BRICK Outstanding International 18 Brick Architecture

BRICK 18 2 3 4 5 6 7 “The projects in the Brick Award show the very versatile ways brick is used as a contem- porary form of construction and that brick ­architecture is widespread everywhere in the world.” Jonathan Sergison BRICK 18 BRICK Feeling Living 18 at home together

12 THE COMPETITION 24 WOLFGANG PAUSER 66 MARCOS PARGA 14 EDITORIAL Wh y Do Bricks Warm The RRURBAN Effect the Soul? 70 TONY FRETTON ARCHITECTS 28 MONADNOCK Westkaai Towers 5 & 6 Atlas House 78 DMVA ARCHITECTEN 36 ADEPT L orette Convent – Villa Platan Apartments Drbstr

40 SWAN ARCHITECTES 82 WILD BÄR HEULE ARCHITEKTEN S ocial Housing in the Apar tment House with Vines & Public Garden Industrial Brickwork

44 PEDEVILLA ARCHITECTS 86 UWE SCHRÖDER ARCHITEKT House on Mühlbach ROM.HOF Student Dormitory 48 BLOCK ARCHITECTS Lee&Tee House 90 VLA – VILHELM LAURITZEN ARCHITECTS AND COBE 52 RUSSELL JONES Krøyers Plads Mews House 94 STEFAN FORSTER ARCHITEKTEN 56 HERMANSSON HILLER LUNDBERG Philosophicum ARKITEKTER House Juniskär 98 BARKOW LEIBINGER Apartment House 60 PROJECT ORANGE Prenzlauer Berg Foundry Mews 102 E + N ARKITEKTUR Mengel Tower

106 PRAKSIS ARKITEKTER Carlsberg Researcher Apartments

110 M3H ARCHITECTEN Tugelablokken

114 HANS VAN DER HEIJDEN ARCHITECT Houses with Two Doors

280 APPENDIX

10 Working Sharing Building together public spaces outside the box

120 SANDY ATTIA 162 PATRÍCIA BARBAS 224 MIKKO SUMMANEN The Design of the Strangely Familiar F rom Clay to Gold Workplace 166 CHRIST & GANTENBEIN 228 U.D. URBAN DESIGN AB 124 TROPICAL SPACE Kunstmuseum Basel & GOTTLIEB PALUDAN ­ARCHITECTS Terra Cotta Studio Extension Värtan Bioenergy 132 HIERL ARCHITEKTEN 174 NICOLÁS CAMPODONICO CHP Plant State Archives Landshut ESTUDIO San Bernardo Chapel 236 ALEAOLEA ARCHITECTURE & 136 DATA ARCHITECTES LANDSCAPE CV AE Pantin – Sorting 182 TCHOBAN VOSS ARCHITEKTEN The Old Church of Facility Russian Monastery ­Vilanova de la Barca Church St. Georg 140 LRO LEDERER RAGNARSDÓTTIR 244 ARCHITECTUUR MAKEN OEI ARCHITEKTEN 186 HART BERTELOOT ATELIER De Gouverneur Sparkasse Ulm ARCHITECTURE TERRITOIRE Activity and Dance Center 248 ADMUN STUDIO 144 MAX DUDLER Cloaked in Bricks Reception Building Dräger 190 SEA – STUDIO FOR ENVIRONMENT AND ARCHITECTURE 252 MVRDV 148 FLORIAN NAGLER ARCHITEKTEN The Temple and the People Crystal Houses K eep It Simple – Studio, 194 EGGEN ARKITEKTER 256 WIRTH ARCHITEKTEN Workshop and Depot St. Olav’s Catholic Remisenpavillon 152 BUREAUVANEIG ­Cathedral 260 MUKA ARQUITECTURA ‘t Melkhuisje 198 ANDREAS HELLER ARCHITECTS & Dwelling Between Party 156 BEDAUX DE BROUWER DESIGNERS Walls ARCHITECTEN European Hansemuseum P avilion Brick Factory Lübeck 264 FEAT. COLLECTIVE Vogelensangh Lanka Learning Center 202 PETER BÖHM ARCHITEKTEN

