to Vienna, have been annexed by
Raasdorf (AT) 1998 suburban sprawl.
Situated amidst it, a small woods, in it a farmhouse, as well as
its diverse shaggy fields. Zita Kern farms the land, and she is
also a scholar of literary studies. There are spaces for farm work,
Balic-Benzing Residence, Bocksdorf (AT) 2005 Multi-generational living at mühlgrund The Town Musicians of Bremen, Vienna (AT) 2009
Vienna (AT) 2011
Balic-Benzing Residence Southern Burgenland possesses a gently rolling landscape, and its
villages are few and far between.
multi-generational living at mühlgrund In response to the setting of elevated tracks north and a rural
fabric to the south, a new version of balcony-access apartment
The Town Musicians of Bremen Analogous to the Grimm Brothers’ fairy tale The Town Musicians of
Bremen (whose main characters are a donkey, a dog, a cat, and a
Bocksdorf (AT) 2005 The property for this weekend retreat for two Viennese – with
a magnificent southwesterly view beyond the sloping hillside –
Vienna (AT) 2011 house with stairway and elevators on the two ends of the building
is developed:
Vienna (AT) 2009 rooster), this reinterpretation of terrace houses involves stacking
different apartment types atop one another.
extends from a sparsely traveled road over the knoll of a ridge. A vertically kinked skin directs and diffuses the light, and toward Dwelling types normally considered suburban, with the
The amount of space stipulated was modest: one large room the top, combined with a metal wall perforated with window accompanying outdoor spaces, are stacked atop one another
 Iuav : 140 13
ARCHITECTS DRAWINGS

PERIPHERIQUES - Jumeau in the most effective way to adjust a deep-frozen ready meal). architectural effect which we have the
+ Marin + Trottin technical solution, interest us as far as In France, the architect doesn’t produ- power on and the technical concep-
“Power of ten” conceptualize a program. ce execution documents for the con- tion is the responsibility of the con-
The design of a front begins by tech- struction. Our plans are indicative of struction company. Some discussions
The detail’s construction is a field of nical requirements of the envelope. In the deliberate architectural effect. The and exchanges are necessary to find
project as wide as the town planning. this way, we use simple and classical settling and responsibility are assu- the solution which suits inboth, betwe-
With Autocad, the conception of buil- materials like glass, aluminium, terra- red by the company which builds. All en knowledge, deadlines, regulations
dings is entered in the “power of ten“ cotta, concrete, wood, galvanized ste- the construction site work is for us to and economy. However, this work in
era, in reference to the Charles and Ray el. We assemble them in a original keep essential elements of the detail’s progress in the detail’s development of
Jumeau + Marin + Trottin
Eames’s movie. We can scroll in the fi-
les since the site plan towards the bolt
way to obtain the wished effect. To
compare it with cooking skill, we use
conception integrating the technical
expertise of the construction company.
construction site is rich and allows to
exceed our technical knowledge with
assembly. Since 1/2000 scale towards fresh and natural products and we ne- This reality is heavy because every the technological tools and the com-
1/1 scale. Find the right scale, which ver use already made products (like a time it’s a negotiation between the panies skills.

Go House, Thionville (FR) 2006 Crèche Frémicourt, Paris (FR) 2013 Espace d’entreprises Biopôle, Rennes (FR) 2014 Médiathèque Cimendef, Saint-Paul de la Réunion (FR) 2014
Go House Crèche Frémicourt Espace d’entreprises Biopôle Médiathèque Cimendef
Thionville (FR) 2006 Paris (FR) 2013 Rennes (FR) 2014 Saint-Paul de la Réunion (FR) 2014

Annette Gigon - Mike Guyer and shelter people. We think of build-

Organized in three levels, this metal-frame house is fixed on
a concrete basement. The facades are made of glass outlines
called “profilit”, offering thermal insulation as well as intimacy
light. Architecture is material perma-
The facades of this nursery are covered by elements of
enameled colored terracotta.
This mineral cladding partially returns on the roof. In the
The facades are covered by a protection and filtering
architectural envelope.
The sinusoidal amounts form a sensitive skin like a canopy.
The medialibrary is a 34m large and 32m high cube. On the
facade, there is an aesthetic code related to the universe
of books and knowledge : it creates an effect of an inequal
protection.
ings as specific “crimpings” of material
This translucent envelope is leaned and the different levels
are shifted ones compared with others. A zinc roof continues
nently joined, layered, poured, pieced
playground, a canopy is also covered by elements of
enameled colored terracotta and provides a sun protection.
All these elements form a mineral drawing on the facade, as
The gap revealed by the superposition of the sinusoidal and
right amounts produce a dynamic optical effect.
Theses stiles protect the building : Biopôle consists in two
book pile. These are in fact ondulated louvres layed out on
the periphery of the building. It forms a protective envelope.
This envelope becomes porous to glimpse inside through

We like to imagine how materials can features. on the earth’s surface – durable, beau-
the outside envelope, following the “profilit” glass weft

The house includes wide windows. Those clear glass

together around space.
compound of some pixels. noble levels and a technical terrasse based in retreat,
organized around ae central atrium.
Skin of the building can be viewed from different points of
openings shaped eyes on the front.
The anodized aluminium facade captures the specific
sunlight of the Indien Ocean.

be “trained” to form spaces, to resist tiful, precise compositions of materi-

windows are cleverly organized according to the rooms and
the view from the house, and connect it with its
environment.
view and becomes a dynamic facade. The facades can be seen from the mountain where we
can see draw a face, made by the shadows of the offset’s
amounts.

