WORLD PUBLICARCHITECTURE

PREFACE

Public Buildings are more than mere spaces and envelopes. They transcend their architecture to mimic one of the most significant human achievements of the last 5,000 years: the city itself.Space of social and economic exchange, the city is justified by the human need of gathering. The synergy between its inhabitants, their activities and spaces affirms the persistence and evolution of this naturally plural and heterogeneous organism. In this scenario, public buildings play a strong and essential role. Sports, cultural, symbolic, administrative, religious, commercial, educational and other buildings have always contributed, in a direct way, to the configuration of the urban space. Sometimes, because of their permeability, function or spatial insertion, such buildings break the boundaries between internal and external spaces, merging them into a continuous flow that represents the necessary coherence between building and city.Unfortunately, nowadays, many cities have become a juxtaposition of private spaces, continuously fed by the illusion of security and by the obsession for privacy. In this moment, when the social structures seem to erode, public buildings are responsible for warranting the very essence of the urban space. They stimulate the social cohesion, create landmarks and qualify the spaces around it, reinforcing the sense of community.This book offers a stunning selection of public building architecture from all over the world. The variety of uses and forms demonstrate the multiplicity of solutions and their insertion on different cultural, economic and social realities. The schools, museums, sports facilities, theatres and many other here presented, give the idea that the exchange between their users is a confirmation of their urban role.This selection allows not only to admire the materials, forms and functions, but also to look beyond the architectural object.

Loureno Gimenes

FGMF Architects

Loureno Gimenes

FGMF

CONTENTS

CULTURE & ART

EDUCATION

ENTERTAINMENT

TRIFFIC

Sales Office

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Kalmar Museum of Art

Secondary School AHS Contiweg

Bailly SchoolLUXUN Academy of Fine Arts and Campus Dalian, China

Prnu Library

Ravensbourne

Sao Paulo Library

UQAM Pierre Dansereau Science Complex Masterplan

YRF English Centre for Children in Ramla

FDE, Escola Vrzea Paulista

City University of Hong Kong Creative Media Centre

Grant R. Doering Centre for Science & Research

Bloemershof

l'Assomption Sport Complex

Lea do Balio School

Centre Cultural Vladimir Kasp

Tellus Nursery School

Mas Museum Aan de Stroom

Moderna Museet Malm

Universe of Particles

Grand Canal Square Theatre and Commercial DevelopmentIcelandic Institute of Natural History

Muzeum of Aviation, Poland

New Youth Centre in Rivas Vaciamadrid

Theatre de Quatsous

Institute For Sound and Vision, the Netherlands

Convention Centre, Dublin

The HangerLos Angeles Museum of the Holocaust

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Centre Communautaire Pierrefonds-Roxboro

Tianjin Sport Arena

Botanical Gardens "Chenshan" Shanghai, China

Casa Club Bosque Altozano

Extension of the Multifunctional Double Sports Halls

Gymnasium

ZEP Leisure Park in Middelburg

CEU PimentasGolf Sempachersee

Green Water Sports Station

The Hodo Centre for the Elderly

Beijing South Station

Incheon International Airport

Guangzhou South Railway Station

Lujiangdangdai

Senlinyuan

Xiangyuzhixin

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ULTURE & ART

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Kalmar Museum of Art

Mas Museum Aan de Stroom

Moderna Museet Malm

Universe of Particles

Grand Canal Square Theatre and Commercial DevelopmentIcelandic Institute of Natural History

Muzeum of Aviation, Poland

New Youth Centre in Rivas Vaciamadrid

Theatre de Quatsous

Institute For Sound and Vision, theNetherlands

Convention Centre, Dublin

The HangerLos Angeles Museum of the Holocaust

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rand Canal Square Theatre and Commercial Development

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Architect: Studio Daniel LibeskindFirm: Architeckt Daniel Libeskind AGLocation: Dublin, IrelandArea: Theatre: 13,768m, 2,100 SeatingProject Management: Lafferty Project Management Structural Engineer: ARUP (Dublin) Mechanical/Electrical/ Plumbing Engineer: ARUP (Dublin)Venue and Acoustic Consultant: ARUP Acoustics, UKFacade Consultant: Billings Design AssociatesFire Protection Consultant: Michael Slattery & Associates Lighting Designer: Pritchard ThemisFaade Sub-contractor: Permasteelisa Central Europe, Permasteelisa S.p.A Health and Safety: Bruce Shaw Partnership Theatre Planner/Consultant: Arts Team (Part of RHWL Architects)Quantity Surveyor: Davis Langdon_PKSThe Grand Canal Square Theatre and Commercial Development in Dublin features a 2,000-seat performing arts centre which is integrated into a commercial area via two office blocks that include 35,000-square-meter of leasable office and retail space. This is located at the heart of the Grand Canal Harbour Development and creates a focal point for Grand Canal Square. The project is currently under construction. The 11,000-square-meter Grand Canal Square Theatre is at the heart of the Grand Canal Harbour development. The building is based on the concept of stages the stage of the theatre itself, the stage of the piazza, and the stage of the theatre lobby above the piazza, illuminated at night. The theatre becomes the main faade of a large public piazza that has a five-star hotel and residences on one side and an office building on the other. The piazza acts as a grand outdoor lobby for the theatre. With the dramatic theatre elevation as a backdrop and platforms for viewing, the piazza itself becomes a stage for civic gathering.With their twin facades, glazed courtyards and landscaped roofs, the two office blocks which make up the Commercial Development provide sustainable, state of the art work environments. By designing multi-storey glazed atriums, the commercial buildings integrate with the adjacent retail, residential, cultural and public space components.