Philosophikum 268 VECTOR-I ARCHITECTS WITH DAAD ENGINEERS am Domplatz Restaurant Southside 206 BEZ + KOCK ARCHITEKTEN New Market Anneliese Brost Music 272 PÉRIPHÉRIQUES ARCHITECTES Forum Ruhr L orraine Coallia – 210 LUNDGAARD & TRANBERG Paris 75019 ARKITEKTER Kannikegården 276 CIVIC ARCHITECTS AND BRIGHT; THE CLOUD COLLECTIVE 214 BOLTSHAUSER ARCHITEKTEN Augmented Brickwork – Kopfholz School Public Railway Passage Tilburg 218 KOEN VAN VELSEN ARCHITECTEN Public Transport Terminal Breda

11 BRICK 18

Vladimir Arsene

Anne Kaestle

Jonathan Sergison, Marc Mimram and Anne Kaestle

Stephan Ferenczy

Jonathan Sergison

12 The Competition

The Brick Award provides architects from all over and structures that point to a historic context. Topics the world an opportunity to showcase modern, very present today across all industries—sustain- innovative architecture with bricks. It aims to inspire ability and user comfort—were likewise prominent. architects and people to share design concepts Several architects additionally adopted a playful and explore new ways of fulfilling built ideas—made approach to the architectural form, color or use of with ceramic materials. bricks, sometimes combined with other materials.

2018 marks the eighth time that Wienerberger is In the second phase, an international jury deter- presenting this internationally established award. mined the winners of the competition. The architects Nearly 600 projects from 44 countries were submit- Vladimir Arsene (Rumania), Stephan Ferenczy ted, this year with a particularly strong European (Austria), Anne Kaestle (Switzerland), Marc Mimram focus. In the first phase of the two-part selection (France) and Jonathan Sergison (Great Britain) process, the 50 shortlisted projects were nominated met in Vienna to pick the winning projects from by the pre-jury of international architects and archi- among the 50 nominees. The expertise and opinion tecture journalists from among the submissions. At of the jury were decisive, since Wienerberger every Brick Award, the composition and nationalities had no say in the selection. Because the jury’s of this panel changes, and so do the sensitivities ­enthusiasm for the projects was so high, they ulti- and tastes when assessing the projects. Wojciech mately chose seven winners instead of five. During Czaja, Christian Holl and Jan Peter Wingender, who the judging procedure they particularly valued also contributed project texts for this book, could innovative architecture made with modest means, be won over for the Brick Award 2018. As usual, the simple but smart concepts, as well as projects criteria for choosing the nominees and winners highlighting­ the versatility of clay building materials, were the use of clay building materials, innovation, e.g., for renovation purposes. sustainability throughout the building process, and the architectural quality of the project. This year, This book presents the 50 nominees, as well as the however, the pre-jury members introduced a new, winners of the Brick Award 2018. Each project is also additional criterion which they called the “adequacy” commented in a text written by one of the pre-jury of the project—“adequacy” meaning that it should members. Finally, the winners are featured in short also be regarded in relation to its purpose, building videos you can find on brickaward.com. type and cultural context. A social project, for ­instance, is to be evaluated taking its limited budget Dear architecture fans, we wish you a lot of into account. ­enjoyment in discovering the brick architecture masterpieces of the 2018 Brick Award! When looking at this year’s nominees, we can ob- serve a number of tendencies that point toward current social and architecture trends. Many projects are located in an urban environment and these numerous renovation, extension and adaptation ventures reflect the growing demand for additional space within an urban context. It is also worth ­noting that the design of the buildings is often characterized by the forms and colors of facing and backing bricks and roof tiles: Abstract ornaments and structures are equally represented as lettering

13 BRICK 18

“We believe in creating ­living spaces for ­human beings.” Heimo Scheuch CEO Wienerberger

OUR MISSION We improve people’s quality of life by providing outstanding, sustainable building material and infrastructure solutions.