gravity, defy the weather, to enclose als that can be permeated by air and

0 0 50cm50cm 0 0 50cm50cm 0 0 50cm50cm

Kirchner Museum, Davos (CH) 1992 0

0
Löwenbräu Complex, Zurich (CH) 2013
50cm

50cm
0

0
Würth Haus Rorschach, Zurich (CH), 2013
50cm

50cm
0
Housing development Zellweger-Areal, Uster (CH) 2013
0
50cm

50cm

A museum
A museum for for
thetheworkwork
of the
of thepainter
painterErnst
Ernst
Ludwig
Ludwig
Kirchner
Kirchnerwaswasbuiltbuilt
in the Löwenbräu
in theLöwenbräuComplex
alpine
alpine Complex TheTheLöwenbräu
Löwenbräu complex,
complex, a former
a former
brewery,
brewery, is converted
is converted intointo
a new
a new
urban
urban
Würth
WürthHaus
ensemble
ensemble
HausRorschach
Rorschach TheThe
Würth
Würth
HausHaus
Rorschach,
Rorschach,situated
situated
between
between thetheshore
shore
of Lake
of Lake
Constance
Constance
Housing
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andandthethe
developmentZellweger-Areal
Zellweger-Areal \The\The\The
Zellweger
Zellwegercomplex,
complex,
set set
on aonformer
a former
industrial
industrial
site,site,
boasts
boasts
outstanding
outstanding landsca-
landsca-
A museum
town town forDavos,
of Davos,
of thewhere
work of the
where
he painter
spent
he spent thethe Ernst
last last Ludwig
twenty
twenty Kirchner
years
years
of his waslife.
of his
life. Löwenbräu Complex
built in the alpine The Löwenbräu
with with complex,
an enlarged
an enlarged artsartsa former
centre,
centre, brewery,
a new
a new
office isbuilding
office converted
buildingandandinto aaresidential
new urban
a residential tower.
tower.
Würth Haus Rorschach
ensemble The Würth
train
train Haus houses
station, Rorschach,
station, houses asituated
a conference
conferencebetween
centre,
centre, theexhibition
shore spaces
exhibition of spaces
Lakefor
Constance
for
thethe
art art
Housing development Zellweger-Areal
andcollection,
the
collection, pe Zellweger
features. complex,
pe features.
Two Two set onbuildings
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residential a former industrial
buildings
of differingsite,
of differing boasts
heights areoutstanding
heights are
aligned
aligned landsca-
withwith
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rowrowof of
92
992 town ofmuseum
TheThe Davos,
museum where
hashas
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designed lastwith
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with reference
referenceto the Zurich
to theZurich(Switzerland),
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deta- (Switzerland),
2013
2013 with
TheanThe
20enlarged
20
storey
storeyartshigh-rise
centre,
high-rise aresidential
new office
residential tower,building
tower, withwith and
its itsalarge
large residential
cantilever tower.
cantilever
to the
to the
Zurich
south,
Zurich(Switzerland),
south,
hashas
(Switzerland),
2013
Würth Haus20132013
Rorschach
train station, houses
administration,
administration, a conference
work-shops,
work-shops, acentre,
a restaurant exhibition
restaurant andand a spaces
a cafeteria. for The
cafeteria.
The the art collection,
greenish
greenish
Uster
Uster(Switzerland),
crystalline
crystalline
(Switzerland),
2013
2013 pesycamore
features.
sycamore Twotrees
trees residential
by the
by the buildings
pondpond
in the of differing
in the
north
north
andand heights
the the are aligned
tree-lined
tree-linedcourse with
course thethe
of the
of row
streamof in in
stream
2um Löwenbräu2013
Complex Housing development Zellweger-Areal
A museum for the work of the painter Ernst Ludwig Kirchner was built in the alpine The Löwenbräu complex, a former brewery, is converted into a new urban ensemble The Würth Haus Rorschach, situated between the shore of Lake Constance and the \The Zellweger complex, set on a former industrial site, boasts outstanding landsca-
The
ched
museum
ched ched has
flat-roofed been
flat-roofed
Theflat-roofed
The
fourfour
designed
architecture
architecture
architecture
exhibition
exhibitionhalls
with great
of Davos.
areofare
halls
of Davos. restraint and with reference
town of Davos, where he spent the last twenty years of his life.
litDavos.
by
lit wall-to-wall
by wall-to-wall glass
glass
ceilings.
ceilings.
TheThe
to the
daylight
Zurich (Switzerland),
deta-
daylight
enters
enters
The
one
20
one
The
tostorey
one
toThe
four high-rise
to four
apartments
fourfaçades
façades
apartments
apartments
of the
residential
perperfloor, tower,
floor,
all of ofwith
allwhich whichits
facelarge
face incantilever
in several
several
directions.
directions.
with an enlarged arts centre, a new office building and a residential tower.
of the per floor, all
residential
residential of
tower which
tower
andand face
the thein new
new several
easteast directions.
office
office
building
building
Zurich (Switzerland),
to the south, has
areare
cladclad
in in
administration,
building
building
building
between responds
between
work-shops,
responds
respondsto the
transparency
to the aunique
restaurant
unique location and
location a cafeteria.
of the
of the
sitesite The
withwith agreenish
a structure
structure
that that
Uster (Switzerland), 2013
crystalline
oscillates
oscillates
train station, houses a conference centre, exhibition spaces for the art collection,
to the and
transparency unique
and
shinylocation
shiny of the
reflective
reflective site with
surfaces
surfaces amultiply
structure
thatthat thethat
multiply the oscillates
natural
natural
beauty
beauty
sycamore
thethe
thetrees
trees byThe
southeast.
southeast.
southeast.
trees
andand The
works
the
The
two
works
of
pond
two two in the north
buildings
buildings
create and
create theL-shaped
tree-lined
an L-shaped
an green course
green ofbetween
areaarea the stream
between them, in with
them,
with
pe features. Two residential buildings of differing heights are aligned with the row of
ofbuildings
art.art. create an L-shaped green area between them, with
rland), 1992 The
notfour
not
fromexhibition
from
above
above
The museum has been designed with great restraint and with reference to the deta-
buthalls
but are litinto
sideways
sideways byinto
wall-to-wall
thethelarge
large glass ceilings.
overhead
overhead
ched flat-roofed architecture of Davos.
lighting
lightingThespaces,
daylight
spaces, entersby by
unhindered
unhindered Zurich (Switzerland), 2013 The façades
molded
molded
molded of
ceramic
ceramic
ceramic
The 20 storey high-rise residential tower, with its large cantilever to the south, has
theelements
residential
elements withtower
with
black and
black the
andand redrednew
glazedeast
glazed office
finishes
finishesbuilding
thatthat
refer are
refer
one to four apartments per floor, all of which face in several directions.
elements with black and red glazed finisheswin- that refer to the
clad
to the
to the
colo-
incolo-
colo- Zurich (Switzerland), 2013 between
of the
of the
thethe
transparency
of the
setting.
setting.
setting. The
TheThe
administration, work-shops, a restaurant and a cafeteria. The greenish crystalline
and shiny reflective
architecture
architecture
affords
affords surfaces
views
viewsoutoutthat
to tomultiply
the the the natural
surroundings,
surroundings, beauty
glimpses
glimpsesintointo
building responds to the unique location of the site with a structure that oscillates
architecture affords
Uster (Switzerland), 2013 trees
Mostandofworks
Most the
of the art.
sycamore trees by the pond in the north and the tree-lined course of the stream in
of apartments
apartments in both
in both
buildings
buildings
havehave
living/dining/kitchen
living/dining/kitchen areas
areas
thatthat
the southeast. The two buildings create an L-shaped green area between them, with
notthe
from
the above
thick
thick
layersbut
layers sideways
of snow
of snow into
in winter. the
in winter. large
For For overhead
night-time
night-time lighting
useuse
of the spaces,
of the
spaces
spacesunhindered
thetheskylights by
skylights
alsoalso redredbrickwork
brickworkof the
of the
existing
existing
buildings.
buildings.DoubleDoublealuminum
aluminum win-
dows dows
with with
additional
additional building,
building,
andand
sightlines
sightlines
through itviews
through toout
toitthe the
parkto theand
park
and surroundings,
lake.
lake.
TheThe glimpses
building
buildingreacts into
reacts
to its
to its Most of the apartments in both buildings have living/dining/kitchen areas that
extend
extend
through
through
thethe
building,
building,
opening
opening
ontoonto
bothboth
thethe
green
green
inner
inner
courtyard
courtyard
andand
thethe
The four exhibition halls are lit by wall-to-wall glass ceilings. The daylight enters The façades of the residential tower and the new east office building are clad in between transparency and shiny reflective surfaces that multiply the natural beauty trees and works of art.
 Iuav : 140 14
ARCHITECTS DRAWINGS

