ARCHITECTURE

MAGAZINE BY
DAYLIGHT &

VELUX

SUMMER 2006 ISSUE 03 TEXTURES 10 EURO

SUMMER 2006 ISSUE 03 TEXTURES 10 EURO DAYLIGHT & ARCHITECTURE MAGAZINE BY VELUX
 Every building is inextricably intertwined with the site where it
DISCOURSE is located. The section will follow the topography of the terrain,
and the ground plan will be suitably aligned to the natural light.
BY But what is more important is that the location also influences
the choice of materials, the appearance of a building and the

FERNANDO actual texture it finally possesses.

If an architect takes these factors into account in his work,
while remaining aware of the special features displayed by the
MENIS surrounding area, natural characteristics become the funda-
mental values of architecture which does not subordinate itself
to the current vogues or passing trends. Each project makes a
fresh start though a process of analysis and reflection on these
basic underlying values.
The architect must have some idea of what kind of architec-
tural space he wants to create. Does he want it to suggest an
invisible influence, radiate an aura of peace or evoke specific
feelings? Or does he want to proclaim a visible influence and
thus make it a more complex place to live in but with a more
powerful form of expression? Whatever decision is reached, in
both cases the use of light and the final texture of the building
will determine the architectural result, which should be in
harmony with the use to which the building will be put.
Light and texture are inseparable, forming a conceptional
unity. The fall of light into a building depends to a large extent
on the materials used and is therefore a factor that should be
taken into consideration when choosing these materials. The
right choice of materials can exert a powerful influence on the
way in which an architectural space is perceived. Ribs and
wave shapes in the facade, seams of light in the floor or inter-
mittent lighting points make light an architectural element
that harmoniously complements the actual texture of the
building. However, it is not only light and its presence in build-
ings and on surfaces that is important; lack of light and the
presence of shadows are of equal relevance. Although light and
shadow are complete opposites, they should be combined to
generate an overall effect.
Texture, however, not only depends on the type of material.
Structures, proportions and the arrangement of elements also
determine the texture of any body. In architecture, this body is
Portrait by Torben Eskerod the building – and the arrangement of its elements is the
Read more about the work of Fernando Menis in
expression of common sense.
the article ‘Megalith circle in the desert’, starting
on page 14. Fernando Menis

1
 VELUX EDITORIAL In a time of digital design, several architects take we focus on ‘Texture’. New ways are constantly TEXTURES
up the challenge of exploring the vast possibilities sought and trod in the search of creating optimal
of bringing forward virtues in well-known mate- living and working environments. We invite you to
CONGRESS CENTRE
WELCOME TO rials by new means of constellation, structuring see traditional materials, seen through a different ‘MAGMA’, TENERIFE
DAYLIGHT & ARCHITECTURE and cladding. After decreasing materialization and optic: How does the thermal insulation of a polar
MAGAZINE BY VELUX abstraction of surfaces during Modernism, archi- bear actually work? Can ivy be used as a façade ma-
tecture is currently rediscovering the texture of terial? In Graz, the InnoCad office casts new light
materials as a property that has a strong influ- upon building in a historical context with an active
ence on the atmosphere of spaces and the ‘aura’ of use of materials, thus demonstrating a different tex- The desert sands of southern Tenerife are the site
objects. Surfaces are no longer treated as purely ture in the exteriors as well as in the interiors. of an unusual congress centre: MAGMA, the work
two-dimensional, but become three-dimensional In VELUX we seek to have a constant dialogue of local architect Fernando Menis, comprises con-
in their own right, and in doing so become more with professionals about the progress in construc- crete cubes which appear to have been hewn from
susceptible to the interplay of lights and shadows. tion business and architectural profession. The mag- the island’s cliffs of lava, and a corrugated roof
We are proud to present the MAGMA conference azine at hand is one example; another example is our made of fibre cement panels. Light infiltrates the
centre on Tenerife, as an excellent exponent of this engagement with the European Association for Ar- interior of the building through narrow gaps in the
tendency. Through the exceptional use of texture chitectural Education, EAAE. Since 2001 VELUX walls and roofs.
14
varieties in one building material, the ensemble has been a sponsor of the EAAE prize ‘Writings in
brings a flow of masses to life by the distinct day- architectural education’. In the VELUX dialogue ar-
light on the Canary Island. ticle, Per Olaf Fjeld looks into the topic of the 2003–
REFLECTIONS
Coming from issue # 2, which dealt with how 2005 edition with the theme of ‘New Knowledge’. NATURAL SURFACES
housing turns into homes, how processes and prod- The current prize edition 2005–2007 deals with
ucts turn out to become living environments, we representations in architecture, Communication –
now go a step closer to look at our physical surround- Meaning – Visions. In these reflections and perspec-
ings. In the issue of Daylight & Architecture at hand, tives, we hope you will enjoy reading # 3.
What do ostrich eggs, hazelnut shells and polar bear
skins have to do with architecture. Actually not as
little as one might assume, according to Dr. Udo
Küppers, a scientist at the University of Bremen.
His article looks at the bionics of natural surfaces
SUMMER 2006 CONTENTS and highlights some of nature’s “inventions” which
ISSUE 03 could become models for architectural components
32 – or have already been used as such, for example in
transparent heat insulation systems.

1 Discourse by Günter Behnisch NOW VELUX INSIGHT

2 VELUX Editorial
3 Contents
A DRESS FOR SPECIAL
4 Now OCCASIONS
8 Mankind and architecture
Architectural Weaving By adding a shining gold-coloured facade made of
14 Textures copper shingles to their residential and commer-
Congress Centre ‘Magma’, Teneriffe The new Cathedral in Oakland and the head- cial building at the edge of Graz’s old quarter, the
32 Reflections quarters of the Barcelona Waterworks are young architectural bureau Innocad created an ar-
Natural Surfaces both buildings which embrace the enhancing ef- chitectural landmark of national note. The build-
38 European Light fects of daylight. Jeroen Hoorn designs a pavilion ing’s ‘Sunday best dress’ communicates with its
Scarborough, Yorkshire, England made of glass blocks in gabions, Mario Bellini and environment on many different levels: It picks up
42 Daylighting details Rudy Ricciotti spread a delicate glass veil over the yellow colouring of the adjacent historic build-
Light and Materials the Louvre’s Visconti courtyard. And more: The ings and at the same time provides an interpreta-
48 VELUX Insight newly constructed ‘Camera obscura’ of Madrid, tion of the logo used by the architectural bureau,
A dress for special occasions
4 the Chamber of Commerce by Rafael de la Hoz.
48 which has moved its offices into the ground floor.
56 VELUX Panorama
Sunny Space in the Attic
Monolith on the Mill Pond
MANKIND VELUX PANORAMA
Embedded In Nature AND ARCHITECTURE
63 VELUX Dialogue ARCHITECTURAL WEAVING
Writings In Architectural Education
68 Books
Reviews Natural stone walls a metre thick juxtaposed
Recommendations Weaving, one of the oldest cultural techniques alongside delicate exterior and interior construc-
72 Preview known to man, is of outstanding importance to tions in steel and glass: the Czech architect Lucie
architecture. This special association was recog- Kavanova explored the theme of opposing ex-
nized long ago by the German architect and the- tremes in her conversion of the Kotrč mill for res-
oretician Gottfried Semper (1805–1879). Peter idential use. Also: The Seehotel on the shores of
Blundell Jones looks at how Semper’s theories Lake Neukloster, an ensemble of old and new build-
on textile architecture have evolved since the mid ings set against a rural backdrop, has been ‘rooted’
19th Century, and at the links existing between in its environment by architects Nalbach and Nal-
8 weaving and architecture today.
56
bach by dense ivy growth.

2 D&A SUMMER 2006 ISSUE 03 3

 ‘This is no tower, no skyscraper in the American sense [...]; it
NOW The things that make architecture tick:
events, competitions and selected new
developments from the world of daylighting.
rather is a fluid mass, which has just oozed out of the ground,
a geyser under a constant, measured pressure.’ Jean Nouvel

CHRIST THE TORRE AGBAR IN

LIGHT CATHEDRAL BARCELONA
IN OAKLAND

The ‘Christ The Light Cathedral’ in Even when it is often assumed: Jean
Oakland, near San Francisco is sched- Nouvel’s new office tower in the
uled to be completed by the begin- Catalan capital received its name
ning of 2008. The new construction not from the Arabian ruler. ‘Agbar’
by Craig Hartman from Skidmore, Ow- is nothing but an acronym for ‘Aguas
ings & Merrill (SOM) replaces the his- de Barcelona‘, the municipal water-
toric St. Francis de Sales Cathedral works. The designers would like the
which was destroyed in 1989 during structure to be understood as a sym-
a severe earthquake. Its name ‘Christ bolic ‘fountain’ from glass, light and
The Light Cathedral’ goes back to the air. Of course, the Barcelona inhab-
document, ‘Lumen Gentium’ which itants saw this differently: Since
was published in the 1960s by the Sec- the commencement of works in
ond Vatican Council and begins with 2002 they accompanied the build-
the words ‘Christ is the Light of all Peo- ing with partially amused, partially
ples’. Hartman raised it to the agenda: affronted comments on its phallic
‘Ultimately, this Cathedral, like those shape. The parallels to the “erotic
throughout history, is about the con- gherkin” of SwissRe by Norman Fos-
sideration of light as a sacred phenom- ter are unmistakable and may even
enon – and the poetic introduction of be intended. Different to this build-
light within the spaces of worship. The ing Jean Nouvel’s tower on Ave-
intent is to use light to ennoble modest nida Diagonal unfolds a play with
materials – primarily wood, concrete light reflections in all colours of the
and glass’, he writes. rainbow. Façade modules from var-
As with many places of worship in nished corrugated aluminium sheets
the Pacific area, the new church is pre- in 25 colours form the inner façade
dominately constructed from wood. layer; glass lamellas with four differ-
Its arches are up to 40 meters high and ent degrees of transparency, which
their internal walls are shaped like two are attached externally with vari-
spherical shells. Lamella-like wooden ous inclines and angles, let the tower
panels are inserted between the seemingly ‘spray sparks’ in the sun-
curved beams. They gradually slope light. The lighting atmosphere in the
from the bottom to the top and make interior is decisively defined by the
the wall appear ever more translucent. small windows, which cover the en-
The external weather-proofing of the tire façade irrespective of the storey
new cathedral comprises two conical heights like an abstract pixel pattern.
segments from glass with ceramic Their light is replicated in the reflec-
glaze which are mounted at a distance tive floor and ceiling panels or is, like
of one to three meters in front of the in the entrance area, softened by
wooden structure. At night, the light translucent screens.
from the church streams through the
panel construction and into the open.
The cathedral is transformed into a gi-
gantic lantern, which shines its light
far over the water. The church ship‘s
flat roof, the ‘oculus’ and alter wall are

PHOTO BY ROLAND HALBE

PHOTO BY GERALD RATTO

made up of diagrid constructions with

aluminium coating. The lower deck‘s
panels are angled, allowing light to
stream through their openings in the
direction of the alter wall.

4 D&A SUMMER 2006 ISSUE 03 5

 PHOTO BY RUDY RICIOTTI ARCHITECTES/STUDIO MARIO BELLINI
PHOTO BY MARGHERITA SPILUTTINI
PHOTO BY WILLEM VAN DET

PHOTO BY ROLAND HALBE

GLASS PEBBLES MUSEUM IN A VEIL FOR CAMERA OBSCURA
IN WIRE BASKET THE HELDENBERG THE LOUVRE

The building “could not allow itself break through the exterior wall like They still exist all over Europe: me- and glass. The larger part of the exhi- ‘The Visconti Courtyard must not be is also filters the light and refracts it In Spanish the word ‘Cámara’ means sive spatial composition in the east:
to have a backside”, comments Je- ‘cat’s eyes’ and scatter the sunlight morials paying homage to the em- bition area is located underground, on concealed!’, Mario Bellini and Rudy into the prismatic colours. This ef- not only ‘chamber’ or ‘room’, but also As if by magic a stone cube seems to
roen Hoorn on his design for a new into the interior. The climatic en- pires of previous decades, which are the same level as the crypt of fallen Ricciotti substantiate their winning fect bathes the exhibition room in ‘camera’. Based on this linguistic (and be hovering in the four-storied foyer,
fast food restaurant in Rotterdam’s velope (and insect protection bar- for most contemporaries nothing military figures. Nevertheless the design in the competition for the new a diffuse and colour-intensive light, semantic) relationship, Rafael de la which is only accessible via a nar-
centre. The motorized and pedes- rier: gabions are preferred nesting but gloomy walls with pathetic ges- spaces do not express the emotive- Museum for Islamic Art in Paris. It which favours the visitors’ comfort Hoz explains his design for the new row bridge from the building’s cen-
trian traffic flows around it from all places for vermin of all kinds) con- ture. The Austrian representative for ness of the existing building: Ebner will be realized in the Visconti Court- as well as the conservation of the ex- Madrid chamber of commerce. The tre. The structure was completely
sides; adjoining are an underground sists of floor-to-ceiling glass panes this genre is the ‘Heldenberg’, which and Ullmann designed an all white, yard in the south wing of the Louvre, hibits and cast a positive and stylish ‘Cámara de Comercio’ is situated on suspended from the structural con-
train station and a busy skater park. with cedar wood frames on the ga- was built from 1849 on in the Lower repeatedly folded interior landscape, which with its classical sandstone light on the Islamic Arts. a narrow site between an arterial crete framework of the roof; it ap-
Hoorn designed “a solid little box bions. At night, says Jeroen Hoorn, Austrian Kleinwetzdorf. Field mar- where daylight plays the main role façade is considered as one of the road and the motorway; a park ad- pears massive, but consists of a steel
that’s hip enough for the skaters the building starts to “glows up like shal Radetzky is buried here, epo- despite the underground location. most beautiful courtyards of the joins at the side. De la Hoz makes all skeleton, which is clad with thin ala-
and that echoes the robust styling a heap of hot coals”. nym of the famous march by Johann It always enters the space indirectly, entire complex. In order to maintain three of them visible for the visitor, baster panels. In the cube’s interior, a
of the surrounding offices from the Strauss, and several other important through roof elements, which pene- its ambience, the architects suggest by opening up the building (or in his thin half-light prevails during the day,
late 70’s”. The client had suggested military figures. trate the hill surface, partially arriving distributing the complete room pro- terminology: the ‘camera’) towards in which the stone structure is well
a façade from gabions, a solution With the three-winged, temple- centrally, partially as streaks of light gram of the new museum over two the exterior over three multi-storied emphasized. At night, the impression
he was already familiar with from like building the city fathers aimed for along the outer walls. Light leads the basement levels. A visual link to the glass façades. Additionally daylight is inverted: The stone cube, which
landscape architecture and which great things in 2005: A new exhibi- visitor through the museum; in the in- Visconti Courtyard located above is enters the central atrium via a glass only just appeared grey and nonde-
had been applied by Herzog & de tion as well as a new museum were terplay with the continuously chang- realized with openings in the ceilings. roof, which is supported by an enor- script, becomes suddenly an over-di-
Meuron in their vineyard in Napa to be realized under the title ‘Time ing room heights and widths. Ebner The exhibition areas are covered with mous girder grill from reinforced mensional luminous element, which
Valley. In collaboration with the ex- Travel Heldenberg’, paying homage and Ullmann deliberately forego the a light-weight roof structure, which concrete. Behind every one of these radiates through the glass façade far
perts from the Materia material da- to the town’s history. Peter Ebner and division of the museum into vari- is supported by four filigree steel col- three ‘lenses’ of his camera de la Hoz into the landscape.
tabase Hoorn searched for a suitable Franziska Ullmann from Vienna won ous cabinets. They simply organize umns only. The roof’s 80 centimetre positions an object as ‘room in room’:
filling for the wire baskets. He chose the architectural competition for the the exhibition route through a sub- high spatial load-bearing system is In the west, towards the motorway,
a mixture of asphalt-coloured lime- new museum. Externally the build- tle folding of the ceiling, walls and clad on both sides with a compos- a solid metal cube penetrates the
stone and large glass chunks, which ing is impressive due to its extreme partially the floor, which was tested ite, its surfaces being finished with glass façade. In the south, in the
lets the coarse-grained façade struc- restraint; it is only visible as a canti- during the design process with innu- thousands of small glass lenses. This direction of the park, a glass cube
ture appear even more impressive in levered, elongated entrance building merable working models. ‘veil’ functions as a weather protec- projects towards the exterior. The
counter light. The glass elements constructed from fair-faced concrete tion for the room located below, but architect achieved his most impres-

6 D&A SUMMER 2006 ISSUE 03 7

MANKIND Mankind as the focal point of architecture: Text by Peter Blundell Jones.
AND ARCHITECTURE interior views of a corresponding relationship.
In his book, ‘The Four Elements of Architecture’ (Die
vier Elemente der Architektur), Gottfried Semper
placed the art of weaving, as one of the fundamental
elements of architecture. Weaving (latin ‘texere’) has
maintained its importance as an aspect of building
up to the present day, even if only in the metaphorical
sense described by Peter Blundell Jones in his article.
He investigates the myths and customs of weaving in
human culture and delves into people’s fascination
for woven surfaces which persists to this day.