NORTH ELEVATION

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celandic Institute of Natural HistoryIArchitects: ARKS Architects, Bjorn Gudbrandsson Architect, Egill Gudmundsson ArchitectLocation: Gardabaer, IcelandArea: 3515 mPhotographer: Vigfus Birgisson and ARKS Towards the northwest, the building rises upwards and out towards the spectacular view, its form mirroring the profile of Mount Keilir to the south.

The fissures are bridged with transparent corridors and stairwells, accented with a bright green color that becomes brilliantly illuminated at night. However, the primary purpose of the fissures is to provide the institutes employees with breaks from the office environment. When passing through the fissures, one comes into strong visual contact with the surroundings; light, weather, sky and horizon.Sustainable Design FeaturesAmong the many sustainable design features are sustainable drainage solutions employed on and around the site. Those strategies include

permeable surfaces for parking and swales for filtering and slowing down the flow of surface water. In addition, the buildings green roof, which is laid with local turf and moss, serves as a filtering mechanism for rainwater, as added insulation and as habitat for birds and native insects. Furthermore, the previously mentioned double facade facilitates effective natural ventilation. Each office is equipped with at least two operable windows; the upper and lower windows, improve the flow of fresh air through the space, from the in-between space of the double facade. Offices also enjoy plentiful daylight and spectacular views of the surroundings.

The Institute of Natural History is a public institution, carrying out diverse research and monitoring of nature. The new building for the Icelandic Institute of Natural History houses research facilities and offices for 50 scientists and other employees. Furthermore, the building houses the Institutes research specimen collections and scientific library.Urridaholt Master PlanGood access to outdoor recreation and pedestrian routes is ensured. Streets are designed to support safety and relaxed traffic speeds. Moreover,

the Urridaholt development employs integrate surface drainage systems that have been specially designed to protect the ecology of nearby lake. Building FormThe building is divided into three parts by two fissures that visually reduce the building mass and communicate the gradual rhythm and human scale of the streetscape prescribed in the master plan. Moreover, the three part plan figure reflects the composition of an insect body, thereby connecting building form to the institutes function.

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Architect: Neutelings Riedijk Architecten bvBuilding Design: Bureau Bouwkunde Nederland bv, Rotterdam, the NetherlandsStructural Design: Aronsohn Raadgevende Ingenieurs bv, Rotterdam, the NetherlandsBuilding Physics Design: Cauberg-Huygen Raadgevende Ingenieurs bv, Den Bosch, the NetherlandsInstallation Design: Royal Haskoning Adviesgroep Gebouw Installaties, Rotterdam, the Netherlands Concept Facade: Neutelings Riedijk Architecten bvGrafical Design Facade: Jaap Drupsteen, Studio Drupsteen, Huizen, the Netherlands

The building divides into five distinct elements: archives/stores, museum, offices, client reception and services. Together these parts bound a central well at the building's heart. Here is the building's public portion comprising the main reception hall, restoration facilities and video auditoria. This large central space stitches together all the components of the institute.Considering that something like half of the required programme encompasses storage and archive rooms with rigorously stipulated climatic conditions but no need for daylight, designers decided on a horizontal division into two. The portion below the ground contains the archives vault, while above the ground are the museum and other use forms requiring natural light. Bridging the gap between these two portions are the public spaces, client reception and services.The central well delivers daylight down to the lowest levels of the vault. In the first instance zenithal light streams in through the skylights; the second, colored and tempered light enters through the glazed frontage of the superstructure. The large well in the superstructure opens to the south so that the afternoon sun penetrates to the core of the building and reflected light can skim over the inner facade wall of the offices.At the entrance, the void presents as a deep canyon that dramatically brings home to visitors the scale and the sheer size of the archives/storage vault. One of the canyon's sides is a flush wall, and the other rises in a series of inverted terraces. These contain the rooms for receiving clients plus annexes serving the archives and stores; the archives and stores themselves are concealed behind the flush canyon wall.The central well culminates in an enormous void where both museum and offices show their best face. The upside-down cascade of museum levels registers as a wall sculpture that shapes and scales the internal space of the building.

nstitute For Sound and Vision, the NetherlandsI

Product Development Facade: Neutelings Riedijk Architecten bv i.s.m. T.N.O. Eindhoven, the Netherlands, Studio Drupsteen, Huizen, Nederland en Saint Gobain Glass Nederland, Veenendaal, the NetherlandsInterior Design: Neutelings Riedijk Architecten bvConstractor: Heijmans Bouw Best bv, Best, the Netherlands Location: Sumatralaan 45, Mediapark, 1217 GP Hilversum, the NetherlandsArea: 30,000 mPhotographer: Daria Scagliola and Stijn Brakkee, Fotografie Scagliola/Brakkee,Rotterdam, the Netherlands