14 Editorial

Dear Friends of Architecture, However, regardless of how much progress we have made in terms of technology, the most important In this 21st century, we are experiencing an era of point of reference in architecture is still the individual. global challenges: climate change, a growing world When creating new living space, the prime focus population, demographic aging and massive will always be on human beings and their needs. ­migration movements. Add to these the accelerating trend of urbanization, changing mobility patterns On the occasion of the eighth Wienerberger Brick and the transformation of the world of work, as well Award, we proudly recognize the high quality of the as progressive digitalization and the resultant blur- brick architecture projects submitted from all over ring of geographic borders. All these developments the world. Our thanks are due to the jury of experts have a direct bearing on people’s lifestyle choices and their valuable contribution to the selection and, thus, also on the kind of buildings they want to process, as well as to all the architects involved: inhabit—today and in the future. In urban areas, With your future-oriented concepts, you are creating particularly, this calls for innovative approaches that innovative living spaces. You are meeting the address and reflect these developments by creating ­architectural challenges of the 21st century with new attractive residential and work environments. ideas and the courage to explore new avenues. I hope that all friends of architecture will enjoy reading In this context, architecture assumes a mediating the BRICK Book 2018 and derive inspiration from role by configuring the connections between people the discovery of these extraordinary architecture. and the built environment. It addresses the chal- lenges of today and tomorrow by working with new Heimo Scheuch shapes, materials and concepts of use. Apart from aesthetic aspirations, there are stringent technical regulations and increasingly demanding quality requirements to be met. Sustainability issues, such as energy-efficient building and recyclability, are as imperative as they are self-evident these days. At the same time, the affordability of housing is an essential aspect to be borne in mind.

Today, building projects are no longer the sum total of individual materials or the product of isolated trades, but the result of holistic concepts. Intelligent digital design and tailor-made system solutions are of prime importance, as are innovative, smart and interconnected building materials. Choosing the best-suited building elements is essential. Bricks, for example, can be used for a broad range of applica- tions, given their characteristics and their variability in terms of design. As natural and sustainable ­building materials that are technologically sophisti- cated and innovative, bricks remain as attractive as ever today.

15 16 17 18 19

Feeling at home Feeling at home

Living together Living together

Working together Working together

Sharing public spaces Sharing public spaces

Building outside the box Building outside the box

Feeling at home Feeling at home

24 WOLFGANG PAUSER 52 RUSSELL JONES Wh y Do Bricks Warm the Soul? Mews House

28 MONADNOCK 56 HERMANSSON HILLER LUNDBERG ARKITEKTER Atlas House House Juniskär

36 ADEPT 60 PROJECT ORANGE Villa Platan Foundry Mews

40 SWAN ARCHITECTES S ocial Housing in the Vines & Public Garden

44 PEDEVILLA ARCHITECTS House on Mühlbach

48 BLOCK ARCHITECTS Lee&Tee House WOLFGANG PAUSER Why Do Bricks Warm the Soul? – Emotional and Cultural Connotations of Mock Stones