When gottfried semper presented his argument about the East Asian architecture seems at first a much better support
four elements of architecture he was already fascinated by the for cladding theory, since in traditional Chinese, Japanese and
question of polychromy: the claims that antique buildings Korean buildings the walls are usually indeed cladding, filled
had been finished in highly coloured ornament. He was also in after the structure is erected and allowing for many kinds of
reacting against claims that architecture originated in pure spatial layering. But closer study does not support the idea that
construction, particularly in the masonry wall. The intellec- the cladding is in any way the primary element: the primary
tual context was the debate about classical antiquity and sup- construction is evidently carpentry, it is a building of roofs.
posed origins running back through Egypt and Assyria, with The whole basic expression lies in the layering and interlocked
sideways references to China. Archaeology and anthropology jointing of the complex wooden roof structure, which dictates
were still in their infancy, so ideas about primitive origins were both the curved outer forms and the elaborately bracketed cor-
highly speculative. Semper presumed that the hearth was the ners (fig ). The carpenter is clearly the boss, and is the primary
starting point, first element and moral base. Elements two and actor in building rituals, of much greater status that the mason
three were the mound and the roof: mud or masonry being the who only builds the base. The building stands clear and open
basis of the first, carpentry of the second. This prepared the on its columns before the infill partitions and outer walls are
way for the fourth element to which he gave most attention: added: the cladding is therefore secondary. There is, however, a
the enclosure made by the Wandbereiter through the proc- strong differentiation between the wall of cladding – die Wand
ess of weaving. According to Semper, because the enclosing – and the solid wall– die Mauer – of mud or masonry. The lat-
wall had originated in a hurdle or a carpet, it was a Beklei- ter is used in China and Korea as the outer property bound-
dung and should bear the noble memory of this origin. This ary wall, broken only by a roofed gate. Its strength and solidity
not only opened the way to a revival of applied ornament in keeps strangers and contagion out while the actual wall of the
colour, but made it a moral duty, and suggested that an appro- building, which may in places be no more than a paper screen,
priate decorative vocabulary might be inspired by a study of remains a mere filter between house and court or garden. The
weaving. Semper was working at a time when, as Ruskin put hot, humid summer climate brings a need for through airflow

PHOTO BY GIOVANNI ANTICO

it, ‘ornament is the principal part of architecture’, and it is and for a finely adjustable barrier, but the effect of the layers
perhaps significant that Semper’s theory was revived during of screens and blinds also produces a subtlety of spatial lay-
1
post-modernism, when justification for applied cladding was ering with strong social and aesthetic consequences. Recent
again being sought, and a new interest had arisen in the per- examples from Japan show that this tradition persists in some
sisting memory of past technologies, for example in useless places as strongly as ever. Traditional Japanese house planning
Above The Tatami mat is the

ARCHITECTURAL
applied quoins or keystones. revolved around the tatami mat (fig. ), an archetypal work of
most important item of soft fur-
niture in the traditional Jap-
Semper’s argument about the primacy of cladding is hard to weaving the size of a bed which sets the house’s module. The
anese residence and, at the support today, at least as a general principle. Certainly there have paper-clad sliding screens or shoji which stand in as their ver-
WEAVING same time, represents the most
important unit of measurement
in ancient Japanese architec-
been tents in many parts of the world, and houses of the Amazo-
nian rainforest like the Tukanoan Maloca would have warmed
tical counterpart possess a woven quality, particularly with
their gridded geometries and modular frames. Modern exam-
ture. Its length (ken) varies from
Semper’s heart as the perfect proof of his theory: a timber frame- ples reveal that the availability of glass has not altogether dis-
region to region between 170 work covered in mat-like constructions of plaited grass. But there placed the desire for the translucency and play of light which
and 191 centimetres. are also many mud and masonry constructions where the earthy the shoji brought. Also woven in traditional Japanese architec-
material is primary, and the wall thick and solid. In some cases, ture are bamboo fences: those of the Katsura Palace are surpris-
through vaulting, the wall even becomes the roof. There is plenty ingly simple yet highly refined in their detail. Here is strong
of precedent, too, for the Gothic Revival obsession with spanning evidence for Semper’s claim that the logic of technique gives
of openings, let alone Louis Kahn’s famous observation that the identity to the form.
brick wants to be an arch.

8 D&A SUMMER 2006 ISSUE 03 9

 The Sago palm is the main build- Below (top) The timberwork of Below (bottom) Front view of
ing material of traditional Papua an ancient Korean temple reveals a Dogon dwelling house. In the
New Guinean dwellings. Posts the high art of woodworking same way that the interweav-
are made from the trunk of the in the old, east Asian cultures. ing of warp and weft symbolises
palm, wall shingles and the roof Skeleton structures like these the joining of man and woman in
from the leabes, and floors from provided the basis for the devel- marriage in the Dogon faith, the
the skin of the trunk. opment of lightweight, open- niches beside the entrance repre-
worked or plaited external wall sent the occupants’ family tree.
claddings.
Right Wattle and daub wall fill-

PHOTO BY PETER BLUNDELL JONES

ing of a half-timbered house.

PHOTO BY YOSHIO KOMATSU

This too consists of coarsely
interwoven, pliant branches,
but is subsequently concealed
2 behind a thick layer of clay, 5
straw and plaster.

the origins of weaving symbol of culture. The warp and the weft, like ploughing, set especially significant in view of Bourdieu’s theory that geom-
A knowledge of modern anthropology would have both under- up the right angle, which is reflected again in the order of the etry originates with the body, and in the basic bodily actions
mined and substantiated Semper. The primacy of the hearth, square, orientated house plan, and in the symbolic order of of moving forward and backwards, to left and right or up and
so obvious for a northerner, is in many warmer climates far the village. The interlacing of warp and the weft represents the down.3 Not only does this provide a pre-Cartesian account of
less important. The focal nature of the fire for Native Austral- conjugal act, the coming together of male and female, and the the three dimensions in architecture, it also suggests a basic
ians, on the other hand, would lend strong support to Sem- various actions of the weaver represent different aspects of the role for what one might call choreography, the coordination
per’s claim for his first element, and the interlocking of a few Dogon origin myth. Dogon family houses, built of mud, have in space and time of many bodily movements. The primitive
branches to make a quarter spherical enclosure as a shelter in facades presenting a grid of niches as a memorial to the ances- theatre in which Native Australians carried out their presen-

PHOTO BY PETER BLUNDELL JONES

front of it could surely have been taken as a form of weaving, tors (fig. ), and the ideal house should have ten rows of eight, tations of the Dreamtime myth in their all-important initi-
a making the first wall for the first house as die Wand, not die representing the genealogy of the family stretching back to ation rituals was no more than a marked out piece of desert
Mauer. The artefacts and crafts of the Australians also reveal the primordial couple. Ten is the number of the fingers, eight with a few windbreaks and strategically placed piles of fire-
types of weaving that probably existed long before the inven- the number of original families, and eight is twice four, the wood, yet it served as the necessary frame and definer of roles
3
tion of the loom, for hunter-gatherers need string. They use number of the basic grain types which are disposed in the four for the whole pageant: as a marker for the choreography. The
it for lashing things together, for tying on ornaments or gar- corners of the perfectly square granary, which is also a model event that brings this idea of choreography together with weav-
ments, and even for making ceremonial objects. It could be of the universe. Agricultural land and houses are laid out on ing and the knot is dancing around the Maypole: each dancer
made from human hair long before sheep were domesticated, modules of feet or cubits involving the same numbers. The holds a strip of cloth attached to the central pole, and they
herded, and exploited for wool. Native Australians could also woven rug exerts its most representative role as a funeral pall, weave in and out, knotting their threads in a particular pat-
make themselves shoes by plaiting grasses. Just as important and it should have eighty threads in each direction, for when tern. It is soon unravelled again, but for a moment the dance
as the choice of material was the technique of joining: finding the dead body is wrapped in it: ‘it is a symbol of life and res- is shown to have a physical product: moving bodies record-
ways to interlace the threads which turn a linear one dimen- urrection. In it the dead man is folded for a short time, like a ing their movement in a woven product.
sional material into a two- or three-dimensional artefact. Knots foetus in the womb, so that he may be immersed again in the
are presumably ancient in human history, perhaps much older web of the living and in the germinating fields.’ 1 the rules of the game
than the , years of agriculture and closer to the , In oral agricultural cultures such as the Dogon, the loom Nowadays the word ‘product’ is abused in many ways, but orig-

PHOTO BY JOSEF F. STUETER

years of language. They require spatial understanding as well was one of the most sophisticated technologies, along with the inally something had to be ‘produced’, and the attraction of
as manual dexterity, though we remember how to tie our shoe making of pots and the working of iron. Such skills not only a woven rug or a basket seems to lie in the visible order of its
laces largely as an action. The interlacing patterns of Celtic produced the essential artefacts of human culture, but also 4
construction. Not only does the ordering of materials confer a
art with their under- and over-crossing lines are presumably a demonstrated a kind of magic; the undifferentiated mass of raw geometry: it allows choices in the layerings of materials, changes
memory of embroidery techniques, just as later knot-gardens fibre transformed, through the imposition of practical geome- of colour etc. Variations in the action of making present the
were derived from Turkey carpets. All this confirms that Sem- try, into a beautiful square of cloth. The techniques needed to part of the year, therefore related to the dark, wet, female side opportunity for ornament, which arises as a form of play by the
per was on to something important. be remembered and carried down through the spoken word, in Bourdieu’s series of oppositions. The Kabyle loom relates maker, but it must happen within the rules of the game. The
He would doubtless have enjoyed some of the rich mythol- and their origins needed to be located within the more gen- to the female role and the male protection of women: ‘It is in patterns in traditional hand-made carpets are limited by the
ogies of the loom that have since come to light. In Marcel Gri- eral origin myth. It is hardly surprising, therefore, that they front of the loom wall, facing the door, that the young bride size of thread and the type of stitch, for example, and by the
aule’s famous book on the Dogon, reporting a long narration carried such a huge interlocking symbolic load. Although the is made to sit… When one knows that a baby girl’s umbilical judicious use of a limited range of dye colours. William Morris
from the tribal elder Ogotemmeli, weaving plays a very major ideas seem primordial, the details are far from universal. The cord is buried behind the loom, and that, to protect a maid- recognised all this when, among other crafts, he attempted to
role. Weaving for them is a male task, spinning a female one, loom is equally a symbol of culture for the Kabyle of Algeria, en’s virginity, she is made to step through the warp, from the revive the art of weaving, stressing that the weaver must make
and the combination is like making children. The alternat- for example, but it is predominantly a female technology. In side facing the door to the side next to the loom wall, then ‘weaver’s flowers’ not ‘painter’s flowers’: the product must always
ing black and white squares of a woven rug are said to rep- his famous structuralist analysis of the Kabyle House, Pierre the function of magical protection becomes evident… From be geared to the material and technique:
resent an agricultural landscape as seen from above, divided Bourdieu presents the loom as a primary representation of cul- the standpoint of her male kin, the girl’s whole life is summed ‘Do nothing in it but that which only weaving can do,
into squares. It thus reflects the essential order of ploughing, ture. It gives its name to the back wall of the house, the loom up in the successive positions she symbolically occupies vis- and to this end make your design as elaborate as you please in
the basis of settled community, which first imposes an artifi- wall, but since it is inside the house, the predominantly female à-vis the weaving loom, the symbol of male protection.’ 2 The silhouette, but carry it out simply; you are not drawing lines
cial geometry on the natural topography and is thus a primary space, it belongs to the women. Its use belongs to the dark stepping through the loom as a kind of symbolic threshold is freely with your shuttle, you are building up a pattern with

10 D&A SUMMER 2006 ISSUE 03 11

 1
Griaule, Marcel Conversations with Ogotemmeli, Oxford Uni- Below top Stainless steel fabric Below (bottom left) In their sig- Below (bottom right) Frei Otto
versity Press 1966, p. 79. (Original French title Dieu d’eau, belongs to the recurrent textures nal box in Basel (completed finds inspiration in cobwebs and
entretiens avec Ogotemmeli) in the works of Dominique Perrault. 1998), Herzog & de Meuron inter- other natural woven structures
2
Pierre Bourdieu, The Kabyle house or the world reversed, in his The Velodrom in Berlin is almost preted the theme of weaving for his designs. A particularly
book Algeria 1960, p. 137. entirely clad with this material. with considerable freedom. The good example can be seen in the
3
Pierre Bourdieu, The Body as Geometer, in his book Outline of Only a man-high glass façade sepa- symmetrical building is wound roof structure of the Olympic
a Theory of Practice, Cambridge University Press 1976. rates the seemingly hovering silvery around with copper bands which Stadium in Munich (1968–1972,
4
William Morris, On Weaving, from The Lesser Arts of Life disc from the ground. turn into the horizontal posi- with Günter Behnisch) consist-
1882, quoted in Christine Poulson, ed. William Morris on Art tion near the windows in order to ing of crosswise interlinked indi-
and Design, Sheffield Academic Press 1996, p. 79. let light into the building. At the vidual cables.
same time, direct sunlight is cut
out by means of louvres.

a fine rectilinear mosaic. If this is kept well in mind by the try which also organises and engages materials. The architects
designer, and he does not try to force his material into no- of Team Ten, particularly Josic Candilis and Woods, created
thoroughfares, he may have abundant pleasure in the mak- a series of works on grid plans which were compared with a
ing of woven stuffs.’ 4 mat or tartan. Alvar Aalto made an early return to lashed and
In the same lecture there is a hint of real personal experi- woven plant materials in his Villa Mairea of , and went on
ence: ‘... neither do I call the weaver’s craft a dull one, if he to invent many kinds of gridded wooden structure, especially
be set to do things which are worth doing: to watch the web for space-defining suspended ceilings. Josef Frank, especially
growing day by day almost magically, in anticipation of the in his Swedish career after , excelled in the design of tex-
time when it is to be taken out and one can see it on the right tiles and employed rattan and cane for furniture. If weaving
side in all its well-schemed beauty.’ is taken in a broader sense to refer to material layers that are
perforated or translucent, like the Japanese shoji or the veiling
weaving in architecture woodwork of the Arab harem window, there is a great rich-
Apart from its presence in various kinds of cloth used for ness of modern examples, including the kind of façade layer-
clothes, bedding and furnishings, weaving appears in tradi- ing developed by Egon Eiermann and further exploited in the
tional rural architecture in three forms: the making of hur- buildings of Günter Behnisch. Some of these layerings are vis-
dles and fences, the use of similar techniques for the infill of ual, others environmental, and it is a commonplace that the
timber framed walls, and in thatching, particularly the fin- exterior of a building might be considered like clothing: a rain-
ishing and edging. Old lashed fences seen now only in open- coat to keep out the rain, a pullover for insulation, and so forth.
air museums were particularly beautiful in contrast with the Perforated metal grids and screens, which produce the visual
concrete posts and barbed wire we are usually faced with in effect of a weave without being woven, have seen widespread
the country today, and depended on a precise knowledge of use in the last  years, notably by Jean Nouvel. Herzog and
the type and age of trees to be used. The infill in timber frame de Meuron went further to create facades in large-scale mim-

PHOTO BY WERNER HUTHMACHER

(fig. ), made of intersecting horizontal and vertical elements, icry of hurdle-like form with their signal box Auf dem Wolf of
gained strength from the tensions in its interlocked materi- – (fig. ), but this was just one theme among many in
als, but was then lost to view by being plastered over on both their work about redefining the nature of facades, always with
sides. The woven nature of thatch is most evident around a consciousness of the effect of materials. Cable-nets and grid 6
the ridge and edges where everything has to be tied-in and shells, as pioneered by Frei Otto and his Lightweight Struc-
weatherproofed. The strings used to secure it are often visi- tures institute (fig. ), are like woven material in the sense that
ble, lending themselves to ornamentation, and a special qual- they have a warp and a weft, are flexible, and have forms dic-
ity is given to thatch by the process of trimming to finish the tated by tension forces. Cable-nets particularly are like spi-
forms, like a haircut. ders’ webs, a reminder that the spider may be nature’s lowliest
Weaving in modern architecture in the strict sense is much weaver, but it can produce material of great complexity and
rarer because of the general decline in handcraft. We see the beauty, and it does a kind of ballet in producing it.
occasional use of baskets, such as for the balconies of a recent
seminary in Stuttgart, and their persistence as the containers
under hot-air balloons shows that in lightness and strength Peter Blundell Jones was trained as an architect at the Architectural
they still compete. But rather than being employed literally, Association in London, from 1966 to 1972. He has written extensively

PHOTO BY JAIME TAUTIVA

PHOTO BY JAKOB SCHOOF
weaving is more persistent in terms of underlying ideas. Not on architectural history and theory, and has published books on Hans
Scharoun, Hugo Häring, Günter Behnisch, Gunnar Asplund, the Graz
only was the Semperian tradition of cladding carried on by School of Architecture, as well as the anthology ‘Modern Architecture
Wagner and Loos, but Frank Lloyd Wright made frequent ref- through Case Studies’. Since 1994, Peter Blundell Jones has been a 7 8
erences to the warp and weft as the basis of a planning geome- Professor at the University of Sheffield.