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as Museum Aan de StroomM

Architect: Neutelings Riedijk Architects, Rotterdam, the NetherlandsStructural Design: Bureau Bouwtechniek, Antwerp, BelgiumConstructive Design: ABT Belgi, Antwerp, Belgium Building Physics: Peutz bv ingenieuze adviseurs, Mook, the NetherlandsInstallation Design: Marcq & Roba, Brussels , BelgiumLocation: Hanzestedenplaats, 2000 Antwerp, Belgium Area: 19,500m(Floor surface)+11,500m(Outdoor construction) Photographers: Sarah Blee, Antwerp and Scagliola/Brakkee, Rotterdam, the NetherlandsCopyrights Photography: Neutelings Riedijk Architects and City of AntwerpThe buildingThe MAS was designed as a sixty-meter high tower. Ten gigantic natural stone trunks are piled up as a physical demonstration of the heaviness of history, full of historical objects that are the legacy of our ancestors. It is a storehouse of stacked history in the middle of the old harbour docks. Every storey of the tower has been rotated a quarter turn, creating a gigantic spiral staircase. This spiral space, in which a facade of corrugated glass is inserted, forms a public city gallery. The spiral routeA route of escalators leads the visitors from the square up to the top of the tower. The story of the city, its harbor and inhabitants is told in the spiral tower. Visitors can enter a museum hall on every level and reflect on the history of the dead city, while on the way up breath-taking panoramas unfold above the living city. The top of the tower accommodates a restaurant, a party room and a panoramic terrace, where the present is celebrated and the future is planned. The facades Facades, floors, walls and ceilings of the tower are entirely covered with large panels of hand-cut Red Indian sandstone, evoking the image of a

monumental stone sculpture. The four-color variation of the natural stone panels has been distributed over the facade on the basis of a computer-generated pattern. The spiral gallery is finished with a gigantic curtain of corrugated glass. Its play of light and shadow, of transparency and translucence turns this corrugated glass facade into a light counterweight to the heavy stone sculpture. The ornamentsIn order to soften the monumental tower volume, a pattern of metal ornaments has been attached to the facade as a veil. The ornaments have the shape of hands, the symbol of the City of Antwerp. This pattern is continued inside the building by means of metal medallions, cast according to a design by Tom Hautekiet with a text by Tom Lanoye.The plazaThe museum square at the base of the tower is an integral part of the design. The square has been designed in the same red natural stone as the tower and is surrounded by pavilions and terraces as an urban area for events and open-air exhibits. The central part of the square is sunken and forms a framework for the large mosaic by artist Luc Tuymans.

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Tom LanoyeTom Hautekiet

Luc Tuymans

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ew Youth Centre in Rivas VaciamadridNArchitects: Manuel Collado, Arpia y Nacho Martn AsuncinFirm: Mi5 ArquitectosCollaborators: Eider Holgado, Richar y Diego BarajasConstructor Company: DragadosEngenieer: Juan Traves Location: Rivas-Vaciamadrid, Madrid SpainArea: 2,244 m Photographers: Miguel de Guzman , Javier de Paz

From the beginning , the pro ject was conceived as the possibil ity of making the underground visible, a construction devised as a radical manifestation of Madrids outskirts youthful spirit in general, and of Rivas youth groups in particular. The project aspires to become an explicit t e e n c o m m u n i c a t i o n v e h i c l e b y appropriating their language and their voices as the ingredients of the project. In this way, the projects team embraces all Rivass youth groups by means of an open participation process, in which the future users of the centre, combined with technicians and politicians, will contribute their decisions, their concerns, their fantasies and their aesthetics to create a contemporary social monument. The end result of this process is a public structure with a punk spirit, intensely burdened with content and articulated around programmatic centres conceived as activity explosions, which are erected as meeting and exchanging points of the emerging communities.

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onvention Centre, DublinCArchitect: Kevin RocheFirm: Kevin Roche John Dinkeloo and Associates LLCLocation: Mayor Street, Spencer Dock, IrelandArea: 45,894 m Completion Date: September 2010Photographers: Kevin Roche, John Dinkeloo and Associates LLC

The Convention Centre, Dublin (CCD) offers 22 multi-functional, flexible rooms suitable for meetings, conferences, and exhibitions of all shapes and sizesfrom small corporate meetings to international congresses. There are 4,500of exhibition space, a 2,000-seat auditorium, and banquet facilities seating up to 2,000 guests. The entire venue is finished to the highest specifications and incorporates the latest technology throughout. It is designed to attract both international and national conference/exhibition markets. Exterior and interior materials emphasize the stature of the design, ensure durability, and minimize maintenance for this important public building, clearly distinguishing it as Irelands Convention Centre.Convenient to several modes of transportation, the CCD is located beside the new "LUAS" tram line with its own station, is minutes from Dublin Port Ferry Terminal, and is only 20 minutes from Dublin Airport.The lobby and circulation foyers are enclosed by a glass atrium which immediately identifies the centre to visitors. Stairs, escalators, and lifts create an exciting processional moving up through the atrium, enhancing

interaction between delegates while providing panoramic views of the city and mountains to south. The foyers support a variety of activities beyond circulation: event registration areas, breakout/discussion spaces, and food/bar service. Temporary exhibitions may be installed within the foyers increasing delegate participation and interest. The lobby and foyers may also serve as venues for informal concerts. The public will be encouraged to enter the ground level lobby to experience the atrium, view temporary exhibitions and art exhibits, or review an electronic display of upcoming events. Exhibition/banquet halls, meeting rooms, administration, the auditorium, and support facilities are all located on the floors above.The centres architecture is a reflection of the programmed internal functions and the site. Exterior walls are clad with stone. The atrium glazing system is stepped and consists of stainless steel framing and high-performance, curved, laminated glass with a low-E coating. Continuous LED lights cap the east west stone wall panels and at each step in the atrium, identifying the building as a major venue in the city.

