Crematory in Igualada

Igualada, Spain

Carme Pinós set up her own studio in 1991 after winning international recognition for her work with Enric Miralles. She has worked on numerous projects ranging from urban refurbishments and public works to furniture design. Her sharp approach to design, anchored by a constant focus on experimentation and research, has made her work garner worldwide recognition. Her most significant recent works include the design of the MPavilion 2018 in Melbourne, the architectural set composed by Gardunya Square, Massana School of Arts, the Masterplan for the historical centre of Saint Dizier (France), the Departments Building of the Vienna University of Economics and Business (Austria), the Cube Towers in Guadalajara (Mexico) She was named Honorary Fellow of the American Institute of Architects in 2011 and RIBA International Fellow in 2013 for her outstanding contribution to architecture.

Crematory in Igualada Spain, 2014 – 2016 Description: This project responds to our desire to integrate the new building in the cemetery grounds without distorting the great poetics these emanate. We have located the crematorium on the top of a hill that holds the chapel and other installations, in such a way that the new building cannot be seen from the cemetery. Nevertheless, from it you can still perceive the atmosphere and beauty of the cemetery itself. The driving force behind this project is to understand the situation the program implies with utmost sensitivity. Our approach has been to relate to nature by generating a dialogue between the visitors and the distant landscape seen from the large windows of the building. The slightly raised location of the crematorium also responds to this idea, thus it is situated just above a set of aromatic plants.Our intention is to convey the sensation of being on a different level to that on which our daily lives happen and which relates us to that life. Despite the fact that it could be considered a purely technical building, we wanted to give it all the poetics required by the frame of mind of those who will visit the space. We have used materials that relate the building to the cemetery. On the one hand, the concrete a predominant material in the cemetery- gives the crematorium a sculptural character while, on the other, the ceramic enclosure gives it a less monolithic and more welcoming dimension.

Location: Igualada’s Cemetery Park Barcelona, Spain Client: Funeraria Anoia, S.L. (Private) Architect: Carme Pinós Desplat Project Manager: Samuel Arriola Design Team: Elsa Marti, Jeanne de Bussac Start / Completion: 2014/2016 Project site Area: 1248 m2 Construction Area:252 m2 Structural Engineer: Manuel Arguijo i Associats Mechanical & Electrical Engineer & Costs: INDUS Ingeniería y Arquitectura SA Constructor: Costructora Calaf SA Architecture models & Rendering: Estudio Carme Pinós Photographs: Estudio Carme Pinós Jesús Arenas (with copyright) Jordi Bernadó (with copyright)

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Astana Train Station

Murat Tabanlioglu and Melkan Gursel, the practice focuses on residential, commercial, mixed-use, public and cultural projects realised mainly in MENASA, CIS and Europe, and lately in the USA. Tabanlıoğlu Architects has a long family tradition and is the culmination of over 60 years’ architectural experience. Tabanlioğlu Architects believes that one of the big issues inherent in urban development is to create city spaces that are interactive, to allow citizens to truly mingle; that in order to make better cities; buildings should be multifunctional and take inspiration from both ceremonial and informal public spaces. With offices in Turkey, United Kingdom, USA and Gulf Region the practice strives for new efficiencies in terms of global and environmental needs, incorporating new technologies with smart local solutions into their work.

Project Description: Located on the axial ceremonial route from the Presidential Palace, the new train station promotes a positive change starting from the close vicinity as the synergetic effects of transportation investments are highly upgrading for the regions that become a part of the network. The public realm, because of its anticipated intensive usage, is highly legible, robust and sustainable. Articulating the urban space, the structure of the roof is considered as a major element in building the space. The monolithic roof system is an integral part of the structure of the station. The design refined to optimize strength and stiffness, and provides an economical yet durable configuration with good resistance against weather conditions.