12 D&A SUMMER 2006 ISSUE 03 13

DAYLIGHTING The natural gift of daylight
put to practice in architecture.

MEGALITH CIRCLE Text by Jacob Schoof.

Photos by Torben Eskerod.

IN THE DESERT Down at the southern fringe of Europe and

right in the heart of Tenerife’s tourism area
Congress centre ‘MAGMA’, Tenerife on the south-eastern coast, Fernando Menis
of Spanish practice AMP has created a
congress centre of sheer archaic monumen-
tality. Menis applied both patience and
boundless creativity to foster an abundance
of forms and textures that are largely
unrivalled from only two external finishes –
exposed concrete and fibre cement panels.

14 15
 The southeast of Tenerife Island is a barren bound for Santa Cruz runs directly behind Previous page Low, wide ramps
land – a semi–desert shielded by the volcano the building. The site was partially exca- lead from the town Adeje
towards the forecourt of the
Teide (at 3718 metres the highest peak on vated out of the slope; facing towards the
congress centre located above.
Spanish territory), whose sparse vegetation sea it forms a raised platform with a number Behind the parapet the contours
rather betrays the close proximity to North- of ramps running up to it. of the flat crouched building are
ern Africa than to the distant mother coun- At first glance, the congress centre situ- perceptible to the right.
try. If it was not for the booming tourism, one ated above the town of Adeje curiously both
Left The two surface materials
would have very little reason to suspect the draws on elements of international expres- of MAGMA are fair-faced con-
existence of larger human agglomerations sionism and a certain classic, tectonic heav- crete and fibre cement shingles.
here – let alone one of the most important iness, which the Spanish architecture of The front sides of the concrete
walls were treated with a jack-
public buildings to be built on the island for recent years has rediscovered. Fernando
hammer, in order to generate the
the last decades. The 30 million Euro project Martin Menis is well aware of this ambiguity appearance of weathered vol-
MAGMA was originally planned as a pure of his design: He writes: ‘From a distant point canic rock.
congress centre, but during the planning of view, the building presents itself as an
Top Overall elevation of the
phase the brief was extended to include the- arrogant construction in its forms, expres-
building complex as viewed from
atre and concert facilities as well – finally sive and strong, while in short distance it the slope above the town. From
a complete auditorium was added. In the dissolves in the territory, blending with the here, the alternation of bulky
future the building is to host regular con- environment.’ concrete cores and the wave-like
fibre cement roofs gliding across
certs by the Orquestra Sinfonica de Tenerife, Striving to label the unusual new build-
becomes visible.
which so far mainly performs in the audito- ing of Adeje with a common stylistic tag
rium of the island’s capital Santa Cruz that many critics have already likened it to Frank
was designed by Santiago Calatrava and Gehry’s architecture. Just like the Califor-
opened in 2003. nian in his best buildings, Menis also plays
Last not least, due to its good traffic with the tension of solid cubes and undulat-
location MAGMA is expected to become a ing roof elements. However, the congress
focal point for Southern Tenerife’s economi- centre lacks the vertical gesture of Gehry’s
cal and cultural development: the motorway buildings that reach to the sky; it stays close

16 D&A SUMMER 2006 ISSUE 03 17

With mobile partition walls
the upper conference level can
be divided into a maximum of
26 small rooms. The space is
mainly left open, then offer-
ing an unrestricted impression
of the majestically curved roof,
which towards the corners low-
ers down to the floor level.

18 19
 Left View through the upper
level. Lighting is provided by
flush halogen spots in the ceil-
ing and lighting slits in the roof,
through which daylight enters
the interior (always indirect).

Right The main staircase to the

upper storey reveals Martin
Menis’ sculptural qualities. The
façade of the rear office wing
(in the photograph to the right)
shows the patchwork from the
smooth formwork pattern and
the subsequently hammered
concrete surfaces.

to the desert sand, thus pleasantly keeping a phic building structures during the last years.
very down-to-earth profile. Menis compares The undulating roofs are clad internally and
the solid concrete cubes carrying the roofs externally with flexible fibre cement panels
to blocks of solidified magma; the undulat- overlapping each other like scales. Even at
ing roofs themselves symbolise for him a liq- the edges where the upper and under side
uid in movement that outlines the space in of the roof meet Menis strictly avoided any
every direction. edge profiles in order to sustain the rough,
As one approaches the building, the stony appearance of the building. Hence,
fragmented shape as a whole is broken down the roof edges received a jigsaw pattern
into individual building elements with an that harmonizes with the rough chiselled
impressive presence and many contrasting concrete finish. Interior mechanical serv-
textures. Accordingly, Fernando Menis had ices such as ventilation and electrical serv-
all concrete finishes treated in such way so ices, the soundproofing and guide rails for
they appear like rough blocks straight from the acoustic partitions are concealed within
the quarry: while the side facades received the roof cavity.
a diagonal formwork, which conjures up the A total of twelve concrete megaliths
image of a pattern left by a gigantic jigsaw, positioned in a nearly polar array subdi-
the far ends where subsequently roughened vide the building plan, carry the roof loads
with jackhammers. and contain secondary spaces like WCs,
A massive steel lattice with suspended escape stairs, offices and the press cen-
45cm tall steel girders supporting the ceiling tre. The three building entries are located
cladding below served Menis as roof struc- in between. They are equally low-rise and are
ture. The irregular and double-curved roof shaded by sturdy balcony parapets and can-
surface was calculated and manufactured tilevered roof segments. The main entrance
with the CATIA software. It was originally leads from the forecourt to the foyer space
developed for aeroplane engineering and and the adjacent public cafeteria to the left,
was successfully used on a string of biomor- which is to insure a minimum of public life

20 D&A SUMMER 2006 ISSUE 03 21

A massive, triangular balcony
cantilevers from the upper floor
into the auditorium. Just as nat-
ural rock formations, the form-
work pattern on the walls hardly
ever runs exactly horizontal or
vertical; the diagonal is always
dominant.

Above The Tatami mat is the

most important item of soft fur-
niture in the traditional Japa-
nese residence and, at the

22 23
even on days without conferences. A second wide and relatively dark; huge hollow rein- A conference room in a concrete In the best sculptural tradition Fernando a trial and error: only a few details were pre-
entrance leads from the rear of the building forced concrete girders span across the hall at bar. The narrow ‘grietas de luz’ Menis makes masterly use of daylight. In planned and many things were only drawn,
(lighting slits) in the several
to the administrative wing; a third one is only such a low level that occasionally they almost southern Tenerife summer daytime highs redrawn and then changed again when
meters thick ceilings and exterior
used for large events and leads directly into appear to be within reach. The ventilation walls generate some of the most of 40 degrees Celsius are common and the project was already on site. For such a
the auditorium. ducts have been integrated into the girders impressive lighting atmospheres generous direct day lighting of interiors is geometrically complex building with such
Visitors entering the building with the and the lighting system sits in the deep, dra- in the entire building. not advisable. Menis generally lights the an abundance of details like MAGMA an
expectation of a common conference cen- matic recesses between them. Once again, spaces indirectly and makes restricted use extremely close involvement of the archi-
Right The generous, two-storied
tre with industrial aesthetics, modular Menis highlights here the concrete mass by auditorium is also divided by of direct sunlight to highlight volumes or fin- tect in the building process is probably an
steel-glass walls and endless ceiling grids showing the untreated formwork finish at partition walls: dark gaps in ishes. Narrow wall and roof light slots (grie- absolute must. In this particular case the
are bound to marvel at the resourcefulness the underside and by chiselling the sides. The walls and ceilings indicate these tas de luz) and circular openings – real ‘light building was only made possible by a totally
divisions. The ceilings were
of Fernando Menis’ architecture: with sheer adjacent main auditorium with its large ceil- holes’ (agujeros de luz) – are the most fre- loyal construction team that followed the
suspended by several meters
skill he gave the cave-like large spaces not ing span takes up the full height of the two to from the roof’s actual main load- quently use daylight openings in is design. In many twists and turns of Menis’ ideas nearly
only a special atmosphere, but also a flexi- four storey building. Numerous recesses and bearing structure. this respect, the press centre on the upper without condition.
bility that lives up to highest international alcoves not only make passing through the floor with its repletion of boxed hollow con-
standards. The 2350sqm multi-purpose building a real sensual experience; they also crete girders and roof strip lights makes for
hall on ground floor that houses a concert enable many different uses at once: congress a particular dramatic spatial impression. At
stage can also be subdivided into a maxi- meeting and private conversation, lectures as night time, powerful halogen floodlights fit-
mum of nine smaller conference rooms. Also well as informal social interaction. ted into the ceiling gaps light the building.
the upper floor can be used either as one Instead of simply fulfilling a programme Both the final building and the design
1865sqm conference hall or can be subdi- and catering to every conceivable kind of process followed a sculptural design inten-
vided into a maximum of 26 smaller rooms. use the building itself inspires a multitude tion: the first ideas for MAGMA where
This astonishing flexibility of the programme of activities. The down-to-earth, stubborn shaped in a plasticine model hardly bigger
is ensured by sound-insulated sliding walls, architecture is at once functional and artis- than a shoebox; this was followed by larger
which are stored in back-of-house zones tic: it is rational enough to enable all kinds of models out of plasticine and Styrofoam that
(Menis calls them ‘wardrobe rocks’). activities as well as being a sculptural work where then directly translated into archi-
In the entrance hall epitomises all the of art in its own right that does not depend tectural drawings. Like the work of a sculp-
archaic power of this building: it is low and solely on its use. tor, Menis’ work flow followed a pattern of

24 D&A SUMMER 2006 ISSUE 03 25

 Left The congress centre’s col-
our and surface texture change
in the course of the day. The
roof overhangs are calculated in
a way that they optimally pro-
tect the building from the strong
midday sun.

Right Detail elevation of the con-

crete façade. The concrete was
mixed with regional mineral
powder, in order to adapt its col-
ouring to the surrounding rock
formations.

26 D&A SUMMER 2006 ISSUE 03 27

 Longitudinal section

Cross section

Detailed section through

the entrance façade Site plan

My home – which has had a decisive influence on like or how the building is to be divided up, I always choose the most
my work – is the Canary Islands. Because of its par- suitable materials in my architecture, which are not only aesthetic,
ticular geographical position with its large distance but also harmonize with the environment of the building. The appear-
between Europe and America and the closeness to ance, the colour and the texture are the showpiece of a building.
Africa, the archipelago forms an excellent cultural The art and congress centre MAGMA Arte & Congresos on Tenerife,
and economic connecting link between the three con- for example, uses flowing lines to express itself, which start at the
tinents. The volcanic origin and the prevailing light conditions, col- ground and continue over the walls to the wave-shaped roof, which
Ground floor plan Upper floor plan
ours and shapes account for the typical character of the islands sits enthroned above everything and gives the building a self-con-
which are surrounded by the Atlantic. tained feeling. The dominating material is concrete, as this harmo-
These unique, natural conditions for their part influence the architec- nises well with the hinterland and the desert-like landscape of the
ture, which does not submit to zeitgeist or short-term trends. When south of the island. In order to help match the concrete colour more
Facts carrying out my projects – which try to capture at least a part of to the landscape, brittle stone originating from local quarries, which
Building type Congress centre containing auditorium, this uniqueness – I collect and analyse the materials which are char- is typical for this region, was added and is responsible for providing
cafeteria and offices acteristic for a building location. This approach has affected my ar- the ochre colour. The external texture of the building is a reminder of
Client Canarias Congress Bureau Tenerife Sur S.A. chitecture for many years. The design of a project partly on location the eroding landscape of the south; it also gives the building vitality,
Architects Artengo Menis Pastrana, Santa Cruz has the doubtless advantage that examples can be produced on a depending upon the day-light. The light thus underlines the texture
de Tenerife 1:1 scale, allowing us to make changes in colour shades or discover of the building from outside. In the interior, on the other hand, light
(Project architect: Fernando Martin Menis) unknown textures for certain materials. is used in another way: It gushes in cascades over the floor and walls
Location: Costa Adeje, Tenerife The site of the future building is thus also integrated into the project and gives rise to a diversified play between light and shade.
Date of completion Autumn 2005 in this way. Because the materials used depend on the surroundings.
Independent of the outline of the building, what the facade will look Fernando Menis

28 D&A SUMMER 2006 ISSUE 03 29

30 31
REFLECTIONS Different points of view: ideas beyond Text by Udo Küppers.
those of everyday architecture.
Packaging bionics is concerned with the matter
of technical inventions which can be derived from 1 2
natural surface structures. This branch of science
has already brought considerable progress to civil
engineering in the past, for example, the self-
cleaning ‘lotus effect’ for paints and rendering,
metal and ceramic surfaces. However, the bionics 3 4
of natural surfaces hides even more surprises for
us, as Dr. Udo Küppers explains in his article.