Dominique Perrault Architecture de and outside are open to each other. This possibility of transfiguring archi- and private, between outside and in- Perrault is playing with the effects of
Vanishing architecture, One way he meets this challenge is by tecture can be achieved thanks to the side, between the urban magma and immaterialityon its façade; and the
the aesthetic of disappearance manipulating scale through the selec- effects produced by metallic mesh in the private sphere. The main objective ceiling of the main courtroom of the
tion and implementation of materials. natural or artificial light, to its transpa- of Dominique Perrault’s architectu- Court of Justice of the European Union
The creation of architecture is unde- One material that possesses such fan- rency, translucency and softness. Faça- re is this aesthetic of disappearance. in Luxembourg is attired in indefinable
niably an act of authority. Our impres- tastic properties is metallic mesh. It des, walls and ceilings are not only Many of his buildings offer examples layers of moiré and luminescence.
sion of architecture is usually one of has a certain hardness and resistance separations but also places of transi- of the way he implements this theory. Perrault imagines and develops details
something heavy, immobile, dense that offers shelter, since that is archi- tion, whose transparence accentuates The Bibliothèque Nationale de France designed to achieve his purpose. They
and complex. It separates the land tecture’s main role, but it also has a the idea of visibility. Metallic mesh can appears as a hollowed out space with enable him to implement metallic
and physically creates division. For wonderful poetic and quasi-immate- be used topographically to engage in only its four corner angles protruding; mesh in a way that erases and dema-
Dominique Perrault, the challenge is rial quality. The dialectic of this mate- a dialogue with the things around it the Olympic sports complex in Berlin terializes his architecture, overcoming
to change this, to eliminate heaviness: rial interacting with the environment in order to protect, to welcome, to sinks into the ground, allowing only its its quality of static object.

trchitecture
hitecture
Architecture
ault Architecture
to design walls that allow one to see causes a building to appear then di- create in-between places, places with outline to appear on the surface, en-
through it, allow air to flow through it, sappear, to be present then absent, a certain depth which allow us to hanced by the visual aspect of metallic
and give one the impression that insi- and to be opaque then transparent. manage the interplay between public mesh; with the Grand Theatre of Albi,

nce

urhority. Our
heavy,
nd
allyphysically
e is to change
ange
one
e to see
onimpression
ay
etshe meets
ection
d and

cis metallic
ers shelter,
er,
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sl material
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e then
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eshuralin natural
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ut
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ollow us to
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ide outside
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e is this
sexamples
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ationale de
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er corner
n sinks into
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he Grand
mmateriality
ty
the
of Court of Court of Justice of the EU , Luxembourg (LU) 2013 Velodrome and Olympic Swimming Pool, Berlin (DE) 1999 La Bibliothèque nationale de France Grand Theatre, Albi (FR) 2014
dnable
in indefinable
Paris (FR) 1995
hieve his
in a way that
that
0
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50 cm
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features. These devices are not limited
0 0
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banisters are ancillary parts and must soundness of the overall structure du- paired forces located on distant parts
0
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0
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0 50 cm 0 10 cm 0 50 cm

Bridges Sections to the construction of roofs and side be constructed so as to facilitate their ring the replacement process. In such of the structure that are then transfer-
Concepts
Court of Justice of the
versus
Courtofofthe
Court of Justice
EU Luxembourg
Luxembourg
Justice
Image
EU of the
(LU) 2013 (LU) 2013
EU
MOIRÉ EFFECT MOIRÉ
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MOIRÉ EFFECT ON THE CEILING
MOIRÉ EFFECT The
ON Court
THE ofCEILING
protective
Justice of the European Union is of symbolic importance. The
The Court of Justice of the European Union is of symbolic importance. The
aim of the architectural intervention and extension of this complex was to
VelodromeVelodrome
VelodromeVelodrome
elements.
and Olympic Berlin In
1999(DE)
Swimming
Berlinand
(DE)
andSwimming
and Olympic
1999
Pool
Olympic Swimming
some cases
Pool Pool
for UNIFORMITY OFUNIFORMITY
THE ROOF
Two
replacement. IfLa Bibliothèque
UNIFORMITY OF THE ROOF
UNIFORMITY OF THE ROOF
buildings
built LaParis
of La Bibliothèque
chestnut
Bibliothèque nationale nationale
(FR) 1995 and
de France,
for a sports complex - the velodrome and Olympic swimming

(FR)Paris
Two buildings for a sports complex - the velodrome and Olympic swimming
pool - appear like two lakes in the landscape, covered with a giant cloth
nationale de France,
1995
de France,
cases, a bridge will be Grand
closed Theatre
during
Grand Grand Theatre
Theatre
(FR)Albi
Albi Theatre
2014 (FR) 2014 red to the supporting points. TRANSFIGURATION OFart,
THE WALL
TRANSFIGURATION OF THE WALL
TRANSFIGURATION OF THENationale
The Bibliothèque WALL de France can be described as a piece of urban
The Bibliothèque Nationale de France can be described as a piece of urban
art, which offers a virtual volume in between four “beacon”-like markers. It is
DEMATERIALIZATION OF THEand ofFACADE
DEMATERIALIZATION OF THE FACADE
DEMATERIALIZATION
The Grand OF THEofFACADE
Theatre Albi serves as the focal point of a tree-lined avenue
The Grand Theatre of Albi serves as the focal point of a tree-lined avenue
culture and of a network of public spaces. Its façade functions as a
Court of Justice of the EU aim ofON
theTHE
architectural
The Court of Justice of the European
CEILING intervention and extension of this complex was to
Union is of symbolic
create a building that could unify the whole rather than make this fourth
importance. The Olympic Swimming Pool pool - OF
appear
THE likeROOF
Two buildings for a sports complex - the velodrome La Bibliothèque
two lakes in the landscape, covered with a giant cloth
nationale de France,
of metallic fabric. Its radiant and watery reflections vary with their specific
and Olympic swimming Grand which
TRANSFIGURATION
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offers aavirtual
OF
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instance
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(FR) Paris
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- onea round
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the other
with arectangular
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roofs by Albi (FR) 2014
are clad with large 2014
art, which offers a virtual volume
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“beacon”-like
theThe
To changemarkers.the face and It is nature of objects, the use
culture and of a network ofis public
culture
transition space, as all four
spaces.volume,
a transparent
and of a network
sides with
Its façade
drapedofwith
of this prism are
fullyfunctions
public
open and
aglazed
spaces.
gigantic
as aa big window towards the city and
like
and lightweight
Its façade
smooth
accessible.cover
andfunctions
lightweight ascover
It - in metallic mesh. To
a - in metallic mesh. To
create a building that could unify the whole rather
facilitating userprestigious
than makeatmosphere
orientation this
and fourth of this institution,
strengthening its identity is an anodized gold- massive
of metallic fabric. steel roof
Its radiant and framework.
watery
swaths of the samefaçades
reflections vary with
metallic and roofs
their
fabric, areisclad
specific
which made withoflarge
woven pieces of stainless a majorliterally
example transfigures of the
of the aesthetic wall.
metallic thechange
offabrics disappearance
makes itface and nature
of architecture.
possible to replace of objects, the use
Thephysical
the and the concrete draped
transition space,a gigantic
asconvincingly
all four smooth
sidescreate of this theprism
effect areofopen
a net,and the accessible.
metallic mesh It functions as a
extension of the complex an obviously separate one. Inside the complex, geometry. Both arenas - one round and of
thetheother rectangular - are which
covered by of woven pieces of stainless idea of covering the walls inside and outside the libraryit possible
with metallic mesh the physical and the concrete is a transparent volume, fully glazed like a bigthe window towards the city and
extension of thefacilitating
complex user orientation
an obviously tinted and
separate
aluminum strengthening
one. Inside
mesh. its
theidentity
Different complex,
typesis an anodized
of this gold- the façades, ceilings
mesh clothe swaths
geometry. Both arenas same
- one metallic
round
steel andfabric,
cable. the
The other
roof’s is made
rectangular
slightly - are covered
undulating metallicby mesh is held in place idea of of metallic
covering fabrics
the makes
wallswithinside
fabric andand outside to the
texture. replace
library
The with metallic
resulting mesh is intensified by the many
transfiguration is aconvincingly
transparent create volume,
membrane. effect
fully Itsofcurves
glazed a net,
like athe bigmetallic
and windowmesh
counter functions
towards
curves, asfor
the city
required a this static mesh, create
and
the major element intensifying the prestigious atmosphere of this institution, a massive steel roof framework.steel Theircable.
façades Theand roofs are clad with large literally transfigures the wall. with
To change the texture.
face andThe nature of objects, the use is intensified by the many draped with a gigantic smooth and lightweight cover - in metallic mesh. To for this static mesh, create