Wolfgang Pauser

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In order to promote expressionist glass architecture, difference by creating a façade of facing bricks that in 1919 architect Adolf Behne argued polemically are affixed to an exterior wall constructed of modern with expressive and crude words against traditional walling blocks, thus using decoration to present the “stone architecture.” The worst accusation he made inner substance to the outside world. Among the against masonry buildings involved their “nebulous, many cases in which reality and appearance diverge extreme homeliness” and the “drunken card players from each other, this type of construction is so in the corner” who live in them. Transparent glass special because the veneer wants not to deceive but buildings would rehabilitate them into modern to tell the truth. Evidently, the block is an element people with “clarity of consciousness” and a com- whose true being needs a veneer. Its emotional pletely rational way of life. The bright light would dimension emerges most clearly where its function- act “like a crack of the whip.” al substance and its physical appearance are split apart. What predestines the typical brick to attract Fortunately, this utopia never came to pass. What desire and emotion? remains is the emotional bond between bricks and the human soul. Today we would never even “The brick satisfies the think of vilifying the comfort and coziness of brick architecture. Rather, we seek physical as well need for familiarity.” as psychological warmth in the ruddy bricks. The question is, how and why this building material The traditional brick is tangible in two senses: the succeeds in arousing warm feelings of familiarity physical and the notional. Its dimensions are tai- and cozy comfort. lored for the hand: it is just light and small enough to be gripped in one hand and passed on along a Trust is a feeling that establishes a bond. It grows human chain. Its “human dimension” also applies to over time. The brick satisfies the need for familiarity its being grasped in the cognitive sense. Like the in two ways. Firstly, through the millennia that natural crystal, the man-made brick is a geometric have passed since its invention, which have burned object. It embodies the human cognitive tool of themselves into our cultural memory and, to this geometry and thus makes it halfway to being under- day, continue to shape myths, traditions and sym- stood. We can blindly trust its uniformity. That bols in, as it were, an archetypal way. The brick, our makes it the prototype of all abstract entities with mock stone, is so old that it is indeed customarily which the human mind “builds” its models, from the perceived as something entirely natural. Secondly, basics of mathematics to the planetary system. through the durability of the material – which Scientific thought has difficulties disengaging from ­becomes plainly evident on those ancient buildings building metaphors; it constantly needs objects and whose bricks are laid bare. That is why the word elements like atoms, genes, bits, and bytes in order ‘brick’ is still primarily associated with the historical to imagine reality as assembled and “built up.” Even clay brick – the solid brick that you can hold in one book titles like “Building Blocks of a Theory of Reli- hand, which is used both as cladding and structure, gious Understanding” are common. And although although the reality of modern brick construction the epochal invention of modularity is a forerunner is determined by myriad shapes and materials for a of today’s digital world view, the simplicity and wide range of requirements and applications, from complete tangibility of the brick have the emotional floors to the roof. function of promising us symbolic salvation from the overcomplexity and growing incomprehensibility The archetypal brick differs from its present physical of the world. Its elemental nature sustains our trust reality, and attempts are often made to bridge this in the world.

25 Not only its form, but also its relationship to the material strengthens our feeling of trust in the brick. The inherent inner homogeneity of the building material makes the brick’s visible surface into a symbol of its depth. As opposed to an exterior that is coated or painted, the surface of the brick conveys the illusion of being able, as it were, to look into its dark interior and also to fully represent its substance in its appearance. The concept of “authenticity,” which originates from the aesthetics of functionalist modernism, ennobles the brick with categories of knowledge, communication, and a morality of honesty. As conceptual opposition to lies that arouse mistrust, the brick emerges as a symbol of intrinsic veracity, as something authentic that ­mobilizes feelings of trust even where it is used as a veneer. Brick façades effortlessly deflect the ­enlightened general suspicion of all appearances – the belief that one must “always look behind the façade” to get to the bottom of the “truth.”

“The traditional brick is tangible in two senses: the physical and the notional.”

Along with its form and material, the brick’s tradi- tional means of production is also a source of ­mythological connotations. German words such as “Backstein” and “Ziegelbäcker” (literally “baked stone” and “brick baker”) can be traced back to shared preindustrial technology. In the fairy tale “Hansel and Gretel,” the walls and roof tiles of the witch’s house are made of gingerbread to lure the forsaken children inside. In both German and English vernacular, “a bun in the oven” is a ­metaphor for pregnancy. Symbolically loaded with motherliness and cake baking, every brick house is suffused with a pinch of gingerbread fragrance for the soul.

26 27 MONADNOCK Atlas House

PROJECT NAME LOCATION Atlas House Eindhoven, ­ The Netherlands ARCHITECT/S Monadnock, CONSTRUCTION PERIOD Rotterdam / NL 2015–2016