NATURAL SURFACES
Surfaces are interfaces and as such a universal character- Bionics is concerned with the systematic technical implementa-
istic of life. One could also say: Natural surfaces are the pack- tion and application of the construction, processes and principles
aging of life. Even the smallest, thinnest piece of skin just a of biological systems.
few millionths of a centimetre thick, a surface consisting of
a double layer of fat molecules with its respective structure, pro- Products, such as the dirt-repelling facade paints or a special
vides an extremely effective way of conserving energy within film to reduce surface frictional resistance, are better known
the body. The surface of a layer of bark several decimetres to a broad audience of interested persons by the terms ‘lotus
thick of a giant sequoia tree protects its host directly and pri- effect’ and ‘rib-let effect’. Detailed investigations on natural
marily against manifold weather influences, fires or animals. surfaces of the lotus leaf and the shark’s skin led to these bionic,
An unmanageable wealth of highly specialized surfaces spans advanced technical solutions. These are just two of many excep-

PHOTO (LEFT) AG HEYSER/UNI BREMEN. OPPOSITE: PHOTOS 1, 3, 4 BY JAKOB SCHOOF, PHOTO 2 BY DR. UDO KÜPPERS
between the smallest and largest interface of life, which evo- tional results of bionic research and development, which not
lution has been slowly improving step by step for millions of only make it clear to us just how superior nature’s technology
years. Inside a host there are special networks of cells (organs), really is, but also show how easy it is to change a decade of old
for example, which differ from one another by surfaces which textbook knowledge on technical surfaces. Nature has known
form borders, but still communicate with one another. It is that all along: not only the smoothest but also the optimally
the external covering surfaces against the environment, for structured surface is the cleanest.
example, of the human skin, which fulfil the numerous mul-
tifunctional protective functions. It is these external surfaces, packaging bionics – motor for the development of
in particular, which we perceive primarily as human beings. forward-looking technical functional surfaces
Across all spheres of life on earth, they serve to fulfil special- Natural packaging solutions satisfy a cross-section of tasks
ized tasks which are important for the survival of the host. from protection and transport to storage and quality assur-
Beauty and functionality are closely related in the case of nat- ance of the ‘packaged life’ more easily than packaging solu-
ural surfaces. Evolution has understood how to combine both tions designed by human beings. If you look more closely at
of these characteristics perfectly. the natural surfaces of an organism, you will also soon dis-
The exploration of the secrets of natural surfaces is incom- cover their ‘packaging secrets’.
plete without a glimpse into the microscopic depths of the Packaging bionics has in the meantime established itself
layers. It is not until one looks on a micron and nanometre as a self-contained growth area of the future within the scien-
scale that the true success strategies of natural organisms and tific discipline bionics. It systematically analyses the elaborate
respective inorganic laminates become apparent. variety of shapes, the clever structural combinations and the
Bionics is the catalyst between natural surfaces, which can systemic transpiring energy, material and information proc-
serve as ideal examples of surfaces in engineering and archi- esses of natural ‘packaging’ and, hence, natural surfaces as well
tecture, and the functional, technical and architectural anal- (Küppers , , , Küppers/Tributsch ).
ogous product which is ready for use. It is an independent The following examples of ten organism-related surfaces
scientific discipline which can be easily differentiated from and surfaces covering organisms open up to us only a small
other disciplines through its analogy research: window into the fantastic and highly efficient wonderland of
Opposite Four examples of external natural surfaces: natural surfaces:
1. Gaudy scale-like plumage of a pheasant.
2. Hydrophobic leaf surface of the lady’s slipper.
3. Multi-functional human skin.
4. Translucent seed covering surface of the mother’s heart.

32 D&A SUMMER 2006 ISSUE 03 33

 PHOTOS BY DR. UDO KÜPPERS, EXCEPT NR 3, GETTY IMAGES

1 2 3 4 5

6 7 8 9 10

1 Host Polar bear 6 Host Giant sequoia the ostrich egg – functional surface with
Surface Black skin with overlying fur of transpar- Surface Brown coloured, fibrous, soft and protection for developing life
ent light conducting hair aerated bark
Functions Orientation, camouflage, heat conser- Functions Very light, strongly tannin-containing
Eggs are one of nature’s many ingenious forms of packag-
vation by total reflection and hence bacteria resistant, highly ing, in which life can develop protected from external distur-
Potential bionic solution Transparent thermal insulation (build- heat insulating, fireproof bances. This life has to be supplied through the mineral shell
ing components already available in Potential bionic solution New environmentally friendly material with life-giving oxygen from outside. Expired carbon diox-

PHOTO BY AG HEYSER, UNIVERSITY OF BREMEN

the market) composition as insulation material for
the building sector, flame repellent,
ide has to be able to escape from inside to the outside. Envi-
2 Host Edelweiss fire retardant laminate layers, bacte- ronmental influences, such as strong uv sunlight, have to be
Surface White, furry coating riainhibiting protective film reflected from the shell surface. Furthermore, the develop-
Functions Transparent, heat-insulating ing ostrich has to avoid the penetration of micro-organisms
Potential bionic solution Transparent heat insulation 7 Host Geranium plant
Surface Wax covering
through the shell structure. Finally, the shell has to be able to
3 Host Ostrich chicks Functions Translucent, avoidance of evaporation, withstand mechanical impact, in other words, possess a cer-
Surface Eggshell surrounding the host abrasion-proof tain degree of breaking strength. These characteristics make
Functions IR light reflection, breathes, resistant to Potential bionic solution Ultra-light, transparent protective the shell of the ostrich egg a perfectly adapted packaging in
bacteria, optimum shape coverings, e.g. for solar cells, facade
Potential bionic solution Dimensionally stable, free-standing elements, etc.
the boiling hot habitat of the African deserts.
and break-proof spatial covering with South African San (bush-men) have been living for thou-
integrated supply lines 8 Host Edible onion sands of years in close proximity with nature, which they use
Surface Multi-layer laminate film for their survival purposes without destroying it. The empty
4 Host Macadamia Functions Optimum surface-volume ratio,
Surface Shell covering the host made of cellu- temper-ature regulator, highly resist-
ostrich egg integument is therefore an excellent liquid depot
lose, brown speckled, spherical surface ant to moulds, transparent, thermally for them. Brackish water, a mixture of fresh and salt water, is

PHOTO BY ART WOLFE /STONE/GETTY IMAGES

Functions Extremely break-proof, presumably insulating, resistant to bacteria filled into the eggshells by the hunters, which are closed with
due to special shaped cell networks, Potential bionic solution Ultra-thin, temperature-balancing clay plugs and given a tribal mark and buried. After return-
optimum surface-volume ratio laminate layers for active regulation of
Potential bionic solution Anti-vibration building support mem- room climate, application for station-
ing from week-long hunting expeditions in the desert, the
bers, break-proof roof constructions ary and mobile room coverings water is still drinkable.
The reason for this is to be found in the special structure
5 Host Hazelnut 9 Host Blue butterflies (Lycaenidae) of the eggshell: An inorganic calcium shell structure with a
Surface Shell covering the host made of cellu- Surface Linear oriented micro-/nanostructure,
lose, green, later brown coloration, blue lustre
columnar cross-section followed by an inner membrane of tis-
wavelike, cylindrical-spherical surface Functions Colour production without using a sue (protein network). The shell is rounded off to the outside
Functions Highly break-proof, integrated nutri- colorant world with a smooth calcified outer layer. An organic outer Above (from the top)
tional transport capillary tubes, per- Potential bionic solution Coloration of any kind by physical skin like a tomato, for example, does not exist for the ostrich Shell of an ostrich egg. The small
fect alignment of the cell networks to effects without any additional colorants inlet and outlet points for gas
protect the growing nut
egg. As this anti-bacterial outer skin is missing, the pores of exchange can just be recognized
Potential bionic solution Dimensionally stable, free-standing 10 Host Knotweed plant the shell function as a bacterial barrier: They possess openings with the naked eye on the porce-
and break-proof spatial covering, Surface Green with a diameter in the sub-micron range, which makes them lain-like surface (links).
breakproof roof constructions Functions Special space-saving convolutions, permeable to air but not to bacteria (size – microns).
stability of large areas with single- A San from the Kalahari with
point attachment
Packaging bionics utilises the properties of the breath- ostrich eggs used as water stor-
Potential bionic solution: Packing larger areas into small ing ability and bacterial resistance of this biological packag- age containers for hunting.
volumes, flexible, light-collecting and ing. A water-repellent, actively breathing membrane coated
at the same time shade-giving func- with ceramic material was manufactured according to the
tional protective covering
same principle as the ostrich egg. The bionic packaging films
used presently consist generally of normal plastic, such as pet,
which are given pores in the sub-micron (pore diameter 

34 D&A SUMMER 2006 ISSUE 03 35

 Below (top left) Stability testing Below Polar bear hair conducts
of foodstuffs. PVC film (17), the high energy UV-light by total
Bionic film (18). reflection, scatter and lumines-
cence to the black body surface
Below (top right) The section of the bear, where it is converted
through a hazelnut at high mag- into heat (middle). Transparent
nification under the scanning Thermal Insulation works accord-
electron microscope. ing to a very similar principle in
civil engineering (bottom).

nm) to micron range using a special radiation process. The for technical engineering and functional assembly parts. The References
film then receives its anti-bacterial and self-cleaning effect by first models for rigid, thin wall elements with integrated sup- Küppers, U. (2006) Grenzflächen des Lebens – Die Natur als Verpackung-
skünstlerin (Interfaces of life – nature as a packaging artist) in: Faszination
means of a surface treatment with non-toxic nano-particles. ply lines are being prepared. Bionik – Die Intelligenz der Schöpfung, Editor: Blüchel/Malik.
These nano-particles sit tightly both on the surface as well Küppers, U. (2004) Architekten der Natur – Organismen als geniale Bau-
as on the walls of the pores, so that an additional anti-bac- the polar bear’s coat: meister und ingenieure (Architects of nature – Organisms as ingenious build-
terial ‘in-depth effect’ is achieved. In a first comparative test light collector and heat donator ers and engineers) in: Mensch + Architektur, Nr. 46/47, September 2004.
Küppers, U. (2003) Grenzflächen des Lebens – bionische Nutzen für die
in practice using standard packaging films made of pvc, the Polar bears live in the far North of our earth, the Arctic. The Verpackungstechnik? (Interfaces of life – bionic uses for packaging engi-
membrane showed clear advantages for use with foodstuffs coat of the polar bear is white and hence adapts perfectly to neering?) in: Baier et. al (Editor) Transparenz und Leichtigkeit, Symp., Uni-
to prevent fungal attack. the surroundings. Colour is, however, not only an evolution- versity of Essen.
Other examples of further uses for this bionically developed Principle of light collection by polar bear hair Light with high energy ary adaptation feature. As researchers were photographing Küppers, U. and Tributsch, H. (2002) Bionik der Verpackung - Verpacktes
UV Leben verpackte Technik, (Bionics of packaging – packaged life, packaged
and structured surface are to be found in filter technology and and counting the warm-blooded polar bears with infrared technology) Wiley VCH, Weinheim, approx. 300 pp.
civil engineering. The fact that this particular surface structure Polar bear hair (ir) cameras (infrared sensitive films detect heat particularly
Light conduction by total reflec-
can be applied both to flexible as well as firm technical surfaces tion, scatter and luminescence well), they experienced a surprise. The developed films did not Dr.-Ing. Udo Küppers studied production engineering/machine tools and
offers a number of starting points for the architect, for exam- show a single polar bear, although the researchers had seen wrote a doctorate at the TU Berlin with an experimental thesis on aerody-
namic, evolutionary strategic wing optimisation. Dr. Udo Küppers has been
ple, to prevent mould formation and decay in poorly ventilated them with their own eyes. Ultraviolet (uv) sensitive films (uv active in the field of applied bionic research and development. His core
rooms. It is imaginable to use wall elements made of thin lam- light possesses higher energy and shorter wavelength radia- competencies lie in packaging, organisational and evolutionary bionics as
inate, which are stiff and provide support and possess the cor- tion than ir light) showed after development the polar bears well as bionic dynamics. Udo Küppers has held numerous teaching posi-
responding effects of the bionic films described above. Black polar bear skin as black dots in the white Arctic Sea. The coat of the polar tions in bionics at technical colleges and universities and is the author of
numerous expert publications as well as several books and patents.
bear, which is covered with small tubular hairs, collects the
the hazelnut shell – break-proof covering with high energy ultraviolet Arctic light, conducts it with the aid
integrated supply lines of different physical mechanisms through the tube-shaped
The hazelnut is distinguished by a velvety smooth outer sur- hairs to the body surface and converts it there into heat. Lit-
face, which is reflected in its particular surface structure. As tle of this heat is lost to the outside. For this reason, it was not
this is the actual outer wall of the fruit, the outermost layer is possible for the camera people to sight the polar bears to start
the regular epidermis from which short hairs can grow. Transparent Thermal Insulation Opaque Thermal Insulation with by thermal radiation. Experiments, in which the author
The astounding results of measurements from breaking was also involved, confirm this biological mechanism of effi-
load testing show that the shell can withstand point loads Transparent capillary panel Opaque insulation layer cient protection against heat loss.
Masonry Glass finish Masonry Rendering
of up to approx.  n. This is, hence, in the lower middle A similar principle for the conversion of light into heat is
of the range between a peanut shell ( n) and a macada- known in the architectural world as Transparent Thermal Insu-
mia shell ( n) and far lower than that of a coconut shell ht lation (twd). Building assembly parts which use this princi-
Lig ht
( n). By looking through the visible shell surface into Lig ple consist of a thermally absorbing, black absorption layer
ILLUSTRATIONS BY DR. UDO KÜPPERS

the micro- to nanometre range material structures, this pro- Transmission with a transparent capillary panel (capillaries are small tubes
Reflection Reflection
vides a first concrete explanation into the secrets of the mate- Transmission like those of the polar bear hairs) and an external, translu-
rial’s strength, elongation and other quality characteristics. cent weather-proof protective layer. Compared to an opaque,
The macroscopic and microscopic cross-sectional view of the in other words non-transparent, insulation layer of the same
hazelnut shell clearly shows the different cell shapes and the thickness on the same masonry, Transparent Thermal Insu-
integrated transport channels for the supply of nutrients. These Inside Outside Inside Outside lation can conduct considerably more heat to the inside of the
inner transport channels are recognizable with the naked eye house through the stonework. It is therefore a very effective,
as peripheral reinforcing lines. The cell networks have per- energy-saving application from the field of building bionics,
fectly matched breaking strength and an integrated tubing which has been used successfully for many years especially in
system, making the hazelnut shell an interesting bionic object one-family and multiple family dwellings.

36 D&A SUMMER 2006 ISSUE 03 37

 54° 18’ 12” N, 0° 24’ 36” W
1981

38 39
Photo and haiku by Michael Kenna
Wave, Scarborough, Yorkshire, England. 1981
www.michaelkenna.net

40 D&A SUMMER 2006 ISSUE 03 41

 DAYLIGHTING Taking a closer look: how daylighting Text by Marietta Millet.
DETAILS is brought into buildings
Light and materials are inseparably connected,
indeed they actually determine each other: neither is
visible to the human eye until the two come together.
For this reason, great architects have always also
allowed themselves to be directed by the light in the
choice of their building materials. They use light to
draw out contrasts between different materials and
they use materials that allow them to create a very
specific distribution of light in a room.

LIGHT AND MATERIALS

light and materials are mutually dependent on each other. reflecting discrete points of light. Definition of surface tex-
Materials are key to understanding light in architecture because ture comes from grazing light. Revelation of the inner quali-
they directly affect the quantity and the quality of the light. Two ties of materials results from light passing through them. Dark
qualities of materials – their finish and their color – are most shadows result from light being deflected from the surface,
important in this regard. Specular materials, such as glossy fin- and from material absorbing light.
ishes, reflect light as a mirror does, which can result in reflected Light emphasizes the materials in Patkau Architects’ New-
images of the light source being visible ‘on’ the surface. Matte ton Library at Surrey, at the same time as the materials empha-
surfaces, such as natural stone, wood, and plaster, reflect light size light and foster its distribution. As the architects have
diffusely equally in all directions. Of the three aspects of color – stated, ‘because the light of the Vancouver area can be very soft,
hue, value, and intensity – value is the one that determines how even weak, under the frequently overcast skies of winter, the
much light is absorbed and how much is reflected. A white wall robust light-absorbing character of heavy timber and concrete,
reflects approximately  percent of incident light, a light yellow in themselves, are not appropriate to distribute natural light
wall  percent, and a dark green or blue wall  percent. 1 Colored into a relatively deep floor plate.’ The ceiling surfaces of the
surfaces lend some of their hue to light that is reflected. library have therefore been treated where needed with mate-
A change in materials can alter the feeling of a room and the rial that distributes light to the interior. Near the tall sloped
level of illumination as well. The cheapest wad to increase the north glazing, where the large area of glass provides abundant
amount of light in a dark room is to paint the room surfaces light for reading, the ceiling surface is the exposed underside
white. A dark room, on the other hand, can be created either of the wood decking. In such a situation, care must be taken
by using little light in a white room or through dark surfaces. so that the contrast between materials at the perimeter glaz-
With dark surfaces, a room will look dark during both daytime ing and the sky is not too great, causing discomfort. Here the
and at night. With light or white surfaces, however, the effect wash of daylight over the wood beams and onto the under-
changes depending upon the light sources used. This effect can side of the ceiling helps to mitigate the contrast at the edge as
PHOTO BY VACLAV SEDY / CISA A. PALLADIO

be exploited. For example, the interior surfaces of the chapel of well as even out the brightness of the ceiling from the window
Notre Dame du Haut at Ronchamp are white, but due to the wall to the center of the room. About midway between the
small quantity of daylight admitted, perceptually the surfaces glazing and the low center beam, sheet rock surfaces painted
grade horn light gray to dark gray. white were applied as the ceiling surface, better reflecting the
Materials are important emotionally in relation to light. daylight down to the area below. Each material is used hon-
The sparkle of glass. the glitter of gold mosaics, the depths estly to do what is needed and no more, forming an econom-
of dark polished wood, and the shadows on white walls all ical building shell. The layering of materials discloses the role
hold emotional messages. some of them connected with cul- that each plays in the total realized construction.
tural settings, some of them connected to individual recollec- Usually the glazing material is not the object of attention in
tion. Some regions have building traditions and materials that a room. Special glazing materials, however, such as thin slabs
respond to particular local conditions, such as the stucco alla of stone, can be emphasized by the way they transmit light.
Above Carlo Scarpa: Museo del veneziana favored by Carlo Scarpa. Requiring a labor-inten- Under the barrel vault of the trustee’s board room, overlook-
Castelvecchio, Verona (1961–64) sive process of application with very particular materials, the ing the library at the Museum of Contemporary Art (Arata
Light creates contrasts: the rooms
in the museum are plastered with
stucco ‘over time takes on a softer, more moist look, a quality Isozaki, –) in Los Angeles, California, onyx has been
rough “Stucco alla veneziana”. Scarpa of fantasy and beauty.’ 2 used to glaze a semicircular opening and four windows below it.
uses it to diffuse the light evenly and The onyx fits tight to the ceiling, so that the glow of the enter-
without reflections and to provide a light emphasizing materials ing daylight is carried along the black concrete ceiling surface.
contrast to the smooth, dark pedes-
tals of the exhibits.
Emphasis on materials is grounded in the interaction between Attention is called to the onyx as it is the brightest surface in
light and material. Highlights arise from glossy materials the room. The thickness of the material saves the window from

42 D&A SUMMER 2006 ISSUE 03 43

 1. Patkau Architects:
Newton Library, Surrey (1990)
Material directs light: Patkau Architects care-
fully chose white ceilings and walls made of
plaster board in their library, to guide the often
weak and diffused daylight of British Columbia
deep into the interior of their reading rooms.