In the design of timber bridges durabi- tral beam that can be easily protected years, the same goes for all the struc- will be a smaller operating load during four wooden bridges whose structural
the major element tinted aluminum
intensifying mesh.
the andDifferent
prestigious types
walls ofatmosphere of thisofmesh
the building. On clothe
lowerthe
thistheinstitution, façades,
level, ceilings ceiling is encircled
the courtroom a massive steel roof framework. roof’s slightly
horizontally
Their undulating
with powerful
façades metallic
and roofs aremesh
steel springs, is held
clad with and in place
the
large façade consists of overlapping fabric and
literally transfigures qualities
the wall. ofresulting
To change the transfiguration
this material: face its anddense naturestructure,
of objects, thethe wayuse it can be stretched and membrane.
draped Its curves
with a gigantic a free, and
smooth happy counter
and curves,
andlightweight
lyrical required
architecture.
cover - in Its brilliance,
metallic mesh.reflections
To and color clothe
facilitating user orientation and strengthening itsthe
identity is anlights
anodized gold- swaths of the same metallic fabric, which is made of woven pieces offixed
stainless of metallic fabrics makes it possible toofreplace the physical anditstructure,
the concrete convincingly create the effect of ahappy
net, the metallic mesh functions as a while
facilitating user and walls of
orientation building.
with
and strengthening On the itslower
draped inlevel,
identity theanodized
aisgolden
an courtroom
mesh bestowing ceiling isa encircled
gold- majestic and authoritative swaths of thehorizontally
same metallic with powerfulpieces
fabric, steel
which
which issprings,
are
made and
of by the
steel
woven façade
plates.consists
pieces Only
of theof roof
stainless overlapping
lights lie on the same qualities
of metallic fabrics this material:
makes folded,
it possibleits
thedense
way
to replaceshimmers, theand
the physical way
its itandcanthe beconcrete
iridescence stretched
and graphicand texture. In the a free,
convincingly create andthethelyrical architecture.
architecture
effect of a net, in athe Itsmetallic
robe brilliance,
of light meshreflections andascolor
also serving
functions a aclothe
as filter for sunlight a
tinted aluminum mesh. Different types oflights
this mesh
drapedclothe the façades, ceilings steel cable. The roof’s slightly undulating metallic mesh is held in place with fabric and texture. The resulting transfiguration ofis the
intensified by the many membrane. Its curves andthe counter curves,in required offor this staticalsomesh, create
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of thismesh
mesh upon bestowing theafaçades,
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clothe majestic and providing
while ceilings
also authoritativea measure of poetry and steel cable.pieces whichslightly
The roof’s are fixed plane byas
undulatingsteel plates.
metallicOnly
themetallic mesh
mesh the roof lights
ispieces.
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place on roof
the same
remains an unbroken, folded,
with fabric andthe way itThe
texture. shimmers,
caseresulting and its iridescence
internal stairway,
transfiguration and panels
islarge graphicby
intensified oftexture.
metallic
the many Inmesh
the are suspended at membrane.architecture
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robe
break counter light
and while
acurves,
shelter serving
from
required rain. forasthis
a filter
staticformesh,
sunlight a
create
and walls of the building. On the lower level, theupon
atmosphere courtroom
the ceiling
chamber is encircled
while also providing a measure of poetry and horizontally with powerful steel springs, asand
thethe façade consists of Thus,
overlapping qualities of this material: its dense structure, the way it can be stretched and a free, happy and lyrical architecture. Its brilliance, reflections andconsists
color clothe
and walls of the building. On the lower lyricism.
level, the courtroom ceiling is encircled horizontallyplane
with powerful metallic mesh
steelseemingly
springs, pieces.
homogeneous
and the façade thestructure.
roof remains
consists ofThe an unbroken,
uniformity
overlapping of the stretched, thick, case of the internal
qualities of this material: aitsdistancestairway, large panels
from the concrete
dense structure, of metallic
the way wall mesh
it canand
be cover are suspended
the acoustic
stretched at
and panels in between. windhappy
a free, breakand and aThe shelter
lyrical metallic from
architecture. rain. Its
mesh itself of a flat metal
brilliance, reflections andwire
colorwound
clothealong steel rods to