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Ground Floor Second Floor Third Floor Fourth Floor Roof Plan

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oderna Museet MalmM Design Company: Tham & Videgrd ArkitekterLocation: Gasverksgatan 22, Malm, SwedenArea: 2,650 mA starting point was that a new art museum, as a public and cultural building, represents a rare opportunity to create a new node within a city, changing the urban balance and developing the surrounding neighbourhood. In Malm, a city in the south of Sweden, there was the possibility to create a new art museum with an informal and experimental character, housed within the 1900s industrial building of the former Electricity plant, which would complement the main museum in Stockholm.The greatest challenge posed by the project, (in addition to the demanding eighteen-month time limit from sketch-design to inauguration), was the need to adapt the existing industrial brick building to current climatic and security requirements, in order to comply with the highest international standards for art exhibition spaces. It soon became clear that in reality what was needed was a building within a building, a contemporary addition within the existing shell. This radical reconstruction not only provided a challenge, but also gave the opportunity for something new. Seen from the exterior, a new extension marks the arrival of the new museum. The extension provides a new entrance and reception space, as well as a cafeteria and new upper gallery. Its perforated orange faade both

connects to the existing brick architecture and introduces a contemporary element to the neighbourhood. The perforated surface gives the faade a visual depth, and is animated through the dynamic shadow patterns which it creates. The ground floor is fully glazed so that sunlight is screened through the perforated faade. In relation to its context, the new addition plays with scale. From a distance, it is only intelligible in comparison to the adjacent houses, and only in close proximity can the building and its details be read in its own right. The elimination of the standard "middle-scale" strengthens the museum's presence in the immediate urban setting, and at the same time allows the building to appear as a signal, establishing a relationship with Malm as a whole. Inside, the building has been reconstructed spatially. Two new staircases allow the visitor to move in a loop between the grand turbine hall and the upper exhibition rooms. The staircases are each enclosed between two walls, and this functions to divide the program of the turbine hall into three separate spaces: an exhibition space, a children's studio and a separate loading area (which also doubles as an exhibition space).

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uzeum of Aviation, PolandM

Architects: Justus Pysall, Peter Ruge, Bartlomiej Kisielewski, Katarzyna Ratajczak, Mateusz Rataj, Alicja Kepka-GuerreroFirm: Pysall.Ruge Architekten with Bartlomiej KisielewskiStructural and M&E Services : Arup International Krakw Landscape architects: ST raum a, Berlin Location : al. Jana Pawa II 39, 30-969 Krakw, Poland Area: 4,504 mPhotographer: Jakub Pierzchaa

The project has been awarded the 1st prize in the international competition in 2005, and completed in 2010.The idea of flying, the spirit of the place, the structure of the historic airfield the new building for the Museum of Aviation, Poland takes up these references intellectually and synthesises them into an expressive and emblematic structure. The old hangars set the modular scale for the footprint (60mx60 m) and the height (12meters) for the new building.Developed from this modular scale, cut out and folded, as if made like a paper airplane, a large structure has arisen triangular wings made of concrete and yet as light as a wind-vane or propeller. Size and orientation of the wings got developed out of three different functions. 4,500-square-meter usable area on three floors is for disposition now. Intertwining spaces provide good orientation for the visitor.Entering the building one has the choice to go into the education wing with a voluminous 3D-cinema or directly into the exhibition area with the planes. The wings are generously glazed, opening in all directions. The exhibition thus links visually with the landscape around it and offers a view of the apron and the planes on display outdoors. The airplanes in the North wing seem by no means enclosed, but rather to have been placed in shelter, ready to roll out onto the runway at any time. The first floor is occupied with the conference room seating 150 people, a bibliotheca, a multimedia section and a restaurant with bar over viewing the exhibition.The offices for administration are in the second floor offering views towards the park, into the exhibition or through bulls eye windows onto the former

airfield.The new Museum of Aviation appears not as a house, but yields a subtle functionally expressive architectural sculpture. Energy Concept: Sustainability through simplicity and reduction.Different temperature zones, natural ventilation and intensive use of daylight minimize the need of energy at its source, and the use of natural and well patinating and ageing materials reduces the impact of the environment and future maintenance costs. The concept is based on natural ventilation in all three wings. Only the cinema and the auditorium will get supply air and exhaust air by means of a heat exchanger with air supply from an earth channel. This allows for warm supply air in winter and cool air in summer. The wings are heated differently, depending on their use: 20 C the offices, 18 C the Education Wing and 15 C the Main Exhibition Wing. Compared to an all-around 20 C room temperature, 40 % of the energy is conserved for heating these 10 meters in high and up to 10,250 cube-meter. The big storage capacity of the concrete walls and natural ventilation provide, cooling during the night in the summer.Directed to the north and with a 200-square-meter big door, the exhibition is always throughout naturally ventilated during the summer and of no need for air conditioning. Besides the generous use of daylight through the facade and big skylights; an energy-efficient light system is realized throughout the building. This includes light directing commutator sections and the use of energy saving lamps in combination with motion detectors.