Completion Date: July 10, 2017 Project Area: 110000 Project Location: Kazakhstan Clients: Sembol İnşaat, Zhol Zhondeushi Company Structural Engineering: Buro Happold Mechanical Engineering: DEC Electrical Engineering: DEC

 
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New Swiss Embassy Nairobi, Kenya

Description: The New Swiss Embassy in the Kenyan Capital of Nairobi, designed by Lucerne-based architects ro.ma (roeoesli & maeder gmbh, dipl. architekten eth bsa), is an architecturally superior building that represents Switzerland in an appropriate way, while also incorporating local building practices and using local companies. The embassy building shifts between an expression of civic pride and restraint, exploiting various points of reference and bringing together the required aspects of functionality, safety and sustainability in a coherent spatial structure. By allowing the actual building to grow out of the enclosing perimeter wall (required for compound security), a spiral spatial relationship is created that frames the entire compound, culminating in the central two-storey structure. The building and the wall are both made of dyed exposed concrete and merge to create a uniform architectural structure. The twisting, multifaceted shape of the building respects the existing distinctive tree-filled landscape. It responds to the slightly sloping north facing site with a split-level arrangement of the floors. The mezzanine sections of the building each contain a functional unit. The connecting element is the central reception hall which pierces the building, acting as the hub of the complex and linking the public, diplomatic and consular areas. The natural light comes from the glazing elements which are used in the suites of rooms that flank the hall on either side and which alternate with the load-bearing wall panels. This regular structure allows for the flexible partitioning of the two outer suites of rooms so that they can be adapted to future needs as and when required. At the same time, the inner (office) glazing conveys an open, transparent and modern approach to office work.

The East African countryside is reflected in the individual character of the building, particularly in the red-brown pigmentation of the exposed concrete of the outer façade and perimeter wall. Thus, the building takes on the colour of the so-called "coffee soil", the earth found throughout Kenya's capital, which owes its rich red hue to the high iron content. The generously dimensioned windows are another striking feature, framed with geometrical projecting elements. The glass surfaces reflect the vegetation and make the building itself a part of the landscape. The projecting elements also provide shade. The geographical distance and logistical aspects presented the architects with a number of challenges They were required to lead an international project team with many project stakeholders from different backgrounds and with different characteristics and opinions.

Client: Swiss Confederation Department of Finance Bundesamt für Bauten und Logistik BBL (Federal Of ce for Buildings and Logistics), Project manager: Jodok Brunner Area: 4046m2 Location:Nairobi, Kenya Completion year: August 2016 Architecture: ro.ma roeoesli & maeder architekten, DMJ Architects Construction project management: Mentor Management Ltd Landscape architect: Concrete Jungle Civil engineering: BG Ingenieure und Berater AG (Zürich), Metrix Integrated Consultancy MEP engineers: BG Ingenieure und Berater AG, EAMS Ltd. Consulting Engineers Photographer: Iwan Baan, www.iwan.com - und Fabio Idini, nicht dieselbe firma

 
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Europe’s largest polycarbonate roof over the historic Śląski stadium

gmp has completed the conversion of the sports venue in Chorzów, Poland

In the cultural and recreational park in Chorzów, Poland, the architects von Gerkan, Marg and Partners (gmp) have converted the Śląski stadium. Yesterday it has been officially inaugurated by a friendly match: On Tues- day, March 27, the Polish national squad played against Southkorea’s national team. With the completion of the venue the Silesian province has been given a new sports venue for track and field competitions to inter- national standard. The elegant structure complements the historic building from 1956. With a total area of 43,000 square meters, the lightweight stadium roof is currently the largest European roof with a translucent polycarbonate skin.