lity is the crucial issue. In the Scandi- against the weather. tural components that are weather ex- construction. concept is based on a central girder.
with lights draped in a golden meshlyricism.
bestowing a majestic and authoritative pieces which are fixed by steel plates.
seeminglyOnly the roofgray lights lie on the The
sameby draping folded, the way it shimmers, and its iridescence and graphic texture. In the the architecture in a robe The
of light whilemesh also serving as a mesh, filter for sunlight athenwound
with lights draped in a golden meshThe long
bestowing panels of fabric
a majestic andareauthoritative
suspended from main ring of welded metal tubes pieces which are fixedhomogeneous
by steel plates. structure.
fabricOnly the roofuniformity
is achieved lights lie on of the
the stretched,
thewhole
samebuilding thick,with a metallic cloth, folded, athedistance from the
way it shimmers, concrete
Technical wall
and itsservices andcan
iridescence cover
beand thegraphic
hidden acoustic
behind panels
this In
texture. inthebetween.The architectural
intervention. metallic
the architecture in acreate itselfof
robe aconsists
spiral
light while of aalsoflat
whichmetalcanwire
serving as abe along
woven
filter for insteel rods
limitless
sunlight to
a dimensions. Huge
atmosphere upon the chamber whileThe also
longproviding a measure
panels while
of fabric
theare ofsuspended
poetry and from main ringextend
of and
welded metaltotubes plane as the metallic mesh pieces. Thus,
fabricthe roof remains an unbroken, case of the internal stairway, Technical
large panels of metallic bemesh are suspended at wind break and a shelter from rain.spiral mesh,
atmosphere upon the chamber at also center
providing of the courtroom
a measure ofandpoetry outward the walls, where they plane as thegray
metallic is achieved
mesh which,
pieces. byThus,
draping
while the the
roofwhole
creating building
the appearance
remains withofaametallic
an unbroken, cloth,
solid, also interacts with changing case of the internal services canlarge
design
stairway, hidden
follows
panels the behind
ofsame this intervention.
principle
metallic meshasare The architectural
forsuspended
clothing: theatindependence of clothing windcreate
breaka and panels
a shelter which can thenwith
are fastened
from rain. be wovenclevises in aslimitless
well asdimensions.
inverted and Huge
adjustable steel
lyricism. at the center of the courtroom
are clamped andinextend
place with outward to theand
eyebolts, walls,
arewhere
fixed tothey
the ceiling with adjustable seemingly homogeneous structure. which,Thewhile
uniformity
creating of the appearance
stretched,
perceptions of lightthick,
of
anda solid, alsotointeracts with and
changing a distance from the concrete designwall and coverthe
follows thefromacoustic
same panels
theprinciple asinforbetween.
clothing:
space ofthe independence of clothing The metallic mesh itself consists
panels are of afastened
flat metal wire
with wound
clevises along
as wellsteel
as rods toand
inverted adjustable steel
lyricism. seemingly homogeneous structure. The uniformity of shadow
the stretched, boththick,
appear disappear. a distance from the concrete wall body creates
and cover thea acoustic relation
panels inwhile
between.it also separates them. The metallic mesh itself plates onto
consists a steel
of a flatframe metalconstruction
wire wound so along
the angle
steelofrods
eachtoplate can follow the
The long panels of fabric are suspended from main
are clamped ringmetal
in place of welded
with eyebolts, metal andtubesare fixed to the ceiling with adjustable gray fabric is achieved by draping the whole ofbuilding
perceptions light and with a metallic
shadow cloth,
to both appear and disappear. Technical services can be hidden from thebehindbodythis intervention.
creates a spaceThe architectural
of relation while it also separates them. create a spiral mesh, which can onto
plates then abesteelwoven frame in limitless
construction dimensions.
so the Huge
angle of each plate can follow the horizontal
The long panels of fabric are suspended shanks. from main Two ring layers of metal
of welded fabric
metal form surfaces, hanging from wall to
tubes gray fabric is achieved by draping the whole building with a metallic cloth, Technical services can be hidden behind this intervention. The architectural create a spiral mesh, curve which of the canfaçade then beand position
woven the fabric
in limitless in parallel. In
dimensions. addition,
Huge

navian countries, wood is often treated This solution is based on a certain hie- posed. If it is necessary to have such Central truss bridges are sensitive to Apparently so different, they share a
at the center of the courtroom and extend outwardTwo
metal shanks. to the walls,
layers
wall of where
and metal they
wall tofabricceiling, formansurfaces,
arrangement hanging from wall to which, while creating the appearance of a solid, also interacts with changing design follows the same principle as for clothing: the independence of clothing panels are fastened with clevises
curve of as thewell
façade as inverted
and support
position and the adjustable
the woven steel
fabric inpanels
parallel. Inare addition, horizontal
at the center of the courtroom and extend outward to the walls, where theythat could only be achieved with large, which, while creating the appearance of a solid, also interacts with changing design follows the same principle as for clothing: the independence of clothing panels are fastenedcables with clevises as well as inverted and designed
and adjustable to adjust the forces of
steel
are clamped in place with eyebolts,wall and and
are wall
fixedtotoceiling,
the ceiling withseamless
an arrangement adjustable that couldofonly be achieved withhighlight
large, this architecture perceptions of light and shadow to both appear and disappear. from the body creates a space of relation while it also separates them. plates onto a steel frame cables
construction
support so the angle
woven ofpanels
each plateare
and candesigned
follow the to adjust the forces of
are clamped in place with eyebolts,unified and are andfixed to the ceiling pieces withwoven metal. They
adjustable perceptions of light and shadow to both appear and disappear. from the body creates a space of relation while it also separates them. plates onto a steel frame stress in the
construction construction.so the angle of each plate can follow the
metal shanks. Two layers of metal fabricunifiedform
andsurfaces,
seamlessofhanging
pieces offrom
appearance wovenwall to
andmetal. They highlight
disappearance, this architecture
creating curve of the façade and position
stress inthe thefabric inthe
construction. parallel.
case ofInthe addition, horizontal
metal shanks. Two layers of metal fabric form surfaces, hanging from wall to moiré effects and effects of curve of the façadeInand position Albi - like in
fabric in many
parallel. other cases - the
In addition, use of the metallic mesh is a
horizontal
wall and wall to ceiling, an arrangementof appearance
that could andonlydisappearance,
be achieved with
luminescence, creating
large, moiré effects and effects of cables support the wovenInpanelsthe case andofareAlbidesigned
- like in many totheadjustotherthe cases
from- physical
forces the
of use ofties, the metallic mesh is a
wall and wall to ceiling, an arrangement that couldthus onlyenhancing
be achieved thewith
importance
large, and richness of the functional cables support theway woven to freepanels architect
and are designed to adjust sweep away
the forces of heaviness and design

with chemicals in order to expose it to rarchy of space and importance: the components, they must be replacea- asymmetric loads. Eccentric effects common structural setting. For the un-
unified and seamless pieces of woven luminescence,
metal. Theythus enhancing
highlight
aspects the architecture.
importance and richness of the functional
thisofarchitecture
the stress in the construction.way to free the architect architecture fromasphysical easy toties, buildsweep away heaviness and design
as to declare.
unified and seamless pieces of woven metal. They highlight this architecture stress in the construction.
of appearance and disappearance, aspects creatingofmoiré effects and effects of
the architecture. In the case of Albi - like inarchitecture
many otheras cases
easy - thebuild use of the metallic mesh is a
of appearance and disappearance, creating moiré effects and effects of In the case of Albi - like to in manyasother to declare.
cases - the use of the metallic mesh is a
luminescence, thus enhancing the importance and richness of the functional way to free the architect from physical ties, sweep away heaviness and design
luminescence, thus enhancing the importance and richness of the functional way to free the architect from physical ties, sweep away heaviness and design
aspects of the architecture. architecture as easy to build as to declare.
aspects of the architecture. architecture as easy to build as to declare.