2. Arata Isozaki:
Museum of Contemporary Art,
Los Angeles (1981–86)
Light refines material: Arata Isozaki had panes
of onyx fitted in the arched windows of his
museum building instead of glass. The mate-
rial that is rather dull looking from the outside
shines beautifully with the light behind it and
reveals the full beauty of its exquisite grain.
being a source of glare. Light reveals and celebrates the onyx, ments. Control and delight are both provided. The materials
3. Antoni Gaudí:
making it the identifying feature of the room. of electric lighting fixtures are as important as those of build-

PHOTO BY JAMES DOW / PATKAU ARCHITECTS

Casa Batllo, Barcelona (1904)
In the central six-story light well in the Casa Batllo (Anto- ing surfaces which are acting as daylighting fixtures. In the Material divides rooms into zones: the tiled clad-
nio Gaudi, –) in Barcelona, Spain, Gaudi designed the Resurrection Chapel (Erik Bryggmann, –, renovated ding of this inner courtyard becomes gradually

PHOTO BY KATSUAKI FURUDATE

ceramic tiles that cover its surfaces to manipulate light. By ) in the Turku Cemetery in Finland, the brass lighting paler from the top to the bottom. In this way,
Gaudí compensated for the successive reduction
modulating the hue, value, and texture of the tiles, he mod- fixtures reflect daylight with a cool yellow that warms to an in the level of daylight towards the bottom.
ified the qualities and quantities of light experienced in the amber glow when the incandescent lamps are turned on. The
light well itself as well as in the adjacent apartments. The material and details of the fixture respond to the incandescent 4. Erik Bryggman: 1 2
tiles range in color from a deep blue through lighter shades Iight. The vertical blades that baffle views of the lamp glow with Resurrection Chapel, Turku (1939–41)
Material changes light moods: during the
of blue to an off-white. The deep blue tiles are placed in their the light reflected between them. The ‘crown’ of brass loops day, the brass lights in the nave of the chapel
largest concentration at the top of the light well, on the sur- circling the top catch the light, as do similar ‘crowns’ higher reflect the daylight in a dull shade of yellow.
faces directly under the skylight glazing, interspersed with up. The pools of gold light in the cool interior lend a warmth Evenings and night, they themselves fill the
lighter tiles. The effect here is cooling, almost as if one were and points of attraction similar to the glow of a fire. The light church with a warmer, golden-yellow light.

PHOTO BY MARIETTA MILLET

PHOTO BY MARIETTA MILLET

seeing the light underwater. At the bottom of the light well furnished by electric lighting fixtures is contrasted with the 5. Pitkänen, Leiho and Raunio:
are placed the lightest tiles, interspersed with a few darker daylight in both color and distribution. While the daylight

PHOTO BY KARI KOSKI

Lights in St. Henry’s Church, Turku (1980)
ones. In between, the colors gradually shift from dark to light. washes the surfaces of the interior with fairly even light, the Light changes materials: during the day, the
This distribution of the colored tiles evens out the perceived electric lighting fixtures act as points of focus. glass reflector is almost transparent and pro-
3 4
vides a free view of the brick wall behind it. At
light gradient in the light well, establishing a balanced light. In Henry’s Church (Pitkänen, Laiho and Raunio, ) in night, it shines in the glow of the light source
Thicker patterned tiles, which reflect the light from their cor- Turku, Finland, the material of the lighting fixtures appears mounted below it as a yellow, opaque panel.
ners, are scattered among the smooth ones along the entire entirely different under daylight and under electric light. With
height, adding a glint of sparkle. In addition to the use of daylight streaming in from large windows, the white screen 6. Interior of a Japanese house
Material evens out the differences in light:
materials to manipulate the light, the shape of the light well material is almost transparent, and the brick wall shows clearly characteristic of traditional Japanese houses
– wider at the top – and the sizing of the windows – larger at through it. When illuminated from below, the white material

PHOTO BY MARIETTA MILLET

PHOTO BY SAMULI SILTANEN

are their far overhanging roofs and translucent
the bottom – serve to balance access to light for all residents. becomes a reflector, casting the light back down to the congre- ‘shoji’ walls, which keep the level of light in the
An additional geometric manipulation of the section of the gation. As it does so, it obscures the view of the wall directly rooms inside at a constantly low level during
the entire day.
light well is the insertion of balconies, with glass panels serv- behind it and casts a warm glow over the nearby wall surface. 5 6
ing as flooring for the balcony and as a skylight for the room The material switches between revealing what is behind it and 7. Dale Chilhuly:
below The light that enters the apartments through the win- reflecting what is in front of it, as does a scrim curtain in theater Niijima Floats (1992)
dows in the light well is therefore more equal than in the usual productions. Through it, one becomes more aware of the dif- Material transforms light: in this installation at
the Seattle Art Museum, it was less the glass
situation where the rooms at the top garner all the light and ference between the nature of daylight and electric light. balls themselves that were at the fore than the
the rooms at the bottom are in shadow. Ventilation apertures continuously changing light reflections they
are separate from the glazed windows, thereby adding more light muting materials threw on the surfaces of the room.

PHOTO BY MARIETTA MILLET

PHOTO BYMARIETTA MILLET

light to the interior when they are open.In the Casa Batllo, Materials can also be chosen to mute the effects of light, to
8. Willard T. Sears:
light was used in a thoughtful way with consideration for make dissimilar materials appear similar, or to make the light Isabella Stewart Gardner Museum,
the well-being of the inhabitants, their need for light and air, seem unchanging. The shoji screens in traditional Japanese Boston (1899–1901)
7 8
and artful ways to provide them. Light was apparently con- houses diffuse all the daylight that enters, whether the skies Light creates an affinity with a place: the Log-
sidered at each step in the design process: concept, develop- outside are sunny or overcast. The light is first shaded by the gia in the inner courtyard is a detailed refe-
rence to Venetian models, and even the plaster
ment of plan and section, window size and placement, surface large overhanging roofs acting as a parasol, so that the inte- was mixed to a Venetian recipe. However, the
shape and composition, and details. The tile work is not only rior muted effect is constant. The interior surfaces are care- result is only convincing to the human eye
beautiful, but also serves the purpose of modifying the day- fully crafted to interact with the light. Junichiro Tanizaki when the daylight has that same typical sil-
light as it enters the building and is distributed to the apart- explores this connection between light, materials and cul- very-soft atmosphere as in Venice.

44 D&A SUMMER 2006 ISSUE 03 45

 Below Le Corbusier: Notre Dame Opposite Louis Kahn:
du Haut, Ronchamp (1950) Kimbell Art Museum, Fort Worth
Light changes colour impressions: (1966–72)
here, the irregularly positioned Light modulates material contrasts:
windows reveal the extreme thick- the surfaces of the walls in the
ness of the walls in the church museum are made of travertine, the
building. The surfaces of the arch of exposed concrete. According
walls, which are actually covered to the direction (direct or indirect)
in white plaster, have a different and nature of the light (daylight or

PHOTO BY ROBERTO SCHEZEN/ESTO

appearance in the back-lighting; artificial light), either the contrasts
they seem to be more pale grey between the materials are empha-
to dark grey. sised or the materials appear to
blend into each other.

ture in his book ‘In Praise of Shadows’, in which he explains reaction of concrete to light. As the light changes – outside
the traditional preference of Japanese people for shadows and and inside – the surfaces of the two materials shift subtly in
soft, broken light: relationship to each other. First one seems warmer, then the
“We do our walls in neutral colors so that the sad, frag- other does. First one appears to be lighter, then the other. One
ile, dying rays can sink into absolute repose. The storehouse, seems to have a glossy surface, and the other a matte finish,
kitchen, hallways, and such may have a glossy finish, but the and then they switch. One looks more mottled, then the other
walls of the sitting room will almost always be of clay textured one does. The surfaces respond to the changing light. Light is
with fine sand. A luster here would destroy the soft fragile the real material here.
beauty of the feeble light. We delight in the mere sight of the
delicate glow of fading rays clinging to the surface of a dusky ‘I think light is as material as anything else.’ – James Turrell 6

wall, there to live out what little life remains to them.” 3

The ‘lume materiale’ (literally: ‘material light’) of Venice 4
seems to glow in Boston, Massachusetts, at the Isabella Stew-
art Gardner Museum (Willard T. Sears, –). The wall
was prepared in a similar way to the traditional Venetian
stucco, and consists of plaster impregnated with color intro-
duced by using a wash of pink paint. The light of Boston is
not the light of Venice, but the appearance can fool the eye
on certain days. The surfaces seem to glow in and of them-
Marietta Millet is Professor Emerita in the Department of Architecture at
selves so that the light is more real than the material. Like- the University of Washington, where she has taught undergraduate and grad-
wise, in the exhibition of glass balls, Niijima Floats, by Dale uate design studios, lighting and color seminars, daylighting and electric light-
Chihuly ( at the Seattle Art Museum), the light that is ing, climate responsive design and building performance. She was a partner
in Loveland/Millet Lighting Consultants and is the author of the book Light
cast by the glass seems to be the point of the piece. It is not
Revealing Architecture, published in 1996 by Van Nostrand Reinhold.
the balls themselves that are so important, but the patterns
of light that they cast on the surface below. The material (of This text was reprinted from the book ‘Light Revealing Architecture’ by
the balls) transforms the light which then transforms mate- Marietta Millet, © 1996, with kind permission of John Wiley & Sons, Inc.
rial (the resting surface).
Louis Kahn was very aware of the nature of a material’s
response to light. Kahn’s selection of concrete and travertine 1
Reflectance can be calculated by measuring the incident illumination in
as materials for the Kimbell Art Museum (–) in Fort foot-candles (1 foot-candle = 1 lumen per square foot) on a surface and
then, under the same lighting conditions, measuring the luminance in
Worth, Texas, was related to how their surface characteristics foot-lamberts (1 foot-lambert = about 3.426 candela per square meter)
shaped that response: of the surface. Reflectance is luminance divided by incident illumination.
“Travertine and concrete belong beautifully together 2
Zambonini, Giuseppe: ‘Notes for a Theory of Making in a Time of Neces-
PHOTO BY ACHIM BEDNORZ/ BILDARCHIV MONHEIM

because concrete must be taken for whatever irregularities in sity’, in : Perspecta 24, p.3–23. Recollections of Eugejio de Luigi, a long-
time collaborator with Carlo Scarpa
the pouring’are revealed. [...] Time, he believed, would unify 3
Tanizaki, Junichiro: ‘In Praise of Shadows’,Newhaven 1977, p. 18.
all materials eventually, but the architect could achieve unity 4
See also: Marco Frascari: ‘The Lume Materiale in the Architecture of
by carefully choosing certain materials-wood, travertine, con- Venice’, in: Perspecta No. 24, 1988
5
crete – ‘which are so subtle that each material never ruins the Interview with Louis Kahn, by Marshall Meyers in 1972. Reported in Loud,
Patricia Cummings: ‘The Art Museums of Louis I. Kahn’, Duke University
other [...] And that’s why the choice’.” 5 Press, Durham 1989
The travertine, unfilled and unpolished, has certain char- 6
Millin, Laura (ed.): ‘James Turrell: Four Light Installations’, The Real
acteristic ways of reacting with light that complements the Comet Press, Seattle 1982, p.18

46 D&A SUMMER 2006 ISSUE 03 47

VELUX INSIGHT Architecture for people –
building with VELUX.

A DRESS FOR
SPECIAL OCCASIONS
Text by Katja Pfeiffer.
Photographs by Paul Ott.

Golden gleams the façade of the ‘Golden Nugget’ in

Graz, entirely complying with the philosophy of the
young architects from Innocad. Their office, designed
by the four architects themselves, embodies corpo-
rate identity and is simultaneously a residential block
that glamorously presents itself in its neighbouring
urban fabric characterized by the Wilhelminian style.

48 49
 Left Hardly perceptible: The
floor-to-ceiling, almost profile-
free glass skin and the black
curtain consisting of fine
threads, which visually sepa-
rates the Innocad practice
from the passers-by.

Opposite The courtyard façade

also presents itself in a gold-
coloured texture. The almost
transparent metal stair railing
seems to be moistened by a
delicate hint of gold powder or
blossom pollens.