The Śląski stadium, the construction of which started in 1951 to a design by architect Julian Brzuchowski and engineer Wiktor Pade, was converted in the 1990s and served as the home ground of the Polish nation- al football team until the new national stadium was built in Warsaw in 2007. In addition to national and international football matches, the stadium was traditionally also used for large music events. The stadium also became internationally known as the venue for the Speedway World Cup, a motorcycle racing sport popular in Poland. Originally, the stadium had been designated as a reserve venue for the 2012 European Football Champion- ship, but today the focus is more on hosting national and international track and field competitions. The modernized infrastructure and new services installations in the stadium are also designed to enhance the suitability of the venue for traditional concert performances. An elegant tensile structure has been installed independent of the existing grandstands and ensures that the bright, open-air character of the stadium is largely retained. The tensile structure was erected with 40 restrained reinforced concrete columns at the required height of 37 meters above the pitch; its structural system is based on the principle of a bicycle wheel rim, with an upper and a lower external compression ring and several spokes in the form of tensile cables attached to the inner rim of the roof. The heterogeneous appearance of the structure with its existing and added grandstands with their different basic geometries has been unified by the oval roof construction, resulting in a homogeneous overall structure. With the conversion of the Śląski stadium, Poland has acquired one of the largest and most up-to-date track and field arenas in Europe. The traditional Silesian colors, yellow and blue, have been used for the color scheme of the light-flooded interior of the stadium and the running track.

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Museum for Architectural Drawing

Construction of a new Museum, Berlin

Location: Christinenstraße 18a, 10119 Berlin, Germany

Client: Tchoban Foundation - Museum for Architectural Drawing, Berlin

Gross floor area: 498 sqm

Completion: 2013 Authors: Sergei Tchoban, Sergey Kuznetsov

Architectural offices: SPEECH, nps tchoban voss

Project partner and project leader nps tchoban voss: Philipp Bauer, Ulrike Graefenhain

Art conservation consultant: Eva-Maria Barkhofen

Team nps tchoban voss: Nadja Fedorova, Katja Fuks, Dirk Kollendt

Landscaping: atelier 8 landschaftsarchitekten

Structural engineering: PPW Dipl.-Ing. D. Paulisch Building equipment: Planungsbüro Thye

Lighting design: Kardorff Ingenieure Façade: MBM Konstruktionen GmbH

Graphic design Façade: Heimann und Schwantes Façade consultant

(design stage): Priedemann Fassadenberatung GmbH exposed concrete: BSS Beton-System-Schalungsbau GmbH

Interior work: Lindner AG

carpentry: Tischlerei Hollenbach

Fittings: Wilking Metallbau GmbH

Photographer: Patricia Parinejad (1), Roland Halbe (2-7)

This four-story building represents a stack of solid cuboids with a glass penthouse on top. Solid jutties loom at different angles from each of the four floors below, spraying the building’s basic geometrics. By means of pictorial concrete moulds showing large scale architectural representations the lightly died exposed concrete alludes to the role and content of the building. On the ground floor and along the height of the staircase the massive concrete body is perforated by small cathedral-glass windows in special shapes that derive from the drawing fragments. Access is located on the front and the rear of the building differentiating the access for the public and for management and service. On the building front two spacious openings on the ground and on the second floor have been formed as entrance niche and a glazed loggia. Interior functions have been clearly organized along with the vertical partition: reception and ticketing on the ground floor, exhibition cabinets on the first two upper floors, archives on the third and office and conference space on the fourth floor including two roof terraces offering splendid views onto the Pfefferberg premises in the East and the square of Teutoburger Platz in the West. Although complying with the highest conservational conditions for artworks, the construction reveals an inviting appearance piquing the curiosity of passers-by and adding distinctively to the surroundings of protected industrial monuments, historical apartment houses, quiet streets, courtyards and the landscaped square in front.

   
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VTB Arena-Dynamo Central Stadium

Sports and entertainment complex, Moscow

Location: Leningradsky Prospket 36, Moscow, Russia

Client: CJSC Management Company Dynamo

Total area: 206.210 sqm

total capacity of football stadium: 26.319

total capacity of multifunctional area: 11.488 (hockey),

12.770 (basketball),

11.869 (concert events)

construction: 2015-2017

Authors: David Manica (Manica Architecture), Sergei Tchoban, Sergey Kuznetsov,

Nikolay Gordyushin (SPEECH)

Chief architect SPEECH: Dmitry Gureev

Chief engineer SPEECH: Igor Osokin

Team SPEECH: Georgii Glebov, Sergei Gromov, Elena Medvedeva, Ekaterina Chernikh

Visualization: Manica Architecture, SPEECH

In 2010 the reconstruction project for the Dynamo stadium was the subject of an international architecture competition. The winning concept was by Erick van Egeraat and a team from Mikhail Posokhin’s Mosproekt-2 Institute. Subsequently, the concept was further refined by David Manica of the American architecture firm Manica Architecture; SPEECH became the general designer, taking responsibility for production of detailed design documentation.