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niverse of ParticlesUArchitects: Prof. Uwe R. Brckner, Shirin Frangoul-Brckner, Eberhard SchlagDesign Company: Atelier BrucknerLocation: SwitzerlandArea: 450 mPhotographers: Michael Jungblut, Frieder Daubenberger

CERN required a new attraction: the exhibition Universe of Particles designed by Atelier Brckner. It becomes a starting point for the many thousands of visitors who arrive each year, curious about the unique underground particle physics experiments taking place under the French-Swiss border near Geneva.While the LHC is operating, there is no public access to the experiments, so the exhibition answers many of the visitors' questions while also evoking a sense of wonder and awe at the remarkable scientific and engineering accomplishments and the mysterious worlds being revealed by the scientific work taking place at CERN. Research at CERN is concerned with both the infinitely small and the increadibly large. The visitors experience a world without scale, at once both the sub-atomic level and at the vastness of the solar system. Entering the exhibition space, they enter another world. Here nothing is recognisable from the world outside.All of the spherical designed elements in the space appear seamless, perfect. Nothing is familiar or expected. The visitors see no plasma screens or touch-terminals, no display cases or graphic panels. Instead , they experience projections seemingly in space, 3D digital objects within spheres, and beautifully lit concealed artefacts slowly revealed. Besides the spherical design, the uniformly neutral white color of the Corian surfaces and a swirling light circle at the base of every display is the connecting design language. It creates light shades which lift the displays out and let them float apparently freely in the room.

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CERN

3DCorian

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heare de Quat'sousT

Architect: ric GauthierBuilder: AeconFirm: les architectes FABG Structure Engineer: Aecom TecsultMechanical and electrical engineer: Aecom TecsultAcoustician: Legault DavidsonTheater Consultant: Trizart AllianceLocation: 100 avenue des Pins est, Montral, Qubec, H2W 1N7Area: 860 mMaterials: Grey Slate Tiles, Brick,Limestone, Curtain Wall and Aluminum Cladding, GlassPhotographer: Steve Montpetit

The Theatre de Quat'sous was established in 1963 by a group of actors under the direction of Paul Buissonneau. Together they bought a synagogue located on Avenue des Pins in Montral and transformed it into a small theater that never ceased to present daring productions from young creators including the mythical psychedelic happening Osstidcho in May 1968. Serious problems related to the security and comfort of the users combined with the need for production spaces led to the decision to demolish and rebuild the Theatre de Quat'sous on it's actual site after many feasibility studies demonstrated the impossibility to renovate the crumbling wood and brick structure built in 1907 as three row houses.Avenue des Pins is a street that was created in 1907 after the demolition of existing buildings to facilitate access to the Mont-Royal as suggested by Frederick Law Olmsted. Today it is a collection of bad buildings and exposed firewalls that never met the promises of a prestigious boulevard leading

to the Mountain. Theater is about fugacity, a succession of unique moments that barely survive in the memories of those who were there. Theater is a ghostly figure that has witnessed what people are about to forget.In reconstructing the Theatre de Quat'sous, designers were specifically asked to incorporate whatever we could from the original building to help the new one evoke those memories.Designers chose to sample textures, images, colors and materials from a cultural inventory of the theater and mapped them on the assemblage of required volumes (stage, house, foyer, crossover, control booth and rehearsal).Recycling on site stones, slate, wood, bricks, marble and furniture becomes part of a strategy of cultural sustainability. New materials include silkscreened glass, black brick and perforated aluminum that contribute to make Theatre de Quat'sous a ghostly figure accumulating memories.

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de QuatsousPaul Buissonneau196319685Osstidcho

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almar Museum of ArtK Design Company: Tham & Videgrd Arkitekter, SwedenLocation: Stadsparken 392 33 Kalmar, SwedenPhotographer: ke Eson Lindman.The new Kalmar Museum of Art is the result of a winning proposal in the open international competition in 2004 and was inaugurated on the 10th of May 2008. Situated in the City Park of the renaissance town of Kalmar, it is built next to a restaurant pavilion dating from the 1930s by Swedish modernist architect Sven-Ivar Lind.The competition motto was Platform and that is also the conceptual idea of this museum, a series of open platforms for art related activities. It is also how the museum is constructed, large spans for maximum flexibility on each level, so that not only light but also space can be transformed and adjusted to meet the specific needs of each exhibition.The new museum is a black four-level cube clad with large scale wooden panels and punctuated by large glazed openings. It will house both the Kalmar collection of Modern Art as well as provide spaces for temporary exhibitions of contemporary art, videos, performances and concerts.Almost domestic in its scale this museum still provides a variety of exhibition conditions. The two main spaces are the white box where one side can open

up completely to bring in the exterior of the park, and the top floor gallery that is lit by shed head light shafts doubling its ceiling height. In addition there is a public art library and open workshops.One of the architectural main features is the open stair spiralling the full height of the building, starting from the new entrance lobby that interconnects between lake-side and park. It is a top lit space with all surfaces in exposed in situ cast concrete.The four floors, each different from the others, are stacked on top of each other and create a vertical walk up into the greenery of the trees with a series of different special experiences while offering views of the environs; the Kalmar castle, the lake and the city centre. Construction is in situ cast concrete, the big spans are made with "after tension" slabs. Interior finishes are exposed concrete, black stained plywood doors and panels, white painted walls and ceilings, natural ash.TVH have also designed some furniture; the green bock-tables, the hexagon tables in white ash and steel, the museum bench, library book shelves.