BUILDING PURPOSE BRICK TYPE Single-family housing Facing bricks

BRICK AWARD CATEGORY Feeling at home

Job Floris and Sandor Naus

it with a plinth and a lighter top, while Built in the simplest construction materi- leaving the red bricks visible in the als, the Atlas House displays a perfect reveals of the windows. To indicate the control over the application of materials. entrance, the white cement render is used By leaving all materials and fixtures as a minimal embellishment recalling exposed, great effort is put in the execu- Situated on the edge of a typical subur- the Dutch Renaissance traditions. tion. Mistakes, therefore, cannot be ban development in Eindhoven along “covered up” afterwards. The precise a large green estate, this house with a “The footprint of the house proportioning, the placement of the garden blends at first sight into its windows at the corners and the exposed surroundings. It meets the local building is minimized within the materials lend each room an intense, code that orders for white, cubic houses given building height, highly articulated character. Oscillating to be situated between the existing resulting in a vertically between the comfort of an introverted trees. However, on closer inspection the organized program.” castle room and the nakedness of rough house reveals a refined play of mass construction, the Atlas House is to be and material that challenges all conven- conquered by its inhabitants. tions. The window openings are grouped around the corners, allowing for diago- The Atlas House is an overwhelming Positioned at a 45-degree angle on nal views through the house. When play with references, traditions and the plot, it rises in a single gesture to the entering the house, the red bricks suggestions. The suggested simplicity of maximum allowed building height, continue on the inside as bare ceramic the house is misleading. Material and lending the house a tower-like appear- building blocks of the same size as the execution are carefully considered, ance. The subtle curved roof ending façade, effectively suggesting the taking the maximum out of each compo- provokes the building mass resonating monolithic character of the wall. Since nent. The brickworks both in- and with the image of historical watchtowers. the finish of the house is minimal, it outside are carefully detailed and are Strangely enough, the curve suggests leaves the standard building products constitutional to the house. Moreover, the absence of an even larger spherical from which the house is constructed the deliberate choice of modest material volume that used to be the top of the visible. The ongoing middle wall divides and minimal finishes lends the house house. A load being taken off, leaving this it into a “serving” area around the a radicalism that can be found in some sturdy figure behind in its new surround- wooden built-in stair and a “served” side works of art. And yet the Atlas House ings. Hence its name: Atlas House. that consists of the three floors with remains a house; domestic and surpris- rooms of different proportions. In the ingly comfortable and by doing so, it The house is constructed in red bricks middle wall the ceramic blocks are put challenges all conventions of suburban with rough, outpouring joints that on their side, thus revealing a smooth domestic architecture. enhance its archetypical and robust surface that contrasts with the standard character. The bi-colored façade provides rough texture of the bricks.

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29 Atlas House

The roof could have carried a large sphere—that’s why it is called the “Atlas House.”

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The positioning of the windows allows a diagonal vista from the inside and outside.

31 Atlas House

Jury Statement “A private living space organized on project is related to the material of brick three floors on a small plot. Not a house because it is used on the inside and located in a tremendously exciting way outside consistently. You find the same on a lakeside or with a beautiful view to material in different colors for different a mountain panorama, and also not part room atmospheres. It is very strictly a of the mainstream. It is a very normal brick house outside and inside.” house and has its own qualities. We think it is a good answer to what kind of quality housing can be built with—of how private, small-scale housing can look in the future. The strength of the

Site plan

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The south side of the house with the entrance Red bricks are also found in the window reveals.

The mixture of red and white bricks provides for a strong, graphic impression.

33 Atlas House

Brick is the defining material in the house’s interior as well.

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North Facade 1:100 West Facade 1:100

Views from the south, north, west and east from bottom left in a clockwise direction

South Facade 1:100 East Facade 1:100

35 ADEPT Villa Platan

PROJECT NAME LOCATION Villa Platan Aarhus, Denmark

ARCHITECT/S CONSTRUCTION PERIOD ADEPT, 2012–2015 Copenhagen / DK BRICK TYPE BUILDING PURPOSE Clay blocks Single-family housing BRICK AWARD CATEGORY Feeling at home