The reconstruction project envisions building a superstructure over the old perimeter of the restored historical façades in the form of a sleek, intricate volume which is to house the main football arena and small arena. The main football field at Dynamo will be open-air as before and will have a playing surface of natural grass, while the small arena, which will be used for a variety of sporting and concert events, will be covered by a roof. The lower level within the stadium’s old walls will house a shopping and entertainments complex and will be treated as a passageway for pedestrians moving along the east-west axis. According to the project’s authors, this will guarantee high attendance at the complex not only on days when there are football matches, but also at any time of year. On the sixth level there will be a panoramic restaurant with views of the covered arena and the natural-turf football stadium.

The complex’s membrane will be installed on a special cable-stayed structure built independently of the stadium’s historical walls. Executed in polycarbonate and with a parabolic curvature, this promises to be an impressive addition to the view of Leningradsky prospekt. The facing panels are diamond-shaped – a design solution which not only develops the theme of the famous Dynamo logo, but also figuratively emphasizes the continuity of the new volume. LED strips will be built into the shell, enabling the dome to be used at night as a media façade. The modern look of the reconstructed stadium will be accentuated by a gigantic screen located on the west façade overlooking Leningradsky prospekt in order to inform fans of the course of each match.

Surrounding the complex, and naturally complementing it, there will be a nearly 8-hectare park containing the Dynamo Sports Academy athletics and training complex, together with outdoors sports grounds and recreational areas.

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Actor Galaxy

Mixed-use complex with apartments, Sochi

Location: 105 A Kurortny Prospekt, Khostinskiy district, Sochi, Russia

Client: MR Group

Total area: 131.230 sqm

Construction: 2010-2015

Project Authors SPEECH:

Sergei Tchoban, Sergey Kuznetsov, Igor Chlenov

Chief Architect SPEECH:

Igor Chlenov

Chief Engineer SPEECH:

Igor Osokin

Team SPEECH: Pavel Shaburov, Anna Mashkova, Vyacheslav Kazul

Photographer: SPEECH (1),

Aleksey Naroditsky (2-4)

Actor Galaxy is a 26-storey complex occupying the upper terrace in the grounds of Actor, a health resort which was well-known in Soviet times. The sharp drop in ground levels on the site prompted the building’s architectural and compositional design: the layout resembles a prolonged descent, with the building seeming to ‘flow down’ the slope. This dynamic quality is amplified by the complex’s silhouette, which tapers towards the sea as the building descends in a series of steps, creating a spectacular arc on the city’s skyline. The sculptural volume is emphasized by the undulating terrace barriers running along the side façade. Interestingly, this ‘wave shifts from floor to floor; making the building’s surface seem to ripple in the warm sea breeze. The resort theme is reinforced by the building’s white colour. Thanks to its dynamic form and pointed ‘bow’, Actor Galaxy’s snow-white volume stands out distinctly on the sweep of Sochi’s shoreline – like a cruise ship about to sail off into the open sea.

Еhe complex’s internal layout is focused on two atriums. The larger of these is located in the interior of the ‘drop’; it has a sophisticated angular shape and is covered with ETFE, a translucent ultra-durable film (this was the first use of this innovative material in a residential building in Russia). The smaller atrium has a triangular configuration and is located in the bow of the ‘ship’. Due to the drop in ground level, the atriums are at different heights above the sea. The larger atrium is treated as the complex’s main public space; this is where the panoramic elevators are located, together with shops, cafes, and art objects. The smaller atrium is merely an entrance hall providing a separate entrance to the building for occupants of the larger apartments.