The Line: One unit towards the top, then to the ing from the 18th century. It was restored and the four architects have realized at their own
left, further upwards, until the level on which coated with a gold-coloured paint (the build- risk and for which they especially founded
it is positioned leaves its dimension towards ing substance is symbolically conserved with the project development firm 99 Plus. Pres-
the sky above Graz. The façade envelope a ‘gold coat’ for the ensuing ages). ently they are building two other houses at
now becomes the roof, evenly covered with The collaboration of the architects and their own expense. The undertaking had
a net from gold-coloured copper. The Seven project developers Andreas Reiter, Peter been a courageous step, admitted the young
Squares: They seem to change their loca- Schwaiger, Martin Lesjak, and Bernd Stein- entrepreneurs. The wide acceptance of the
tion like pieces in a framed puzzle; the golden huber began during a design seminar at Graz ‘Golden Nugget’ however proves that cour-
curtains however follow their own directive. University. Here they had got to know and age yields fruit: All seven apartments had
The puzzle master does not care, he contin- regard each other, before they founded the already been sold before completion, and
ues the moving around and places the three architectural practice Innocad in 1999, after the city of Graz widely praised the building:
open squares one above the other. A Golden passing their diploma. As luck would have At the ‘International City Forum Congress’
Termination huddles against the eaves of the it, all of them had individually dealt with the it was presented as an ‘outstanding exam-
neighbouring house. The light steel balcony narrow building site of the ‘Golden Nugget’ ple for the treatment of modern architec-
recesses from the façade level. during their studies. Four different design ture in historical urban districts’.
The ‘Golden Nugget’ located on the edge concepts had been developed. These days The Innocad office occupies the ground
of Graz’ historic district places an accentua- the young architects pursue a common prin- floor and the two-storied courtyard building.
tion, resembling a gleaming evening dress in ciple. The ‘recipe’ sounds simple, which they An open ramp leads to the staircase provid-
the last rays of the sun. The external texture had developed as their logo and which can ing access to the apartments. The corporate
is a laminar net from shinning gold-coloured be traced back to a central piece of furniture identity of the young architects is consist-
copper tiles. It connects the neighbouring Wil- in their former office: Seven golden squares ently translated in the interior design: Gold-
helminian style buildings painted in yellow – and innumerable possibilities to combine painted lecterns, printed or illuminated wall
hues, closing the street front as a homogene- them – form the logo’s construction set and elements and curtains equally emphasize
ous entity. The staggering of the new building since June 2005 also the window areas dis- the corporate presence and the communica-
contour also mediates between the adjoining tributed in the façade of their new office, the tive character of spaces opening up towards
houses of various heights. Invisible from the ‘Golden Nugget’. the street. The prevailing attributes are gold-
outside remains the courtyard building dat- The ‘Golden Nugget’ is the first building painted ceilings and crude fair-faced con-

50 D&A SUMMER 2006 ISSUE 03 51

 Opposite and Left The histori-
cal courtyard building was inter-
nally completely designed in
white. Light entering the space
through the roof surfaces is
effectively stage-managed on
the neutral background.

crete. On the contrary, the courtyard house forms the crowning termination, which offers which suggest communication: the façade
interior is entirely white (a rest area not only wonderful views to the surrounding from its as shop window, internally as well as exter-
for the eyes). generous terrace that stretches across the nally. Occupants preferring the layout to
White ceilings, white floors, even light complete depth. be less open, on a temporary or permanent
fittings and curtains, the lattice steps, and According to the planners and client, basis, will use curtains or flexible partition
net-like balustrades form a neutral, almost the apartments address a clientele, who elements. Again the rule applies: Appear-
unreal scenery. The homogeneous white esteem the value of the architecture and ance and texture are noble, gold is the pre-
background reflects the light entering appreciate the fact ‘that we offer uncon- dominant colour. Effective is the contrast to
through the inclined roof onto wall and floor ventional, well cut and flexible living environ- the crude fair-faced concrete walls and the
surfaces, whilst offering freedom, retreat ments, which are otherwise not to be found white, individually designable wall and ceil-
and opportunities for thoughts and their on the market’ (Innocad in a conversation ing sheathing, onto which the user can per-
originators. In the calm of this space, which with the architecture critic Oliver Elser). It fectly well paper a ‘blossom pattern’, ‘when
is sheltered from the street noise (and occa- is exactly these people, the four architects he so desires’ (Innocad). This is a suggestion
sional customers), interne sit-ins, medita- can be classed among, and to whom they of the young architects for all those people,
tive moments and creative breaks take place. refer to as ‘urban people’: sophisticated and who have not succumbed to the charm of
The apartments on the contrary observe the young, self-conscious and educated above bare concrete or the golden textures of cur-
‘golden’ principle of the open areas facing the average. Even when the district, in which tains and partition elements.
street: Organized in pairs they are accessible the ‘Golden Nugget’ is located, is amongst
via a central platform stair, which from the property experts considered as not being
first storey upwards projects from the build- a top location (on the edge of the historic
ing mass as a filigree, seemingly weightless part of town, which is classified as World
structure. The balustrade is reticulated, like Cultural Heritage; in á zone, the Graz resi-
in the courtyard office building; the bottom dents refer to as ‘shards district’), it means a
plates and balcony parapets are made from considerable added value for the occupants:
fair-faced concrete, which can hardly be dis- transparency and openness of continuous
tinguished from the façade’s gold-coloured floor-to-ceiling window areas on the side
metal coating. The two-storied penthouse deliberately turned towards the public view,

52 D&A SUMMER 2006 ISSUE 03 53

 NORTH ELEVATION SCALE 1/200 SOUTH ELEVATION SCALE 1/200 EAST ELEVATION SCALE 1,200

North, south and east elevations

4TH FLOOR SCALE 1/200

First floor Fourth floor

5TH FLOOR SCALE 1/200

Second floor Fifth floor

3TH FLOOR SCALE 1/200

6TH FLOOR SCALE 1/200

Third floor Sixth floor

Facts Opposite The ‘Golden Nugget’

integrates into the existing
Location Grazbachgasse, Graz, Austria
building structure due to its
Building type Residential and Office Block colouring and cubature, with-
Client 99 Plus Projektentwicklung out being subordinate. Quite
und Bauträger GmbH the opposite: The golden
façade has a strong presence
Architects Innocad Planung und
and emphasizes the building
Projektmanagement GmbH as a unique unit.
Completion 2005

54 D&A SUMMER 2006 ISSUE 03 55

 The colour white dominates the
VELUX PANORAMA Architecture with VELUX interior. Skylights ensure that
from all over the world. all the workstations receive the
same amount of light.

SUNNY SPACE IN THE ATTIC

ARCHITECTS’ OFFICE IN LJUBLJANA

Facts
Type of building Reconstruction / interior design
Client Maechtig Vrhunc Arhitekti d.o.o.,
Ljubljana
Architect Tomaž Maechtig / Maechtig Vrhunc
Arhitekti
Location Ljubljana, Slovenia
Completion 2004

PHOTOS BY BOR DOBRIN

1
The two young Slovenian architects modating the auxiliary rooms such
Tomaž Maechtig and Ursa Vrhunc as a tea-making kitchen, a toilet and
had already spent a long time look- a store nestles against the rear wall.
ing for a suitable location for their A gallery for resting and as an addi-
new office when their attention was tional work space was created on a
drawn to an art-nouveau building in ceiling suspended from the rafters.
the city center of Ljubljana. Pro- New skylights on two levels light up
tected as a historic building, its out- the office space, which is completely
side could not be changed but the white except for a grey-green car-
run-down attic had sufficient spatial pet. With the exception of the desk
quality to make it possible to adapt to lamps, all artificial sources of light
the functional and aesthetic require- which are absolutely essential for
ments they envisaged for their archi- the frequent night shifts in the of-
tect’s office. As is usually the case fice are accommodated in the ”wall
when architects plan their own of- cupboard” zone. After the sun goes
fice, Maechtig Vrhunc Arhitekti were down, they bathe the cool white of
not only interested in having mod- the walls and furnishings in a warm
ern ’functioning’ premises (the heat- yellowish shimmer.
ing, electrical wiring and data lines,
for example, had to be completely
renewed) but also wanted an of-
fice atmosphere which, in everyday
business, would spur on the young
team of architects to their highest
performance. In line with the way in
which MVA works, the rooms were
set out so as to be as open as possi-
2
ble. A walk-in wall cupboard accom-

1. Protected as a historic build- 2. The auxiliary rooms are

ing but no longer in good condi- located in a walk-in wall cup-
tion: the art nouveau building board element in the rear area of
in the city center of Ljubljana the attic.
where Tomaž Maechtig and Ursa
Vrhunc found a new location for
their office.

56 D&A SUMMER 2006 ISSUE 03

 1. The swimming hall is upgraded 2. The Seehotel at night – a mon-
EMBEDDED IN NATURE olith with a diaphanous outer
with generous window elements.
SEEHOTEL AM NEUKLOSTERSEE Details such as the tree stumps skin, shimmering from the
IN NAKENSTORF used as tables illustrate the inside. With uniform outer walls
architect’s concept of allowing made of larchwood, the upper
nature and a modern building to floor and attic rest on a ground
Facts merge and become a unity. floor closely encroached on by
Type of building Hotel the surrounding vegetation.
Location Seestraße 1, Nakenstorf
Client J. und G. Nalbach, Berlin
Architects Nalbach und Nalbach Architekten,
Berlin
Completion 2004

Much love of farms and attending to and oak staircases interact harmo-
details have brought new life to an niously with the terracotta flooring
old DDR holiday settlement from the from old French monasteries. The
last century. For the architects Jo- rooms with winter gardens placed in
hanne and Gernot Nalbach, husband front of them are fabulously light and
and wife from Berlin, it was an unex- nature finds its way in. Local gran-
pected dream come trough. ite stone pavement stretches from
The estate, ‘Seehotel am Neuk- the terraces into the winter gardens,
lostersee’, used to be a classic farm. thus establishing the connection be-
Only two hours by car from Hamburg tween the inside and the outside.
and two and a half hours from Ber- The ‘barn of bathing’ should appear
lin you find this very peaceful and re- as archaic as possible and this was
laxing place surrounded by forests, realized by means of complex details,
flowery meadows and fields. It is sit- among others in the main façade. The
uated in a protected area adjacent lower part of the façade is decorated
to a bathing lake, where geese, dogs, with Corten steel troughs with ivy el-
sheep and cats feel at home as well. ements. The building materials was
In the year 2004, a new ‘barn of bath- intentionally aged to integrate the
ing’ as an ‘archetype’ complemented new building into the already exist-
the existing ‘barn of arts’ and the ing ones right from the start. When
two main buildings, the stone house opened the window shutters are in
with a restaurant and the hotel, thus the window opening. When closed
forming a traditional three-winged they flush with the façade. Detail
farm, which is typical for the place. The VELUX roof windows are
With much love of details the build- placed almost at the same level as
ings have been furnished with a har- the larch tree battens, which under-
monious combination of old furniture line the cubic effect on the structure.
from the master builder’s time and Seen from the ground plan the ‘barn
new, modern furnishing and fittings. of bathing’ has resemblance to an
The mixture of new and old creates old Roman bathing house. In order
a very special charm, which varies to minimize the heat loss the adjoin-
from building to building. ing rooms have been placed in groups
The stone house has a touch of around the swimming pool.
Mediterranean style with beach Like the two other houses the fur-
wood parquet flooring, bright col- nishing is influenced by the surround-
ours and a furnishing characterized ings. You see walnut both on the floor
by the modern cottage style. Light- and in the fixtures and limestone in
coloured armchairs with cloth cov- the damp rooms. The walls are built
ers, white-lacquered chairs and from clay and straw giving the sur-
tables as well as excellent food in- face a slightly different, structured
vite you to linger on. The rooms have gloss. A bale of straw as coffee table
been decorated with different mate- expresses the concept of the sym-
rials; the shades of the design carpet biosis between nature and modern 1
are reflected in the colouring of the furnishing elements. Natural and ar-
room. Modern built-in wardrobes are tificial light have intentionally been
set like sculptures and although con- applied as creative elements in the
trasting with old pieces of furniture, houses. Creole lights with mirror re-

PHOTOS BY STEFAN MÜLLER

such as a beautiful old table, the re- flectors emphasize tables and walls.
sult is harmonious. The roof windows bring the outside
The ‘barn of arts’ is available for inside and add a special and cosy am-
conferences, concerts, workshops bience to the rooms.
and other arrangements. The girders 2

58 D&A SUMMER 2006 ISSUE 03 59

 MONOLITH ON THE MILL POND 1. Through the panoramic win-
dow in the living room, it is pos-
RECONSTRUCTION OF THE KOTRČ MILL sible to see the newly created
NEAR LIPNICE mill pond. From the inside, the
filigree balcony railing hardly
interferes with the view.
Facts
Type of building Conversion of a mill into a 2. A skylight illuminates the
residential dwelling upper landing of the staircase.
Location Near Lipnice, Czech Republic The filigree interior composed
Owner Private of steel and glass presents a
Architect Lucie Kavánová, Prague striking contrast to the heavy
rough exterior.

3. The old stonemasonry of the

mill’s massive stone gables can
hardly be distinguished from the
new parts in the upper area. The
protruding tiled roof has been
replaced by a sheet-metal roof
that is almost flush with the wall.

The Kotrč mill stands on the banks some life into the house, like the col-
of a new man-made lake in the for- ours of nature in the surroundings. In
est of Lipnice nad Sázavou in the Bo- particular, the picture of nature be-
hemian- Moravian uplands. Not only hind the large living room window is
the granite walls of the almost 170 like a big TV screen, on which a story
year-old structure are reflected on can be followed for hours on end.”
the surface of the water, according About the interior of the room she
to the words of the architect Lucie says: “The inside of the house forms
Kavanova, but ‘the entire valley and a dark labyrinth of smaller rooms.
the spirit of this place (genius loci)’. A house has to be spacious though,
The architect from Prague like the endless nature of the envi-
planned to reconstruct the mill into ronment. And that was also the rea-
a weekend house, which should also son that we freed it of all items of no
offer the possibility to live there in avail and allowed just its substance
the long-term. She wrote about the to come to the fore – its character”.
starting condition of the project: “Al- The generously roomy interior
most nothing was preserved of the has hardly any separating walls
furnishings and fittings of the mill. and doors. One enters the build- 1
The water from the mill stream had ing through the dining room and
been diverted a long time ago. Just kitchen, arrives one level higher in
the rotten shaft protruding from the a living room with a stove and fi-
massive walls of the mill still left the nally reaches the bedroom and bath-
impression that once a mill wheel room on the top floor, which is made
had stood there.” light by the skylights. The basement
First of all, natural stonewall ga- houses a wine store and a room for
bles were built up on the massive technical plant.
building, which is approx. 9 x 8 me- Reinforced concrete ceilings sta-
tres, to give the building its ‘face’, ac- bilize the already flawed building, and
cording to the architect. “This made an additional interior insulation has
the house slightly larger, so that it been fitted behind a facing of plas-
had a slight chance against the end- terboard. The construction meth-
less, high forests of the surround- ods used for the conversion of the
ings.” The gables are made of the mill are relatively simple according 2 Cross section
typically patterned granite for the to the type and site of the building.
area, like the metre-thick, old outer The filigree steel balcony, for exam-
walls which, in Kavanova’s opinion, ple, which extends the living room
“have the loveliest granite shading I towards the lake, almost appears
know“. The roof was then covered provisional. The inner rooms form
without the original cantilevered an unexpected contrast to the rus-

PHOTOS BY LUCIE KAVANOVA

roof overhang. tic outside: All walls are white plas-
New, displaceable shutters made ter, a filigree steel-glass staircase
of natural wood lighten up the fa- leads to the upper storeys, and the GROUND FLOOR PLAN - KITCHEN FIRST FLOOR PLAN - LIVING ROOM SECOND FLOOR PLAN - BEDROOM & BATHROOM

cades. Their designer describes their bathroom under the roof is merely
Ground plans: Ground floor – Kitchen, 1st floor – Living room ,
effect: “Opened they not only signal separated from the bedroom by a
2nd floor – Bedroom and bathroom 3
the arrival of the owners, but also let glass partition.