the elements. In the Alpine countries more central a structural element is ble and the structural conception of due to wind force or accidental loads derstanding of a structure it is neces-
on the contrary there is a long and sectionwise the better it is protected the work must be designed in such a stress the bridge with torsional mo- sary to know the underlining concept
distinguished tradition of protecting from sun, rain and snow, and the gre- way that the transitional absence of ments. These can be resisted by bulky of the project. An analysis based solely
i Gartmann timber work thanks to specific design ater its life expectancy. Railings and one such element does not affect the sections resistant to torsion or with on form or image leads to a superficial
versus image understanding.

the cru-
od is often
to the el-
ary there
cting tim-
These de-
oofs and
instance it
n be easily

of space
al ele-
d from
xpectan-
and must
cement. If
o about
ural com-
cessary
laceable
ust be de-
sence of
ness of
t process.
replace-
aller oper-

metric
acciden-
ments.
stant to
ant parts
the sup-

oden
n a cen-
re a com-
ng of a
ning con-
on form
g.

Mursteg Murau, Steiermark (A) 1995 Der Steg ist eine gedeckte Fussgänger- und Radwegbrücke. Die Hauptöffnung
überquert den Fluss Mur mit einer Spannweite von 47.20 m. Dach und Gehweg
Erster Traversiner Steg, Der Steg diente den Wanderern der “Via Spluga“. Da er an einem unwegsamen
Ort ohne Zufahrtsmöglichkeit gebaut wurde, konstruierte man den 47 m langen
Glennerbrücke Diese Strassenbrücke ersetzt eine frühere Stahlfachwerkkonstruktion, die
stark korrodiert war. Auf einem schmalen hölzernen Sprengwerk „balanciert“
Verweilbrücke Die Brücke dient einem Bergwanderweg. Sie ist 18 m lang und bietet eine
spektakuläre Sicht auf die bizarren Gletschertöpfe des Flembachs. Ihr durchgehender
Architekten Marcel Meili und Markus Peter, Zürich Peiden Bad (Val Lumnezia), 2002 Trutg dil Flem, Flims 2013
Mursteg Murau, Steiermark (A) 1995 weisen je einen zentralen Gurt aus nagelpressverleimten Brettschichthölzern
auf, die im Bereich der Auflager mit kräftigen Schubscheiben verbunden sind.
Gurte und Schubscheiben bilden in Längsrichtung einen mächtigen einfeldrigen
Viamalaschlucht bei Thusis 1996 Erster Traversiner Steg,
Unterbau als nur 4.2 Tonnen wägendes Dreigurtfachwerk, das mit einem
Helikopter an seinen Bestimmungsort eingeflogen werden konnte. Der Druckgurt
des Fachwerks bestand aus einem Lärchenbrettschichtholz, das durch eine unter
Glennerbrücke
eine Fahrbahnplatte aus Beton. Die Öffnung zwischen den von der alten Brücke
übernommenen gemauerten Widerlagern beträgt 24.60 m. Auf Wunsch der
benachbarten Gemeinden wurden für die Holzteile lokal gewonnene Vollhölzer in
Verweilbrücke
horizontaler Träger liegt auf einem Sprengwerk von 12.50 m Weite. Zum Schutz
gegen Witterungseinflüsse ist dieser Träger aus Lärchen-Brettschichtholz mit einer
wasserdichten Abdeckung versehen. Darauf sind U-förmige Geländerrahmen gesetzt.

Architekten Marcel Meili and Markus Peter, Zürich
geschlossenen Rahmen. Dieser Rahmenträger bildet auch eine räumliche Antwort
auf die insgesamt vier unterschiedlichen Zugänge und Zufahrten auf die Brücke. Viamalaschlucht bei Thusis (CH) 1996
dem Gehweg liegende Abdichtung vor der Witterung geschützt wurde. Die beiden
Zuggurte waren Edelstahlseile. Die verbindenden Fachwerkpfosten besassen Peiden Bad, Val Lumnezia (CH) 2002
roher Fichte verwendet. Mit diesen Hölzern wurde ein mehrfaches Sprengwerk
aufgebaut. Die längsten Hölzer messen 13 m. Alle Hölzer arbeiten auf Druck, die Trutg dil Flem, Flims (CH) 2013
Der Träger wird von je vier ungeschützten Sprengwerkstielen aus Lärchen-Kernholz
gestützt. Diese redundanten Abstützungen sind einzeln auswechselbar. Gehweg
Der Rahmen ermöglicht in Feldmitte über dem Fluss eine ungehinderte Aussicht zusammengesetzte Querschnitte aus je vier splintfreien Lärchenbrettern. Die langen Streben sind zur Knickaussteifung durch Gewindestangen und Holzklötze und Geländer bestehen aus Föhren-Kernholz (Kiefer). Nach Erstellen der Auflager
nach allen Seiten. Die Torsionsbeanspruchung wird hauptsächlich durch die Anschlüsse waren derart ausgebildet, dass die Bretter auf einfache Weise einzeln untereinander und mit den oberen Sprengwerksknoten verbunden. Die Knoten wurden diese genau eingemessen und die Auflagerschuhe der Holzkonstruktion
stark dimensionierten rechteckigen Stege der T-förmigen Gurtquerschnitte hätten ausgetauscht werden können. Die Diagonalen bestanden aus verzinkten bestehen aus an Ort gegossenen Betonklötzen. Auf diese Sprengwerkskonstruktion entsprechend justiert. Die Sprengwerkskonstruktion wurde dann mit provisorisch
aufgenommen. Herstellungsbedingt mussten die langen Träger in zwei Teile Stahlstäben. Nach Einfliegen des Unterbaus wurden die weiteren Bauteile wie wurde eine Balkenlage aus Vollhölzern montiert. Sie bildet sozusagen das Vordach der verschwenkten Stielen mit einem Helikopter zur Baustelle geflogen. Die geringen