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he HangerTArchitect: Bert DirrixFirm: diederendirrixLocation: Eindhoven, the NetherlandsArea: 8,600 m

In the centre of Meerhoven, a Vinex-district in Eindhoven, lies a characterisitc airplane hanger, together with several other important industrial inheritances, it keeps the memory of the former airfield Welschap alive. With the redevelopment and expansion into a complex for education and recreation, the hanger is transformed into a vital cultural centre for the district. To house the extensive program two volumes were added, which were slidden into the building. A large part of the hanger has been kept empty which allows space for a covered square, that also functions as the

entrance to the complex. A central corridor, also covered by the hanger, connects the square to a public playground that opens towards the planned ecological green zone. The corridor is enclosed on one side by a colorful, transparent volume that houses a community centre with library. On the other side lies a volume situated partially in the ground, with a playground on the roof. It houses a sports centre and a gathering space. The buildings are connected by way of an underground volume that contains the changing rooms for the gym.

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os Angeles Museum of the HolocaustLArchitect: Hagy BelzbergFirm: Belzberg ArchitectsLocation: Los Angeles, CAArea: 2,973 m Photographers: Benny Chan Fotoworks, Belzberg Architects

The new building for the Los Angeles Museum of the Holocaust (LAMOTH) is located within a public park, adjacent to the existing Los Angeles Holocaust Memorial. Paramount to the design strategy is the integration of the building into the surrounding open, park landscape. The museum is submerged into the ground allowing the parks landscape to continue over the roof of the structure. Existing park pathways are used as connective elements to integrate the pedestrian flow of the park with the new circulation for visitors. The pathways are morphed onto the building and appropriated as surface patterning. The patterning continues above the museums galleries, further connecting the parks landscape and pedestrian paths. By maintaining the material pallet of the park and extending it onto the museum, the hues and textures of concrete and vegetation blend with the existing material palette of Pan Pacific Park. These simple moves create a distinctive faade for the museum while maintaining the parks topography and landscape. The museum emerges from the landscape as a single, curving concrete wall that splits and carves into the ground to form the entry. Designed and constructed with sustainable systems and materials, the LAMOTH building is on track to receive a LEED Gold Certification from the US Green Building Council.

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Secondary School AHS Contiweg

Bailly SchoolLUXUN Academy of Fine Arts and Campus Dalian, China

Prnu Library

Ravensbourne

Sao Paulo Library

UQAM Pierre Dansereau Science Complex Masterplan

YRF English Centre for Children in Ramla

FDE, Escola Vrzea Paulista

City University of Hong Kong Creative Media Centre

Grant R. Doering Centre for Science & Research

Bloemershof

l'Assomption Sport Complex

Lea do Balio School

Centre Cultural Vladimir Kasp

Tellus Nursery School

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Archictects: Paula Homsi , Camila Chamati Firm: Aflalo & Gasperini ArquitetosArea: 4,257.00 mLocation: Sao Paulo , SP, BrasilPhotographer:Daniel Ducci

The antithesis is strong and the metaphor becomes obvious. Before, i t was a prison, while now, it is full of freedom: of knowledge, of ideas, of books. It is in this place, that could carry a dark memory forever, where is located the Sao Paulo Library.The old Carandiru penitentiary complex, in Sao Paulo, has changed its face: now it is the Youth park. Within the park, the Library, which contributed to the urban impact of this revigoration in a way that could surpass the quarter limits, bringing people from every corner of the city granting to them leisure, entertainment and culture. The building has an ample area with zenithal i l lumination, assuring great flexibility in the layout. The structure is composed by 20 columns and 10 beams, spaced each 10 meters. The furniture has funny and colorful tones and ludical serigraphies were proposed in the glasses to give more intimacy to those who will read or research. The library is organized as a bookstore, aiming to attract a non-reader public as well. The idea is that this project can be replied in other cities. A new library, implemented in Brazil but inspired in the public library of Santiago, Chile.The program des igners f ind in the building is composed by a ground floor with reception, quantity, auditorium for 90 people and reading modules for children and teenagers. The ehxisting terrace on this floor was covered by a tensor structure, that reminds nautical tents, receives a cafeteria, sitting areas and performance spaces. In the upper floor. designers find another quantity space, several reading spaces being one module restricted to adults in addition to multimedia areas. There are special furniture such as tables for people with visual deficiency and ergonomic desks to physical deficients. In order to attend the accessibility regulation the floor finishing was made in a way that could be tactil, railing with two heights, inscriptions in Braile as well adequated ramps. The upper level terraces in the east and west facades, with higher insolation, were covered with pergolas made with reforestation eucalyptus and polycarbonate, assuring a pleasant space for performance as well living room. The remaining facades are composed by pre-molded panels with texturized finishing.More than a beautiful and different library, this new institution has the mission to be the central of 961 libraries in the state of Sao Paulo spreade in 602 municipalities.

ao Paulo Library S

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rnu LibraryPArchitect: Markus Kaasik, Andres Ojari, Ilmar Valdur, kaasa ttasidFirm: 3+1 ArchitectsArea: 3513.2 m Photographer: Kaido Haagen