60 D&A SUMMER 2006 ISSUE 03 61

Jorn Utzon Logbook Vol I The series documents recurring themes and
preoccupations which run through all of Utzon’s
VELUX DIALOGUE The EAAE Prize: Setting the agenda for
The Courtyard Houses work. What emerges is a rigorous yet free architectural education
180pp. € 50 excl. VAT “process of work” rather than a style.
These volumes are a must for anyone inter-
The books put their projects in context, ested in Utzon which, to my view, should
positioning them in the wider oeuvre
and throwing light on Utzon’s design
include anyone interested in the ability of
architecture to inspire.
WRITINGS IN
philosophy. They are easier to chew on
than the full Weston, even if Utzon’s career
resists separation into bite-size pieces.
Plan Magazine – February 2006
ARCHITECTURAL
Cumulatively, all these books will help to
build the reputation of an architect who seems
EDUCATION
to have much to offer as a correction to our
image-driven architectural culture. By Per Olaf Fjeld.
Photos by Jacob Boserup.
aj review
NUMINOUS UTZON The EAAE Prize aims to stimulate original writings on
Jorn Utzon Logbook Vol II Jørn Utzon’s buildings are at last getting the the subject of architectural education in order to
kind of publication they deserve. Bagsvaerd is improve the quality of architectural teaching in Europe.
Bagsvaerd Church the second volume in the Jørn Utzon Logbook Organised biannually the competition focuses public
168pp. EUR 50 excl. VAT series published by Edition Bløndal and, with
attention on outstanding written work selected by an
great finesse, it analyses the architect’s
international jury. The EAAE Prize was first awarded in
most moving fully completed building
A complete record of all stages in 1991 and has been sponsored by VELUX since 2001.
the construction of the church at (Sydney’s interiors never having been
Bagsvaerd, from Utzon’s initial idea, executed, though that may at last be in
through sketches, construction, use and the process of correction).
even correspondence during the produc-
tion of the book, the documentation is so ...after much turning from text to
thorough it is nearly unbelievable. Sections drawings to images and back In reading the 75 papers of the 2003–2005 a future mission and responsibility to collect separate entity. ‘Old’ or ‘existing’ knowl-
on the acoustics, technical details of the again, the building takes form EAAE Prize: ‘Writings in Architectural Edu- and make visible the pedagogical methods edge is the basis on which ‘new’ knowledge
organ, plans and photographs galore: there in your mind. If only more cation’, I realized how important this com- and content of the various member institu- is developed and understood. Is existing or
really is very little to compare with this series. architectural bookmaking petition is for our teaching community. It tions, not only as a catalogue for students traditional knowledge less relevant because
If you have any interest in architects and their in which the architect is in- clearly sets a base for a much needed discus- to pick and choose a school, but as a plat- of age? If this base ‘old knowledge’ ceases
projects you are unlikely to spend a better GBP volved with production could sion about the content and direction of archi- form for discussion. We know far too little to be relevant other than as a short-term
35 in your life. A true labour of love. be like this – clear, unaggressive, tectural education. It is easy to forget that about the total spectrum of teaching insti- factor, methods and principles of the past
evocative, perceptive – we might start to make what is taught and how it is taught will have tutions, and because of the lack of precise, will reappear as new. We are so preoccupied
RIBA Bookshops – Monographs a much more civilised world than that encouraged a direct impact on our built environment. ready information about other schools, we and fascinated by newness, we tend to pass
European architects by the simplistic, flashy handling of the work of Architectural education in both Europe present pedagogical methods and theories over or even forget the principles and situa-
contemporary super-stars in most contemporary and North America has no common goal as new or inventive over and over again. In tions from which new knowledge originated.
publication. or direction apart from a very simplistic a sense we spend so much time focusing on The shifting demands of our result-oriented
There is far too much literature
on arcitecture published through- Peter Davey, Architectural Review or basic understanding of what architec- the ‚new and inventive‘ that we do not have information society clearly tend to produce
out the world. tural education should entail. Each school the capacity to study and compare similar a short-term memory, but how truly crea-
The critic’s desk is covered with strives for an identity or direction that suits methods and theories from other regions or tive and fruitful this will be is still unknown.
extended monographs presenting for the most part the immediate needs of other schools. This is clearly an area in which There is clearly a deep concern over the
Jorn Utzon Logbook Vol III the region, of the school, its students and EAAE can do more. changes taking place within architectural
buildings that perhaps should never
have been built, academic studies Two Houses on Majorca their future employers. Each school sets its There is no simple answer, no given education in respect to the comprehension
whose readers see no reason for them own course in the hope that its pedagog- approach to architectural pedagogy, but and application of past and present knowl-
76pp. € 40 excl. VAT ical direction and content will fulfill these rather a continuous search and readjust- edge. Pressure from the information society
to have been printed at all. I am there-
fore overjoyed when I have the chance immediate demands and at the same time ment. This is directly reflected in the diver- to be simultaneously precise and progres-
to shoow my respect for an exceptionally miraculously anticipate future needs. As a sity of architecture itself. Teaching requires sive also affects the role of architecture and
important monograph. whole, the competition material revealed creative thinking, intuitive sensitivity and creates an uncertain relationship to culture
This book , which has been edited by John that we know very little about each other, most of all concentration. Let us focus for a and cultural definitions of content. Again it
Pardey and written mainly in a most agree- the way we teach, and the content from moment on the word ‘knowledge’ as it was is not enough just to look ahead; we must
able manner, tells the story of the buildings which we teach and where priorities lie presented in various texts. Several papers also have a clear cognizance of what we
and Utzon’s architectural intentions so suc- within a given content. It is here EAAE has treated ‘new knowledge’ as an isolated or leave behind.
cessfully that it could only have been bettered
by a movie or by visiting the site.

Esa Laksonen, ptah, The Alvar Aalto Academy

W W W. E D I T I O N - B L O N D A L . D K D&A SUMMER 2006 ISSUE 03 63
 Far left Per Olaf Fjeld, profes- The jury of the EAAE Prize
sor and former rector of the 2003–2005 consisted of Per
Oslo School of Architecture, Olaf Fjeld (chairman), Peter
was the chairman of the jury for Mackeith, Juhani Pallasmaa,
the EAAE Prize 2003–2005. His Dagmar Richter and Alberto
résumè after reading the 75 arti- Perez Gomez.
cles which were submitted: ‘The
enormous interest in architec-
ture and design that we expe-
rience today in the media has
helped take architectural edu-
cation out of its ivory tower, but
it has not eased the pressure on
education to define its position
in relation to content, method
and ideology.’

Computer technology is unquestionably a in relation to both knowledge and know-how. dents and the expectations could be quite lary do not necessarily connect with all the decisions and takes its own stance on these
core instrument in today’s information soci- Commercial or political interests can influ- different. This means that the problems and levels of comprehension of space inherent to matters. The debate between the profession
ety. We are more and more dependent upon ence architectural content in such a way that solutions associated with incorporating architecture. The machine presents a spatial and the educators continues. Educators in
it to produce ready information that can it validates motivations outside the realm of computer drawing into the studio change assumption quickly and easily, but we come general will continue to face the dilemma of
both help and influence architectural reali- architecture, and content would remain pri- slightly from school to school and nation to the computer with our hard-earned, life- choosing between the best interests of the
zation, but very few believe that these instru- marily focused on commodity. to nation. Yes, sketches are rare, drawings long understanding of space, not just phys- students´ long-term professional life versus
ments are able identify new content, or give Architectural research and architec- are locked to machines, models occupy the ical but also social and psychological. This education directly related to the demands
the current architectural situation direction. tural theory are now a permanent part of desks, and the interaction between students presents architectural education with a very of the immediate job market.
The technology has no conscious capability the curriculum in most schools, with the aim and teachers and between students them- difficult and often confusing situation. The There is a certain agreement, however,
beyond direct and specific problem-solving. of broadening students’ understanding of selves is perhaps less impulsive. But as the balance between the virtual and the physi- that architecture is pursuing and in need of
The limitations of the new technology in the subject and further developing its con- original studio was different for each school cal and their interaction on many levels have new content. Curiously, few papers applied
relation to both architectural education and tent. An expanding perspective is evident, before computers, so the internal structure put great demands on today’s architec- the essay question to many of the most
practice will be a major challenge if architec- but have we been able to merge the changing of each studio is also different today. We tural curriculum. The time allotted to com- pressing challenges that architecture will
ture is to be more than direct problem-solv- attitudes brought on by research, theory and need a better understanding of how studio prehend and manage the complexity of the eventually be forced to face, such as eco-
ing. The question is then, what is the role of new technology into the physicality of archi- teaching has evolved in the various schools machine and the time given to architecture logical concerns, providing shelter for the
an architect, and what is the role of architec- tecture, beyond a primitive delight in virtual and why. The challenge of inventing a stu- has become an academic battleground. displaced or homeless, and not least the use
tural education? What is the task architec- reality’s images and quick access to bits and dio model that can generate a new type of Several papers focus on what they see of material and its corresponding energy in
ture is expected to solve? Is our mission also pieces of information? Yes and no. To some openness both in terms of the work process as a gap between architectural education relation to the world’s ever-growing popu-
one of promoting an architectural search for extent this expansion has given rise to a new and the relationships between students and and the profession. It is very clear that the lation. We have major physical and internal
and comprehension of content? If so, then debate about the technological aspects of between students and teachers is impor- updating of computer technology and the problems, but these problems are seldom
the skill and knowledge in use within the architecture. It has also influenced the for- tant if the studio model is to survive. knowledge required due to the development the recipient of this new knowledge, and
restrictions and limitations of the informa- mal aspects of architecture, and theory has Architectural education faces several of new materials is important for the profes- they are even more rarely the source of new
tion society are not enough to give rise to an launched new conceptual discussions. But difficult adjustments. In its use of technol- sion. But is everything in this rather complex knowledge and invention. It is rather strange,
architectural curriculum. However, very few the expansion has not been able to give archi- ogy, it has incorporated numerous techno- building package of equal interest for archi- or typical, that architectural schools in gen-
papers questioned the importance of the tectural education common strategies and logical innovations in order to satisfy the tectural education? Some suggest that the eral focus so little on these major and crit-
built environment as a continuous stage for frameworks for the future. information society’s fast pace, but the opti- schools should be run more like an architec- ical problems.
our daily life, but rather the papers concen- Another point that seems to concern mism in relation to technology’s potential tural office, and that the studio should take The ‘information society’ does not nec-
trated upon the importance of being viewed many is the future validity of the studio in to improve life through the built environ- on real clients and make real buildings. Or essarily offer any help or direction in relation
and finding form through many different con- the computer age, and what if any changes ment is perhaps fading in some areas. On at least that, before the student leaves the to architectural content, just as it does not
ceptual attitudes. Architectural connotation are being made. Here is a curious point, the one level, there is the architect’s handling school, he or she must have erected a small offer or depend upon a particular culture or
and its relation to human behavior in a broad studio prior to computer drawing meant of computer technology and on another building or a room in the scale 1/1. An intern- belief. One paper reminds us that we have a
sense have no limitations except the limita- different things to different schools and in the machines’ capacity to handle objects or ship of at least one semester is suggested in tendency to forget the difficulties of crea-
tion of architecture itself. Nevertheless, in different regions. It is true that the draw- intended objects as limitless. And yet archi- several of the papers. We have heard these tion, and to take the creative act for granted
the hands of commercial interests, the infor- ing studio in most schools was the core of tecture is about space: the use and compre- suggestions before and we will hear them in assuming that information and know-how
mation society can strategically use this its architectural pedagogy, but the struc- hension of space on all levels. Unfortunately again, but a general agreement is far away. alone can replace creativity. There was also
openness to constrain and influence choice ture, discipline, hierarchy, the number of stu- the computer’s spatial capacity and vocabu- Each country, each school makes its own the critique that many architecture schools

64 D&A SUMMER 2006 ISSUE 03 65

 European Association for Architectural Education
Association Européenne pour l’Enseignement de l’Architecture

WWW.EAAE.BE

teach the physical aspects of architecture more students take architectural doctorates, EAAE
from a distance, as an abstraction, and thus architectural research is more popular than The EAAE is an international, non-profit asso-
ciation committed to the exchange of ideas and
a deeper and more complete understanding ever, and this research has no clear overall
people within the field of architectural education
of architectural space is often compromised, definition or limitation, we produce innumer- and research. The EAAE aims at improving the
because the skills needed to understand able papers and spend enormous amounts of knowledge base and the quality of architectural
physical space, material and volume are energy in this field we call ‚architecture‘. But and urban design education. Founded in 1975, the
EAAE has grown in stature to become an insti-
replaced by skills needed to understand vir- does this really bring architecture forward?
tution fulfilling an increasingly essential role in
tual space, material and volume. This proc- Hopefully it does, and I think if any architec- providing a European perspective for the work of
ess is both interesting and exasperating. The tural forums can help, it is those that bring architectural educationalists as well as for con- WRITINGS IN ARCHITECTURAL EDUCATION
shift between two realities supports a dif- architects and institutions together to inves- cerned governmental agencies. The EAAE num-
bers more than 100 active member schools in
fuse sense of unlimited choice and material. tigate and discuss architectural education.
Europe from the Canary Islands to the Urals, rep- Representation in Architecture
We must also be aware of the rather Therefore I am proud to be part of this com- resenting almost 5,000 tenured faculty members
complicated architectural language that has petition, as your papers set the stage for an and more than 100,000 students of architecture Communication – Meaning – Visions
evolved in recent years. I will contend that in important and essential discussion. The enor- from undergraduate to doctoral level. The as-
sociation is establishing associate membership
reading the 75 papers, the language and its mous interest in architecture and design that
worldwide. The EAAE addresses a variety of im- At the present the tools of the architect are in the midst of an
structure was often far more complicated we experience today in newspapers, maga- portant issues in conferences work shops and sum-
accelerated process of development and change. New technology
than the actual complexity of the content. zines, TV and “easy-read picture books has mer schools for young teachers. The Association
Yes, it is important to expand architectural helped take architectural education out of its publishes and distributes the proceedings. It also has opened up for a greater design complexity and spatial variation.
grants awards and prizes. The digital working process offers a capacity of 2D and 3D
content to incorporate many academic areas, ivory tower, but it has not eased the pressure
For more information; See EAAE homepage:
and it is important that our vocabulary grows on education to define its position in relation www.eaae.be. visualisation that simply was not possible half a century ago.
in relation to this content. But it is also impor- to content, method and ideology. This new mode of communication has changed architectural
tant to remember that architecture for all representation at every level. One may argue that this will change
its virtual invention is still earthbound, and, EAAE PRIZE
architecture, but in what way? What, then, is representation in
for most, a profession. The architectural pro-
architecture today? Does representation have its own architectural
fession has undergone great changes due to
technological inventions over the past 50 content and agenda, and what impact will this have on architectural 2005-2007
years. Never has the profession been so in education? sponsored by
need of the reflections and interpretations
of architectural educators and researchers. The EAAE Prize is open to all members of the teaching staff of the
For this reason it is essential that we express EAAE member schools of architecture, or individual members of
Per Olaf Fjeld, professor and former principal at
our thoughts with clarity and precision, and the Oslo School of Architecture, began his archi- the EAAE.
that our discourse retain some form of acces- tectural carrier in 1973 in the offices of Norwegian
sibility in relation to the profession in general. architect Sverre Fehn. He has been a guest profes-
I am aware that there is a very subtle bal-
sor at University of Arizona Architecture in 2003 Download the prize invitation and registration form: www.eaae.be
and a board member of the European Association
ance within this argument and this balance of Architectural Education (EAAE) since 2001,
or contact the Organising Committee v/ [email protected]
is extremely fragile. At a time when more and where he was recently elected as president.