ARCHITECTS DRAWINGS aufgeteilt werden. Der dadurch bedingte Gurtstoss besteht aus einer verzahnten
Fläche, die mit Epoxidharz ausgegossen wurde. Der Untergurt ist längs
vorgespannt, damit im Stoss nie Zugspannungen auftreten. Die konstruktiv einfache
Gehweg und Geländer in Paketen eingeflogen und vor Ort montiert. Zur Stabilisierung
gegen Torsionseinwirkungen dienten die vollwandigen Brüstungen, die ein vertikal
gerichtetes Kräftepaar aufbauen konnten, nachdem sie einzeln in die Widerlager
Sprengwerkskonstruktion. Darüber liegt eine verlorene Holzschalung, auf die eine
25 cm starke Betonplatte gegossen wurde. Die kräftigen Randborde der Betonplatte
schützen die dahinter liegende Holzkonstruktion vor Witterungseinflüssen; sie
Drehmomente infolge ausmittiger Last werden vom horizontalen Träger auf Torsion
zu den Anschlussstellen der Sprengwerkstiele und zu den Endauflagern geleitet.
Die gespreizten und seitlich der Trägerachse angeschlossenen Stiele nehmen einen
Iuav : 140
5. Mies van der Rohe, Barcelona pavilion
Working as an architect in Switzerland,
I witness how much constraints about
building performance can influence
the design practice, steering great
part of the architectural production
towards standard constructive solu-
tions and detailing. My concern here
though is not to question the establi-
shment, but to draw emphasis to the
challenge that an architect faces when
attempting to address materiality from
outside the box and to highlight the
importance of the architect/engineer
collaboration.
See:
G. Nordenson, Patterns and Structure:
Selected Writings, Lars Muller Baden-
London, 2010.
R. Venturi, V. Scully & A. Drexler, Com-
plexity and Contradiction in Architec-
ture. 2nd edition, The Museum of Mo-
dern Art New York, New York 2002.
Phenomenology of the (no) detail
Alberto Franchini
The only way to understand the me-
aning of Architecture is according to
a phenomenological ap-proach, as art
historian Heinrich Wölfflin brightly
described in his Psychology of Archi-
tecture: “The most deep content of
the architectonic impression is repre-
sented by the overcoming of the load
of the matter which is satisfied with a
will understandable for us in power-
ful masses.”1. With the mimesis these
“powerful masses” were represented
trough mouldings where you have a
transition between a vertical and an
horizontal element: for example in the
connection between the column and
the lintel you have the capital. Now,
that the mimesis is gone, so to under-
stand the “powerful masses” you have
to look at the details, where the archi-
tects can really put their intentions.
The detail is an intimate space where
you can only be alone in intellectual
connection with the physical world: we
can say that this is the haptic realm2 of
architecture.
In the Barcelona pavilion (fig. 5) Mies
van der Rohe shows us very little about
the construction: only two screws. The-
se screws hold a steel glossy carter
6. SANAA, Louvre-Lens Museum
that covers the column. The glossy car-
ter reflects everything that is around
it, except for the most important part:
the joints. The way the column is lin-
ked to the beam and to the concrete
foundation is totally absent. The first
impression is that the column, a tec-
tonic element representing the stabi-
lity of the building, is floating in the
space.
But this is not completely true, becau-
se Mies is not lying to you. He is tel-
ling you that the carter is floating and
not the column! Because, if you really
pay attention to what you see - you
look the ar-chitecture - you’ll discover
that the carter is a carter - you see it’s
thickness - and you see that is hold in
this position thanks to the screws.
What I’ve just described is really a dia-
logue between the viewer, that is expe-
riencing, and architecture: only trough
this exchange a deep connection betwe-
en man and architecture is possible.
SANAA in the Louvre-Lens Museum
(2013) is going further in this mea-
ningful abstraction of tectonic signs.
In this museum there is a façade co-
vered by aluminum sheets, 2mm thick
and 6m high, one besides the other
without any visible joints (fig. 6).
Everything is suspended. The emotion,
that you experience, in front of this
façade is provoked by the fact that you
cannot understand how is possible
that such a thin sheet and tall sheet
can stand. Even if you get closer to the
building and you see through the one
cm space that is left between one she-
et and the other, you cannot see how
the plate is erected. The honeycomb
panel on which the aluminum is glued
is arreared of about 2.5 cm. So you
cannot see it. This panel, a real struc-
tural element for the façade, gives the
aluminum plane the necessary rigidity
and the sufficient space for the screws
that carry the brackets.
Mies was playing with the way you op-
tically perceive the things, but here SA-
NAA conceal everything from the view
so that you are totally disoriented. No
more screws, that like compass, tell you
the correct direction to understand the
construction. Here, in this absent de-
tail, SANAA is playing with the (light)
matter, and more precisely with our ex-
15
STUDENTS DRAWINGS ARCHITECTS DRAWINGS
by the students of the University Iuav The Architectural Offices
in Venice: participating in the workshop
and in the exhibition:
Jennifer Adami, Giada Amelio,
Andrea Borin, Giacomo Arilotta, Burkhalter Sumi Architekten, Zürich
Tobia Badoer, Marco Barbato, Dominique Perrault Architecture, Paris
Matteo Barzi, Luigi Battaglini, Hermann Czech, Wien
Leonardo Beccari, Giacomo Bellinato, Boris Podrecca Architekten, Wien
Alessandro Bergamin, Barkow Leibinger, Berlin
Angela Bertiato, Pietro Bigatello, Studio Valle architetti associati, Udine
Marco Bisetto, Andrea Bocola, C+S Architects, Venezia
Laura Bonato, Alberto Bonotto, Takaharu + Yui Tezuka Architects, Tokyo
Giovanni Bordin,Sara Bortolato, Kengo Kuma, Tokyo
Matteo Boveri, Fabrizio Bozzato, Peter Märkli, Zürich
Riccardo Brasolin,Alex Bunea, Conzett Bronzini Gartmann, Chur
Riccardo Buscato, Marzia Busetto, Pascal Flammer, Balsthal (Swiss)
Riccardo Busetto, Matteo Callegari, OAB Barcelona
Francesca Camerin, Brigitte Shim + Howard Sutcliffe,
Ruben Camponogara, Gaia Caporale, Toronto
Martina Stella Carlon, Peripheriques Architects, Paris
Giacomo Celegon, Luca Cocco, ARTEC Architekten - Bettina Götz
Carlo Damiani, Silvia Danetti, and Richard Manahl, Wien
Friederike Demski, Giulia Di Summa, Park Associati, Milano
Giovanni Donazzan, Emilio Fileccia, Emilio Tuñón Architects, Madrid
Francesco Fiorese, Giada Galvan, Miller & Maranta, Basel
Alessia Gattolin, Antonio Lamarina, Laps Architecture, Paris
Claudia Lambini, Federica Leonardi, Walt + Galmarini AG, Zürich
pectations in front of them. Angela Manica, Michela Mansutti, Elasticospa+3, Chieri/Budoia
Rem Koolhaas in Casa da Musica Andrea Marigo, Edoardo Marin, Giulio Barazzetta + SGBarchitetti,
(2005) in Porto (fig. 7) is also working Francesca Martinelli, Isabella Milano
in the abstraction of the tectonic ele- Mazza, Angelo Mengato, Adelaide Gigon-Guyer Architekten, Zürich
ments like he wrote in SMLXL: “For Merlin, Enrico Montagner, Federico Bevk Perovic arhitekti, Ljubljana
years, we have concentrated on NO- Munaretto, Giovanni Nardo, Kahlfeldt Architekten, Berlin
Detail. Sometimes we succeed - it’s Ivan Paredes Ramos, CZA-Cino Zucchi Architetti, Milano
gone, abstracted; sometimes we fail - Giovanni Pastori, Labics, Roma
it’s still there. Details should disappear Filippo Pedrazzoli, Francesca Pettenò, Hild und K Architekten, München
- they are old architecture” (3). In this Anna Pinato, Fabio Pizzo, Ludloff+Ludloff Architekten, Berlin
building we see only a new concept of Rodrigo Qyshka, Elena Rampin, Staufer+Hasler, Frauenfeld (Swiss)
space that is covered with an irregu- Alessandro Rattin, Lorenzo Rigoni, Rafael Moneo, Madrid
lar form, resembling a sheet of paper Ilaria Savi, Sergio Sbardella, Werner Sobek, Stuttgart
folded many times, without any clear Marianna Scapin, Luca Silvestrin, Navarro Baldeweg Asociados, Madrid
structural meaning. The conception Elisa Tedeschi, Thomas Da Rios, Bfm-architekten, Berlin
of the building was not aware of the Paolo Toniolo, Flavia Tonon, Riegler Riewe Architekten, Graz
construction: if you look at the section, Giacomo Trevisan, Caterina Vaccari, SAM Architekten, Zurich
you cannot find any relation betwe- Claudio Vianello, Giulia Vignotto, Alberto Pugnale e Sofia Colabella,
en form and build, you see better the Ilaria Villanucci, Gianmarco Visentin, Melbourne/Napoli
enormous space that exist between Cristian Visintin, Marco Vittor, Bollinger + Grohmann Ingenieure,
the outside and the inside. In the inte- Roberta Vizzotto, Veronica Zanusso, Frankfurt/Wien
rior, the false ceiling - the latest form Laura Zorzato Russo-Boscato-Sciarretta, Venezia
of decoration - as it is not functionally
necessary, is there only to disconnect
human being form the outside. The
building in this manner is really spee-
chless to his obvious sparring partner:
the human being.
Details, for Koolhaas, should disappe-
ar only to show abstract concept that
can, in this way, travel easier around
the world. But here the phenomeno-
logy of architecture is impoverished,
there is no difference between the
image of the building and the real
one, there are no additional informa-
tion to stimulate the visitor. A deep
connection is no more possible in the
perception of these no-details.
“Is not only about the fact that a will
has to be fulfilled, but what kind of
will. A random cube respond to the
first task really well, but the contents
that are here represented are really
poor”4.
1
Heinrich Wölfflin, Psicologia dell’ar-
chitettura, Et al. edizioni, Milano 2010,
p. 31.
2
Steven Holl, Detail: the haptic realm,
“a+u”, Phenomenology of Perception
(special issue), July 1994, pp. 91-92.
3
OMA, R. Koolhaas, B. Mau, SMLXL,
Rotterdam, 1995.
4
Heinrich Wölfflin, Psicologia dell’ar-
chitettura, op.cit., pp. 31-32. 7. OMA - Rem Koolhaas, Casa da Musica, Porto
Iuav : 140 16
The word “detail” means different things to different architects. It is obvious that a Brunelleschi pilaster capital is of a different order
from the twist or taper of a Breuer concrete column. One is a decoration to cause richness, shadow and delight, helpful to the architecture.
The other is merely the shape of a necessary structural piece.
Mies van der Rohe says, “God lies in the details.”
Paul Rudolph says, “There are no details.” There is of course a generational distinction, but also a semantic one.
Can we ever speak meaningfully of details today? The most obvious example of shift of emphasis is in the work of Frank Lloyd Wright.
The Robie House of the 1800’s is full of beautifully worked out “details”. The Guggenheim Museum of the 1950’s has none, not even a stair rail.
Details today are hardly more than enlarged structural connection and corners.
The collection that follows contains many kinds of “details”. Window enframements (Miesian or even Perretesque), geometric calculations
as in the Roofless Church, decorative grills as in the stair rails, arbitrary steel curves as in the Museum of Modern Art’s East Wing, a single building
section as in the Dumbarton Oaks Museum. Varied as they are in type, they may sometimes all be called, I suppose, “details”.
Phillip Johnson, “Architectural Record”, April 1964