Martin Laursen, Martin Krogh and Anders Lonka

In Hans Christian Andersen’s most Towards the street, the Villa Platan formed a small bay here where the water famous fairytale, “The Little Mermaid” appears serene and closed, yet the was completely still but very deep, all dreams of leaving the water one day and ground floor bungalow opens toward the way to the cliff where fine silver sand exploring the coast. “Now the oldest the sea with large, floor-to-ceiling had been washed up.” princess was fifteen years old and was to glazing. Sand, reed, stones and trees venture above the surface,” the Danish encroach into the interior like three-­ storyteller wrote in the year 1837. “When dimensional images. Nearly invisible, she came back, she had hundreds of the outer walls meld into this potpourri things to tell, but the most delightful, she of reduced, desaturated colors. The said, was to lie in the moonlight on a façade consists of oblong, very flat, sandbank in the calm water, and to see sand-colored bricks. close to the coast the great city, where the lights twinkled like hundreds of Bleached timber planks and custom-­ stars.” At Villa Platan, not far from made, solid-oak furniture in the interior Aarhus, one has to inevitably think about consort with the mineral material on the the story of the young nixie. façade. “Nothing shall disturb the dialog with nature,” says the architect. “It’s “Nothing shall disturb about the fantastic view and a beautiful, simple life in flux.” This also explains the dialog with nature.” the amorphous layout of the structure, which is made of four cubes that flow As if the house had always been here— together at the corners into a spatial the villa actually has more of a lying continuum between inside and outside mermaid to it than a standing structure, in an apparently coincidental manner. soaring upwards—, it blends with nature The rounded room edges create exciting at the point where land and water come long views between the foyer, kitchen, together. Color, shape and size do not living room and bedroom. One reaches disturb the shoreline in any way whatso- the partially cellared area of the house, ever. “We carefully designed the building where a TV room and two small guest and in the process concentrated on the rooms are located, via stairs. The rest is colors occurring here,” the architect the endless ocean. Anders Lonka points out. “It is as if the daily changes between sky and water How does it go in Hans Christian Ander­ would become a part of the architecture, sen’s tale? “Down by the coast there a part of the DNA of this house.” were lovely green forests […]. The shore

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37 Villa Platan

N

Ground plan 1m0m 5m

N

1m0m 5m

A protected courtyard opens towards the southwest.

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The materialization is oriented to the colors of the surroundings.

View from the beach

39 SWAN ARCHITECTES Social Housing in the Vines & Public Garden

PROJECT NAME LOCATION Social Housing in the Bouzy, France Vines & Public Garden CONSTRUCTION PERIOD ARCHITECT/S 2014–2015 Swan Architectes, BRICK TYPE Paris / FR Facing bricks BUILDING PURPOSE BRICK AWARD CATEGORY Social housing Feeling at home

Joachim Bellemin, Serge Rodrigues and Ambroise Bera

The best and most famous sparkling slight pink tinge, the tone seems directly compact design: In this way, a part of the wines in the world come from the extracted from the soil around here. area could remain undeveloped and is ­Champagne region. Colorful labels from Furthermore, the seemingly archaic now a small, publicly accessible park for the houses of Pommery, Veuve Clicquot construction method is oriented to the the populace of Bouzy. The aesthetic of and Piper-Heidsieck are familiar to every vineyards and the industrial buildings of small shrubs, as the architects call it, sommelier and wine connoisseur. In Champagne Province. Brick masonry, enters into a dialog with the surrounding Bouzy, just 20 kilometers south of the zinc roofing and the classic pitched roof vineyards. Certainly, Mother Nature still historic commercial city of Reims, a have had a long tradition in this branch needs some time before she unfolds her Paris-based architect’s office followed the and region. At first sight, it seems as if entire splendor, but one already gets example of this tradition and decorated one would not see hardly anything a sparkling notion that a small piece of its houses with pastel-colored labels in private, anything homey in this building luxury has arisen here for everyone. the form of window shutters, metal ensemble in the middle of the vines—if railings and small tool sheds that were it wasn’t for the cheerful, coquettish boldly placed into the landscape. accents and accessories in sky blue, spring green, lavender and sunflower “Does social housing always have to look yellow. like social housing,” the architect asks. One of the core competences of the “Our desire? To give the studio is the concentration on sustainabil- notion of social housing a ity and durability, as well as the some- times surprising combination of noble, makeover, through houses high-quality construction materials and that dialog with the sur- inexpensive, industrial, mass-­produced rounding residential area, goods. The dialog of the extremes has while redefining the already yielded many a radical, distinc- tive structure—an impish wink not ­aesthetics of the genre.” excluded. “With this project as well, we decided to reinterpret the game rules Concealed behind the asymmetrical of social housing construction and gave façades with their irregularly sloping our quartet a traditional handwriting ridges are four single-family houses with that is connected with the local building four rooms each on two floors and technique, but is also individual.” 95 square meters of living space, which were erected for the municipal property The construction consists of brightly-­ developer Châlons-en-Champagne fired facing bricks. Sand-colored with a Habitat. There is a good reason for the

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41 Social Housing in the Vines & Public Garden

Design model

A public park developed together with the housing estate.