Prnus central square was planned following World War II for the location of the Old Town, reduced to ruins. The new library located along the trajectory of Pikk tnav completes the Stalinist plans that were unfinished in their day, and connects the square in front of the theatre with the moat. It is integrated with the Stalinist ensemble; and at the same time, one end extends all the way to the ruins of the commanders castle, which dates from the earliest era of foreign conquest in Estonia. The purpose of the building is to add more cultural life and compactness to the existing unfocused space, while breaking up the rigid linear symmetry characteristic of Stalinist planning.The library is surrounded by a different environment on all sides and small local open plazas have been created on each side, which also correspond to the division of the functions inside the library. Much attention has been paid to purpose-driven function and planning of the interior, creating a non-hierarchical spatial system. The backbone of the building is comprised by a system of stairs and ramps that extend through the whole building and as it descends, opens into different library halls. The ramps and stairs extend outward from the building as open common spaces, each with a different

appearance. The views from the different levels and the sloping surfaces that jut into the building create a coherent space that flows through the building from the central square to the baroque-era moat. Most importantly, the public urban space continues through the library building, or more precisely the library itself becomes a part of the city space. The other important aspect is the way in which it provides insight into the context of the city space: the building is located with an overhanging corner right above the former commanders castle.The library is completely covered with shiny glass, allowing one to perceive through the facades its belongingness to the city. The main structural innovation related to the library function is the fact that all books are on open shelves the public can freely stroll the stacks and browse the volumes. It is perhaps akin to an ordinary supermarket shelves upon shelves where it is as easy as possible to find the product (book) you are looking for. The only major difference is that here no one is compelling you to buy anything. The modern library is becoming more and more user-friendly, a fluid event space.

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econdary School AHS ContiwegSArchitect: Atelier Heiss ArchitektenStructural Engineering: Brand & PartnerBuilding Physics: Dr. Pfeiler ZT GmbHHVAC + Electrical Planning: Vasko & Partner ZT GmbHLandscape Architecture: Idealice Technisches Bro fr LandschaftsplanungLocation: Aspernstrae 3-5, Contiweg 5, 1220 WienArea: 20,000 mPhotographer: Peter Burgstaller (Copyright: Atelier Heiss)

Students of Aspernstrasse are greeted by lentiform shapes twining around the glas front of the building. The new school in Hirschstetten was designed as a structure with two horizontal accentuated emphasis wings with classrooms. The glass south-facing atrium with the library in a distinctive

loft conversion gives an architectural identity in an area with few other architectural landmarks. The Contistreifen serves as a backbone between the public front courtyard and the private area of the inner courtyard.

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ailly SchoolBArchitect: Mikou Design StudioFirm: Mikou StudioLocation: Saint-Denis, FranceArea: 7,000 mPhotographer : Florian kleinefenn

The school complex of Bailly is situated on a changing territory and is located on the starting point of the reconstruction of the scale of the district. The expression of the project is inspired by this specific context of the material used-glazed brick-and by the idea of the roof which give reference to the lanterns of the cathedrals.The school complex is aligned on the rue de Bailly like a building wall on one level which grows hollow and inflects to form the esplanade for the entrance.The esplanade is designed like a space of hospitality, protected and covered by a playful light shelter. Its base of brick is extended in the building by an internal brick street which functions as an interspace area to access both schools, the recreation centre and at the same time serve like the connection area for the various functions. The body of the building seen from the rue de Bailly shows a glazed screen printed faade to protect the intimacy of the children, giving the possibility

for transparency in the interior gardens and under the colored ceiling. The classrooms are organised in the north-south transverse on two levels which end on the firewall on the side of the railway. They are structured by horizontal circulations and interior gardens protected by noise by a glass screen. This configuration makes it possible to limit the faade exposed direct to the noise and to create independent units emphasised by the green transparency for the preschool, the recreational centre and the elementary school which are connected between them by an interior street open towards the forecourt. In this constellation, the preschool and the elementary school yard are located sidewards in contrast to the units for the teachers. Placed on the north and south end of the site, they are protected by noise and acoustic screen made up of circular tubes of different densities from the west which also absorb the noise during the recreation.

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UXUN Academy of Fine Arts and Campus Dalian, China

L Architects:Auer+Weber+Assoziierte, MunichLocation:Luxun Academy of Fine Arts - Campus Dalian Golden Pebble Beach National Tourist Resort Zone Dalian, China Area:383,000 mWithin an expansive open landscape, a memorable place for the arts shall be achieved, which obtains its appearance and its energy from a closed architectural ensemble, implanted in the landscape. The rolling topography is emphasised as a memorable landscape element through the overlaying of a "stamped" grid corresponding precisely with the four points of the compass, with modular fields of identical size. The various city components with their respective functions and their identical compact dimensions are inserted into the system of streets, lanes and squares, whose modular dimensioning also permits adjustment to changing programmatic requirements without breaking through the organisational structure. Only the central square the "agora extends beyond the single module as an outdoor reference and focus point for the campus, as does the museum in accordance with its heightened significance.The spatial experience of the "City of Arts arises from the dialogue-like tension between the fundamental space-defining architectonic elements and their relationship to landscape by means of enclosure, opening and framing.