Construction is the truest guardian of the spirit of the times because it is objective and it is not affected by personal individualism
or fantasy. The idea of clear construction is one of the fundamentals we should accept. We can talk about that easily, but to do it is not easy;
it is difficult to stick to this fundamental construction, and then to elevate it to a structure.
Architecture begins when two bricks are put carefully together. Architecture is a language having the discipline of a grammar.
Language can be used for normal day-to-day purpose as prose. And if you are very good at that you may speak a wonderful prose.
And if you are really good you can be a poet. But it is the same language and its characteristic is that it has all these possibilities.
The physicist Schroedinger said of general principles, “the creative vigor of a general principle depends precisely on its generality”,
and that is exactly what I mean when I talk about structure in architecture. It is not a special solution. It is a general idea. And, although
each building is a single solution, it is not motivated as such.
Ludwig Mies van der Rohe, “Architectural Record”, October 1963

Approaching a building from a distance, we gradually shift our attention from the whole to the detail. The nearer we come, the more
the detail gains in importance. We are still with the basic conception – we remember the over-all architecture, the form, the silhouette,
the structural modularity; we are still guided by the general orientation of the building – but now, we see and touch and experience detail.
The architecture of past periods tended to lend melodies to the details; a column capital was a piece of sculpture in itself – a bit of art
decoration independent of the building. Today, our details tend to exist solely for the service of the whole structure, and become
inherent particles of the whole.
While technical demands for details have in recent decades increased immensely – demands in regard to insulation, acoustics, fabrication,
assemblage, time, maintenance etc. – their individual and visual expressions have become more simple and more subordinated to the whole
composition. So much so that details often fuse completely with the greater architectural form to the point where it is difficult to separate them.
It seems increasingly nonsensical to say, “that might have been great architecture, if somebody had only worked out the details…” Today, this case
simply does not exist – in practice or in theory.
The above is true only as a generalization, of course, with allowance for transitional variations and overlapping notions. Much depends
on the nature of the building, and perhaps still more on the material that is used. At the present point in architectural history, when reinforced
concrete flamboyance seems fashionable, one might say that no other material has the potential for such complete and convincing fusion between
structure, enclosure and surface; between architecture and detail; between the minute great form and the great small particle.
Marcel Breuer, “Architectural Record”, February 1964

Un objeto es una sección, es una porción definida de un espacio abierto de coordenadas físicas. Pensar en un objeto como sección
en la masa indiferenciada de estratos materiales hace difícil una distinción convencional entre el contexto y su propia e inherente estructura, hace
difícil asociar formas a límites, y refuerza, a su vez, la noción de diversidad constitutiva. En consonancia con esa materialidad diversa y diferenciada,
los componentes de un objeto arquitectónico obedecerán a leyes constructivas, a geometrías y a impulsos figurativos que gozarán de autonomía,
de una incondicional independencia. Podemos justamente denominar elementos, elementos de proyecto, a esas porciones particulares extraídas
de la continuidad de unos estratos ilimitados. Como en el universo acumulativo de Brancusi, como en la multiplicidad gráfica de Hiroshige,
los elementos convivirán libremente, sueltos.”
Juan Navarro Baldeweg, Statement on detail
“Details. Architecture seen in section”.