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Window and door shutters place colorful accents in the quiet brick façades.

43 PEDEVILLA ARCHITECTS House on Mühlbach

PROJECT NAME LOCATION House on Mühlbach Sand in Taufers, Italy

ARCHITECT/S CONSTRUCTION PERIOD Pedevilla Architects, 2012–2014 Bruneck / IT BRICK TYPE BUILDING PURPOSE Clay blocks Single-family housing BRICK AWARD CATEGORY Feeling at home

Armin and Alexander Pedevilla

Mountains soar into the sky in the his brother Alexander. “Location and the view. Details in opaquely waxed back­ground and it almost seems as history must always bear a relation to bronze and coarsely scraped elmwood if the small, single-family house in Sand each other. This also means that we for the entrance door set elegant ac- in Taufers would try to trace the indeed create modern, contemporary cents. Topping everything off are rhom- rugged, irregular contour of the Alpine architecture, but this is always based on bus-shaped roof tiles made by hand peaks. From some vantage points the the traditional art of building and classi- from white cement and dolomite sand white monolith fits harmonically into cal craftsmanship.” The so-called “House and then sand-blasted. the natural surroundings; from others, on Mühlbach” melds these apparent however, it has the effect of a lonely opposites into a perfect, precisely “We place importance on castle keep or one of those manor houses designed composition. proudly placed into the landscape, which the fact that our architec- are so common in South Tyrol. Especially A solidly bricked pentagon that pulls ture establishes a connec- dramatic is the perspective seen from itself over a total of seven split levels up tion between today and the whooshing Mühlbach stream, which under the roof constitutes the basic the world of yesterday.” nestles around the house like a chillingly shape. 50-centimeter-thick bricks were cold passe-partout. used to do this. On the outside, the solid brick structure is draped in a coarse Artisanal precision work characterizes “Location and history plaster dress made of lime, white cement the interiors as well. The elaborately and local sands, lending the house a mixed, filled and smoothed out plaster must always bear a relation unique mixture of rough dullness and consists of slaked lime, marble sands to each other. This also glittering precision. “South Tyrol is a very and earth pigments from the immediate means that we indeed tradition-conscious region,” Pedevilla surroundings. Passeir gneiss, as well create modern, contempo- points out, “and we try to respect that. as doors, flooring and built-in furniture From our long-term experience we know made of hand-planed elmwood have rary architecture, but this is that manually-applied, mineral plasters also been added. Along the centrally always based on the tradi- blend well with the townscape and located wooden stairs, the open single tional art of building and landscape, and are also well-accepted space twists itself up to below the roof, classical craftsmanship.” by the local population.” forming several open living and sleeping galleries in this way. The material and The façade is structured by variously topographic subtlety is found in the “We place importance on the fact that sized, square window openings, which detail. our architecture establishes a connection are freely distributed across the large between today and the world of yester- wall surfaces. The location and size of day,” says Armin Pedevilla, who runs the the windows were carefully geared to Pedevilla Architects office together with the space utilization, the furnishings and

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The topography of the landscape and the house

45 House on Mühlbach

Precisely orchestrated views

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The brick masonry was rendered with a plaster made of lime, white cement and local sands.