The interior design of the complex’s public spaces is also dominated by the colour white. Indeed, in the large atrium not only the walls and gallery barriers, but also the slender metal trusses supporting the translucent ceiling are all in white. During the day this space serves as a backdrop for the ever-changing play of light and shadow, and in the evening it is illuminated at different levels.

 
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Berlin Olympic Stadium

Reconstruction and Roofing, Germany

Competition 1998 – 1st Prize

Design Volkwin Marg and Hubert Nienhoff

Managers of planning partnership Kemal Akay, Uwe Grahl

General project manager Jochen Koehn

Project leaders Martin Glass, Ivanka Perkovic, Alexander Buchhofer

Client City of Berlin

Construction period 2000–2004

Seats 76,000

Picture credit

Page 109 Marcus Bredt

Page 110/111 Marcus Bredt

Page 112 Marcus Bredt

Page 113 plans gmp

How do you convert propaganda architecture into an opera with a happy end? The biggest problem in the conversion and extension of the Berlin Olympic Stadium for the 2006 Soccer World Cup was a historical one: How could the identity of the arena, which Hitler used to great effect for his propaganda during the Olympic Games of 1936, be transformed in such a way that, 70 years later, it would radiate the absolutely positive identity of a global event that brings the world´s people together? And this without hiding or denying its difficult history? The technical challenge was no less tremendous: How do you convert a half-rotten, open-air arena with concrete benches into a modern stadium? And can a proper soccer atmosphere even develop in such a spacious, multipurpose-stadium? Just imagine converting a Greek amphitheater into Milan’s La Scala. Out of respect for the historic design, all necessary new buildings were erected underground outside the stadium. The playing field was lowered by 2.65 meters so that, step-by-step, the non-restorable, old lower stand could be replaced with a new one closer to the playing field, intensifying the experience of the game. But the most important aspect of the conversion was the roof, which, like the stadium itself, is not a closed circle but open at one end. Thus the visual axis from the east gate across the stadium towards the bell tower outside was preserved even after conversion. Its delicate structure and the choice of surface materials deliberately set it apart from the solid tectonics of the historic building. The roof also contains a unique lighting system that can make the interior appear almost as theatrical as La Scala.

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National Museum of China

Beijing, China

Competition 2004 – 1st Prize

Design Meinhard von Gerkan and Stephan Schuetz with Stephan Rewolle and Doris Schaeffler Project leaders Matthias Wiegelmann, Patrick Pfleiderer

Chinese partner practice CABR

Client The National Museum of China

Construction period 2005–2010

Gross floor area 192,000 m²

Picture credit

Page 84 gmp

Page 85 Christian Gahl

Page 86/87 Christian Gahl

Page 88/89 Christian Gahl

How is it possible to respect a monumental architectural pattern language with a rich tradition and at the same time to translate it into a more moderate architecture? This question arises as part of the task of linking the existing northern and southern wings of the Chinese National Museum in Beijing at Tiananmen Square into a cohesive building complex – while sacrificing the center building. Because simply extending the already huge museum by perpetuating the existing tradition of the monumental style without any filter would result in a questionable – because exaggerated – overall aesthetic. And that would also be contrary to a tradition that wants to impress, because a questionable aesthetic never achieves such an aim in any tradition. A 260 meter long hall provides access to the new complex. It widens out in the center and thereby establishes a relationship between the square and the portal of the existing building. The newly created “forum” serves as foyer and multi-functional venue which provides access to all functions relevant to the public. Today, with its 192,000 sqm, the Museum is one of the largest in the world. However, in spite of its size, the Museum does not feel intimidating. With its brightness, the building emphasizes its public character, which is further supported by the harmonious dialogue between the white granite, the coffered ceiling and the brown timber cladding in the gallery. The rather simpler design of the parapets on the new buildings is another example of how it is possible to tone down the tradition of the monumental in a responsible way.

   
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