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RF English Centre for Children in RamlaYArchitect: Ron Fleisher architectsLocation: Ramla, IsraePhotographer: Shai Epshtein

The English language is a crucial tool for social mobility. Reinforcement of English studies opens up endless opportunities and changes the self-perception and ability of being an active individual in the society.YRF is an American fond that made the English studies in the Israeli periphery its goal.The children of the 21st century are exposed to intensive stimulations. The traditional educational methods aren't satisfying as a significant alternative for contemporary communication. The educational act needs a space for a new learning experience. The new building for English studies realizes those ideas.Ramla is a diverse city which inhabits both, Muslims, Christians and Jews, newcomers from Ethiopia and ex USSR.

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ity University of Hong Kong Creative Media Centre

CArchitect: Studio Daniel LibeskindFirm: Studio Daniel LibeskindStructural Engineer: ARUP ( London/Hong kong)Mechanical / Electrica / Plumbing Engineer: ARUPGeotechnical / Civil Engineer: ARUPFire Protection Consultant: ARUPLighting Designer: ARUPIT and Communications, Audiovisual, Acoustics: ARUP Town Planning: EDAWSite Formation: Kaden Construction Co. Location: Hong Kong, ChinaArea: 30,426 m

The Creative Media Centre for the City University of Hong Kong, currently under construction, will provide facilities that will enable the University to become the first in Asia to offer the highest level of education and training in the creative media fields. The building will house the Centre for Media Technology and the Department of Computer Engineering and Information Technology. The distinctive crystalline design will create an extraordinary range of spaces rich in form, light, and material that, together, will create an interactive environment for research and creativity. Internal activity spaces have been designed specifically to encourage collaboration through openness and connectivity. The centre will also serve as an exciting place for visitors, who will be welcomed to enjoy the facilities as part of an extended public outreach program of courses and events. The facility will also include a multi-purpose theatre, sound stages, laboratories, classrooms, exhibition spaces, a cafe and a restaurant. Secluded landscaped gardens to the north of the building will be available for students and the general public alike.

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Architect: Saia Barbarese Topouzanov Architectes ( in consortium with Ttreault Parent Languedoc et associs )Location: Montral, Canada The original master plan for the UQAM Campus, prepared in 1991, invoked the image of a traditional campus, that of a central green space surrounded by buildings, according to the classic model of several universities. This layout enabled the complex both to fit into its environment and set itself apart from it, while providing the tranquility needed for pursuing studies and research. The original idea of a green space was transformed into a continuum of yards and gardens enclosed inside buildings or interspersed between them. The green space also includes paths and a pedestrian walkway set up along the forgotten traces of what was once Kimberly Street and the extension of Evans Street. Nature has insinuated herself into these man-made structures. All these spaces come together, giving structure to the architecture and bathing them in light. Their intertwined networks link street accesses to the entrances of the various pavilions. The spaces provide intimate settings,

which are ideal for meetings, discussions, relaxation and reflection. The busy paths are lined with rows of trees, whose irregular patterns evoke the forest. In the gardens, giant flowers, some of them made of slate, pave the walkways between the buildings (student residences' garden), while other form petals around a tree assume the role of a giant pistil (Biological Sciences Pavilion yard). Indigenous species or plants of botanical interest have been selected for their ability to adapt to the urban climate. They introduce greenery within the city, in a neighborhood that is in desperate need of foliage. In short, the traditional shape of campuses is evolving: the new configuration is one in which spaces overlap, and where spaces and erected structures are architectural equals.

QAM Pierre Dansereau Science Complex Masterplan U

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Design Company: Foreign Office ArchitectsLocation: close to O2, former Millennium Dome, Southeast LondonArea: 21,500 mPhotographer: Morley von Sternberg

avensbourneR

The new building for Ravensbourne, a university sector college innovating in digital media and design, will be located at Greenwich Peninsula on the South-Eastern edge of The O2 building, to the right of the north-south axis that structures the masterplan. By moving to this extraordinary location, Ravensbourne aims to deliver education to meet the shifting demands of 21st-century learners learners who expect access to resources and support on demand and whose needs can differ greatly depending on a variety of social and economic factors. The new building is designed to stimulate the environment and working practices of creative professionals, providing the best in technology and mobile computing in an environment which enables a variety of learning styles.The main strategy in the design of the building is to produce a structure which will encourage collaboration between the different disciplines and practitioners within Ravensbourne. This will be achieved by structuring the building around a system of two interconnected atria, each piercing through three levels of program. The atria have been systematically attached to the external facade in order not only to use them as ventilation devices, but

also to connect visually the core of the public spaces in the building with the perception of the urban surroundings.The building is specified to reach a BREEAM qualification of environmental excellence. In order to achieve optimum environmental performance, low maintenance and high flexibility, the massing has been kept as compact as possible with a very low ratio of faade to area, and a deep building which is able to provides flexible space to host the various activities which take place in the building. The architecture of the building has been designed to express the culture of contemporary production, by using a non-periodic tiling system which symbolises a more diverse and contemporary approach to technology. Gothic rose windows and flower patterns have also been a rich field of inspiration for the project, but in this building, they will not be produced as an imitation of nature but as an abstract construction. To achieve this, designers have resorted to the use of a non-periodic tiling pattern on the faade, which allow to build seven different types of windows out of only three different tiles.

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