The deadline for contributions is October 12, 2006

66 D&A SUMMER 2006 ISSUE 03
 of the respective architects along- the basis of case studies, in which detail of the building was designed
of glass sculptures and glass instal- CONCRETE THE ART OF WOODEN JØRN UTZON
BOOKS lations. Becker comments knowl-
edgeably on the works of Marcel
Duchamp, Gerhard Richter, Mario
ARCHITECTURE
side a description of the buildings.
The examples in the final chapter,
which fluctuate between landscape
ARCHITECTURE
he describes the basic cultural and
geographical conditions affecting
each of the buildings as well as each
LOGBOOK
by Utzon himself; he personally im-
ported the tiles for the handrails
from Mallorca and even specified
Author: Catherine Croft Author: Will Pryce Volume II: Bagsværd
REVIEWS Merz, Joseph Beuys and many other
Laurence King Publishing 2005
architecture and land art, under-
E. A. Seemann Verlag 2005
of their peculiarities. Even Pryce’s
Edition Bløndal
how deep the nails of the church’s
ground cemetery complexes and digression into contemporary tim- furniture were to be hammered into
For further reading: modern and contemporary artists
ISBN 1-85669-364-3 ISBN 3-86502-122-0 ISBN 87-91567-07-6
and concludes that, ”.. however [it] the layout of urban areas clarify the ber architecture, in which he depicts the wood. The second part of then
recent books seems that the work prevails, in fact that, in our constructed envi- (English edition: Buildings in Wood buildings such as those by Jarmund book reveals the same obsession
presented by D&A. which the authors attempt to illus-
In architectural circles, concrete was ronment, concrete is by no means Rizzoli Publishers & Vigsnaes, Thomas Herzog, Bruce In 2002, Danish publisher Torsten with details: with sometimes re-
and still is considered to be a con- only significant when it comes to ISBN 0847827461) Goff and Richard Leplastrier, comes Bløndal released a remarkable book: markable precision the participants
trate the veritable traits, deceptions
troversial material. In recent years, pure building construction. The across as an organic continuation of the 500 pages -strong sizable mon- in the project – Utzon himself, his
and illusions associated with glass.”
it seems that the most versatile (and book lends itself to being extended Wood is one of mankind’s oldest the preceding chapters. The atten- ograph “Utzon” by Richard Weston son and erstwhile assistant Jan, the
Iris Nestler concentrates far more on
therefore often used without much to deal more closely with the field of building materials and has always tive reader only misses out on the - probably the ultimate book on the structural engineer Godtfred Jensen
the craft of glass processing in her
thought in the past) modern trend in civil engineering. However, even in been considered to be inferior to occasional design description when most important Danish architect of and the vicar of Bagsværd church,
chapter on glass painting and ’stu-
building materials has become pre- its current form, it impressively doc- stone, as it doesn’t last as long, is Pryce tries to explain something in the past 50 years. Now, it would be Svend Simonsen – recall their mem-
dio glass’, which explores the manu-
sentable. In fact it is downright chic uments the functional and artistic not as sturdy and burns easily. There- words which would have been bet- far from the truth to assume that ories. The volume is finished by three
facture of art, small sculptures and
to be surrounded by buildings and diversity of concrete, with the use of fore it is possible that even master- ter depicted in a picture. everything on the topic has been analysis of “external” consultants:
vessels from glass. On the other hand,
objects made from concrete. New fascinating colour photographs and pieces of wooden architecture such ’The Art of Wooden Architecture’ said and done: only three years later, Bo Mortensen describes the acous-
the Aachen-based architectural his-
BROKEN GLASS torian Manfred Speidel reviews some
concrete compounds which make it illustrations. 100 years ago, William as the Norwegian stave churches or impressively depicts the diversity of the little Danish publishing house in- tics of the church, Utzon-biographer
possible to create ever flatter sur- Lethaby wrote that concrete should the temple in the Forbidden City will the shapes and surface textures of troduces three “log books” on indi- Richard Weston reflects on possible
of the milestones which have been
Glass in art and architecture faces and ever narrower components only be used ’in highly civilized build- always stand in the shadow of the wooden building which were cre- vidual buildings and building types role models and sources of inspira-
designed and constructed in glass
Editor: Wolfgang Becker have contributed in part to the pop- ings’ if it is covered by marble, gold large stone buildings of architectural ated in centuries past by builders that the meanwhile almost 90 years- tion for Utzon and Martin Schwartz
architecture: Joseph Paxton’s Crys-
Wienand Verlag 2005 ularity of this material, which Frank mosaics or paint. 50 years ago, history. At least according to the who mostly remained anonymous. old Utzon was involved in. On nearly analyzes (according to Utzon) “the
tal Palace in London, Walter Gropius’
ISBN 3-87909-875-1 Lloyd Wright described in 1928 as Louis Kahn claimed that it should publishers, Will Pryce has written However, Pryce also mentions the 170 pages Vol. 2 introduces what is most important thing in this church”:
Fagus Factory in Alfeld in Lower Sax-
follows, ”...aesthetically it has neither be possible to visualise every step in the first comprehensive history of way that wooden architecture lit- arguably the most important work of the light.
ony, Mies van der Rohe’s designs for
‘Broken Glass’ is the catalogue for an song nor story. Nor is it easy to see in the construction of a concrete build- wooden architecture ever to be pub- erally changed the world. For exam- the Pritzker award winner on Danish The “logbook” tells us as much
a multi-storey building in Berlin and
exhibition, which took place in autumn this conglomerate a high aesthetic ing. Nowadays, architects who work lished in the entire world. His book ple, it is hardly conceivable today soil – Bagsværd church in the North- about Jørn Utzon’s building as
the fantasies of the ’Glass Chain’ as-
2005 in Heerlen, the Netherlands, in property, because it is an amalgam ... with concrete engage in the whole is unusual in several ways: Pryce is that the word ’Holland’ actually west of Copenhagen. Built between about the man himself: it portraits
sociated with Paul Scheerbart and
the former Schunck department store cement, the binding medium, is char- spectrum between both extremes. not only an architect and a self-con- originated from ’Holtland’ (wood 1969 and 1976, this church has Utzon him as an advocate of a vernacular,
Bruno Taut.
(the so-called ’glass palace’) which acterless in itself. The net result is, The rigid dogmas seem to have been fessed connoisseur of historical and country). The task for the future of at the height of his creative power. human modernism as well as a rep-
Although most of the essays only
was renovated by Wiel Arets. The usually, an artificial stone at best, or abolished and it is left to the cre- contemporary timber constructions, wooden architecture will be to find „This is an architecture that is enor- resentative of a generation of archi-
scrape the surface of their subject
theme of the book is the meaning a petrified sand heap at worst.” ativity of each individual to make but also a highly gifted photogra- a balance between the destruction mously simple and straightforward tects who defined it as their very
area, ’Broken Glass’ stands out by
of glass in every imaginable cultural It was not only Wright who later the best out of the conglomerate of pher. From the title page to the very of resources and their ability to re- and gives the building a feeling of duty to assume total control over
virtue of the fact that it contains a
context – in sculpture, glass painting, changed his attitude towards con- sand, gravel, cement and water and last footnote, ’The Art of Wooden generate, as even ’renewable’ raw totality“, Utzon himself stated in a project – in all job stages and all
wide variety of perspectives. Glass
architecture, literature, music and crete. The author Catherine Croft, an increasing proportion of chemi- Architecture’ is all his own work and materials will start running out at an interview with publisher Torsten details. Apart from detailed draw-
has seldom been portrayed in a book
film. The texts in ’Broken Glass’ are director of the Twentieth Century cal additives. It is presumably the it is impossible not to respect him for some point. Bløndal. This statement can be read ings, of which Utzon produced rather
in such a versatile way. However, it
contributed by art and architectural Society, refers to her book in the variety of things resulting from it this. The book is a pleasure to read, on page 117 and - apart from the con- few in number anyway, this logbool
also becomes clear in the book that
historians, literary scholars and a first sentence as ”a celebration of which have restored concrete to its particularly due to the photographs, tents page - until then the book does provides a comprehensive record
it is rare to find really demonstra-
film musician. However the prologue concrete”. She commences with a current popularity. which do not lose any of their bril- not offer anything to read at all, the of Bagsværd church. Hence, Uton’s
tive work with glass which spans all
comes from notes to John Smith’s detailed essay on the history of con- liance and sharpness, despite the pages are not even numbered. In last sentence in his interview with
disciplines – even when it comes to
film ’Slow Glass’, in which a glazier crete, in which she never makes the book’s double-page, 30 x 48 centi- their book Bløndal and Utzon con- Torsten Bløndal equally sums up the
architecture and visual arts. Could
from London reasons about the his- development of concrete technol- metre format. With the exception sciously rely on the power of the im- entire book: „I think what I’ve told
this be due to the fact that in our cul-
tory and manufacture of glass. He re- ogy and construction into the sole of Africa and South America, Pryce ages and drawings. They illustrate you about the church now – I’ve gone
ture glass has recently been com-
calls that although glass appears to focal point, and instead chooses to travelled all across the world in order Utzon´s skillfulness to bring to- from the first rough idea all the way
pletely predominated by business
be solid, it is in fact a liquid – we just also deal with the material’s cul- to photograph timber constructions. gether even the most common in- through and down to the details – it’s
and high-tech architecture? ’Broken
don’t live long enough to be able to tural significance. In the subsequent However, as he states in the preface, dustrial products and make them all there. We haven’t anything else to
Glass’ was at least able to provide a
notice it flowing. chapters (entitled Home, Work, Play he does not believe that his book into buildings full of poetry giving talk about.”
rudimentary contribution regarding
Almost a third of the book is taken and Landscape), which are arranged needs to be completely comprehen- visitors of his church “the reassur-
the rediscovery of the sensuousness
up with Wolfgang Becker’s contribu- typologically and depict a total of 44 sive. Instead of following a chrono- ance of something which is built, not
of this material.
tion entitled ’Art and Glass’ in which projects, the author always provides logical or typological structure, he just designed”, as he later wrote on
the author introduces us to a world an insight into the design philosophy approaches architectural history on the Bagsværd church. Each single

68 D&A SUMMER 2006 ISSUE 03 69

 2 CHRIS LEUNG Dynamic Daylighting The Technology of Computer-Aided Manufacture

BOOKS RECOMMENDS Architecture

Helmut Köster
Birkhäuser
Ecological Buildings
Klaus Daniels
Birkhäuser
in Architecture – The Pursuit
of Novelty
Nick Callicott
Frei Otto – Complete Works
RECOMMENDATIONS Architecture in the Digital Age:
ISBN 3-7643-6730-X ISBN 3-7643-6131-X Architectural Press
European architects recommend Design and Manufacturing
(German edition: Dynamische (German edition: ISBN 0-7506-4647-0
Tageslichtarchitektur Technologie des ökologischen
their favourite books in D&A. Hugh Leach, Branko Kolarevic
ISBN 3-7643-6729-6) Bauens
Spon Press (UK)
ISBN 3-7643-6131-X)
ISBN 0415278201

The 320-page book offers a compre- ‘Dynamic Daylighting Architecture’ is The 302 pages of this book, which Un-biased and easily comprehensible,
1 Much Untertrifaller hensive insight into the status quo directed at architects, lighting planers, has been published in German and but in a very detailed fashion Nick
2 Chris Leung of digital architecture, thus bridg- construction physicians, and air con- English, presents ‘basic principles Callicott introduces the readers of
3 Piergiorgio Robino ing the gap from the origins to the ditioning engineers. Helmut Köster is and measures, examples and ideas’ his book to the secrets of computer
contemporary situation: How are concerned with an objective that can (so is the blurb) on the topic ecological aided manufacturing and its appli-
computer-aided means applied in only be achieved in a joint effort: the construction. Chris Leung: ‘This book cation in architecture. Chris Leung:
architecture and what influence do reasonable integration of daylight was a source of environmental design ‘This book is a favourite not least of
they have? How can they be favour- and solar energy in buildings. Chris ideas during the office competition which because it introduced me to
ably used in the future? Chris Leung: Leung: “I was looking for a book like entry for the Aga Khan University many of the rapid-prototyping tech-
1 2 3 ‘… The availability of CAM (Computer this for years, a thorough technical competition. Since then the beauti- niques that are available to design-
Aided Manufacture) software and description of day-light and sun-light. fully presented and clear diagrams ers that I am becoming increasingly
small-scale CNC (Computer Numer- [...] Just when you think that the au- the book contains have prompted familiar with, but more significantly
ically Controlled) facilities has closed thor has made his point, you discover many conversation around the po- for me the mode of engagement with
the gap between thinking about the another way of looking at the way tential to use the many different them that this book advocates.’
design and its realization. The book a space can be efficiently and nat- technologies and scenarios the book
raises the bar of expectation with ac- urally lit, harnessing one of nature’s documents. It has and continues to
counts of individuals and practices free gifts ...... the sun. be a bridge building aid in the office
at the cutting-edge of working with to start a conversation with enlight-
these tools.’ ened engineers.’

Cruelty and Utopia Carlo Mollino Su Mangiarotti – architettura

1 MUCH Cities and Landscapes Architecture as Autobiography design scultura
3 PIERGIORGIO ROBINO Zaha Hadid: Architecture The Snow Show Archilab
Hatje Cantz Lance Fung (editor) Radical Experiments
UNTERTRIFALLER of Latin America Thames & Hudson Abitare Segesta RECOMMENDS ISBN 3775713646 Thames & Hudson in Global Architecture
RECOMMENDS Jean Francois ISBN 0-500-28583-7 ISBN 88-86116-45-4 ISBN 0500238197 Frédéric Migayrou
Lejeune (Editor) MVRDV: KM3
Thames & Hudson
Richard Serra – Dirk’s Pod Princeton Architetural Press Excursions on Capacity
ISBN 0500283125
Steidl Verlag ISBN 1-56898-489-8 Actar
ISBN 3-86521-089-9 ISBN 8495951851

Dirk’s Pod, one of the largest perma- This collection of illustrated essays Carlo Mollino (1905–1973, Turin) The architect Angelo Mangiarotti, In 1998, MVRDV called attention The book was originated in 2003 on For the second time, the ‘Snow Show’ In this book Frédéric Migayrou, Di-
nent installations by the American describes the history of those ‘other’ was one of the most original and si- born in Milan in 1921, is regarded to themselves with the weighty the occasion of a Zaha Hadid exhi- enthused tourists from all over the rector of the Centre Pompidou De-
sculptor Richard Serra, was erected American metropolises, such as Bue- multaneously enigmatic architects as one of the most important pro- tome FARMAX. Now the architec- bition in the Viennese Museum for world during the 2006Olympic Win- partment of Architecture, presents
on the Novartis AG campus in Basel nos Aires or Mexico City. Duly-author- and artists of the 20th century. Mostly tagonists of the Italian architectural ture avant-gardes present the sec- Applied Arts. Amongst the numer- ter Games. It is the successor event 60 of the world’s most innovative
in May 2004. When this large sculp- ized experts, amongst them Carlos critics maligned him for his non-con- scene. Nevertheless, the volume pub- ond volume “KM3” comprising of ous presently available books on to the first ‘2004 Snow Show’ in La- young architectural practices. Their
ture was unveiled, a 128-page ac- Fuentes, introduce the single cities; formist attitude. His works, which lished in the series ‘SU’ abstains 1,200 pages. The book’s theme is Hadid it was the first to „document pland, which Lance Fung presented answers to the questions on how we
companying book was brought out they describe the development of the comprised buildings, interiors and from recording the complete works the re-discovery of the European the artist’s most recent project” (ac- in his book. Seventeen works of art, are going to live and work tomorrow
by the Steidl Verlag from Göttingen. slums as well as the masterpieces of pieces of furniture, as well as photo- of the much respected architect and city and presents three exemplary cording to the publishing house). Il- created in the co-operation of one and the day after are again and again
Besides articles by Daniel Vasella, Latin-American architects from Luis graphs, scripts and stage sets, com- urban planer. Forty partially unknown designs for Amsterdam and Rotter- lustrated are amongst other projects architects and one artist each, are surprising. Detailed practice pro-
Silke von Berswordt-Wallrabe and Barragàn to Lina Bo Bardi. The arti- bined the influences of futurism works from architecture, design and dam. As in many of their previous the Rosenthal Center for Contempo- documented in more than 250 pho- files, more than 2000 illustrations,
Richard Serra, it contains numerous cles are accompanied by illustrations, and surrealism. The monograph pub- sculpture are presented in historic designs, MVRDV proceed from the rary Art in Cincinnati, the National Li- tographs, numerous drawings and and texts of leading historians and
photographs by Nic Tenwiggenhorn which interpret the reality of Latin lished by Thames & Hudson concen- as well as recent illustrations, plans, unconventional layering of (urban) brary in Montréal and the stage sets project text written by the design- critics of architecture make the 528-
as well as Dirk Reinartz. Reinartz, America from an artistic perspective. trates on Mollino’s interior furnishings sketches, and articles. Seventy per- landscapes, which aim to contain the for the 2000 Pet Shop Boys world ers. Illustrated are not only the final page volume a substantial source of
who died in 2004 and was Serra’s Also printed is a revised translation and furniture designs: Eighty mas- cent of his material was so far un- space required in the densely popu- tour. Several, so far unpublished results, but also the partially complex inspiration regarding architectural
long-standing friend and companion, of ‘Leyes de las Indias’ from 1573, ter pieces of his works, which pre- published. Another stimulus for the lated Netherlands. drawings and graphics by the Lon- genesis of the perishable artefacts. design and visualisation
has captured the tedious production containing numerous stipulations dominantly resemble sculptures, are reader is the enclosed essay on ‘Con- don architect round off the volume.
process of the ten steles. The photo- for urban planning, thus decisively documented by rarely published doc- structive Systems in Architecture’.
graphs of the final assembly and the influencing the form of Spanish uments and photographs. Mangiarotti himself has graphically
completed sculpture were taken by colonial towns. designed this article.
Nic Tenwiggenhorn.

70 D&A SUMMER 2006 ISSUE 03 71

DAYLIGHT &
ARCHITECTURE
ISSUE 04
AUTUMN 2006

LIGHT Dichroic Light Field,

New York, USA –
by James Carpenter

PHOTO BY DAVID SUNDBERG, ESTO

7A2 D&A SUMMER 2006 ISSUE 03

DAYLIGHT & ARCHITECTURE
MAGAZINE BY VELUX
SUMMER 2006 ISSUE 03

Publisher Website
Michael K. Rasmussen www.velux.com/da

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Jakob Schoof necessarily shared by the publisher.

Photo editors © 2006 VELUX Group.

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