47 BLOCK ARCHITECTS Lee&Tee House

PROJECT NAME LOCATION Lee& Tee House Ho Chi Minh City, Vietnam ARCHITECT/S Block Architects, CONSTRUCTION PERIOD Ho Chi Minh City / VN 2016

BUILDING PURPOSE BRICK TYPE Single-family housing / Facing bricks office BRICK AWARD CATEGORY Feeling at home

Dang Duc Hoa

The gap site is precisely four meters them as a three-dimensional, geometric able to reap the fruit of our labor after wide. In the lively northern part of the matrix.” The white lattice serves as a years of effort.” The young married commercial metropolis of Ho Chi Minh stair landing, fall protection, bookshelf, couple, who lives here together with City, a classic craftsman’s house once bench on the terrace, as well as a trellis their two children, works in the clothing stood here on a 72-square-meter area. for all kinds of creepers. And repeatedly industry and produces handcrafted The spaces were narrow and dark. At the peeking through here and there—follow- leather bags and accessories. “It’s almost request of the client, the house was to ing the own rules of the grid—is the old as if the architects sewed this house be rebuilt. Block Architects decided to brick structure still able to bear the load. together just like the way we also stitch demolish large parts of the building and our bags. Many fine, white threads are to reduce the structure to the construc- spun between both leather walls and tive minimum. Only the delineating brick “It’s almost as if the archi- ultimately give it its shape.” walls left and right along the property tects sewed this house border remained. together just like the way The Lee&Tee House is not only a radical we also stitch our bags. living and life concept, but also an “We removed everything unnecessary extraordinary example of the respectful in order to get light and air inside again,” Many fine, white threads and resource-saving dealing with a the architects point out. “And although are spun between both robust, long-lasting building material both firewalls seem slender and unim- leather walls and ultimately that can be staged in many ways. posing, they are capable of bearing the give it its shape.” load of the entire house.” Instead of solid outer walls there are large-area glass façades; in place of the old wooden The living area resembles an urban ceilings there are now, like in a house of jungle. Ferns, bushes and trees thrive cards so to speak, weightless, horizontal next to the kitchenette on the ground cement slabs stretched between the two floor. In the background the flora spreads brick walls. Where banisters, wall panel- upwards on a vertical, green wall. ing and bulky cement stairs earlier were, Sleeping areas for the parents and the there is now an ultra-thin replacement children, as well as an attic floor with in the form of white-lacquered structural quiet areas and a separate roof terrace, steel. hover above. It is a surreal life inside and outside, between old bricks and an “Usually,” the architects say, “these airy void. rebars are used to fortify reinforced concrete constructions. We took advan- “This house means everything to us,” tage of their high firmness and used the residents explain, “since we are now

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49 Lee&Tee House

Steel rebars serve, among other things, as trellises.

The surface of the brick walls underscores the spatial oscillation between the inside and outside.

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Both firewalls carry the load of the entire building.

51 RUSSELL JONES Mews House

PROJECT NAME LOCATION Mews House London, Great Britain

ARCHITECT/S CONSTRUCTION PERIOD Russell Jones, 2014–2015 London / GB BRICK TYPE BUILDING PURPOSE Facing bricks Single-family housing BRICK AWARD CATEGORY Feeling at home

Russell Jones

Mews are originally buildings used as On the unpartitioned ground floor one “The quality of the brick- stables on the back side of London finds the living space with a kitchen unit, work has been enhanced residential houses. Later they served as which opens up to a small courtyard. workshops or storage spaces before Two small rooms with space-saving, through the use of a care- houses were frequently built in their built-in furniture and a bathroom are fully selected mortar and a place. In this case as well, the Mews located on the top floor. The architect subtle manipulation of the House in the London district of Highgate, selected materials that take the context surface texture using a a disused garage and a derelict garden into account, but accentuate the new were replaced by a house—one that building nevertheless with an individual method known in Scandi- stands out on account of a careful choice touch. With wood for the stairs, the navia as ‘Sækkeskuring’.” and handling of materials, as well as window frames, the floorboards on the through a clear spatial concept and, upper story and the white surfaces of the Due to the tight location—the front because of that, radiates an unpreten- built-in furniture and doors, an atmos­ houses are four stories high after all— tious, elegant atmosphere in spite of the phere was created, which, in its direct- and the single-sided orientation, addi- cramped conditions. The site only ness and simplicity, corresponds to the tional sources of light were tapped with measures 90 square meters; the house house, its size, the location and its the small courtyard and skylights, the emerging upon it has about 70 square history, and lets one think of a small loft. effect of which is improved by the bright meters of floor space to offer. Skilful But a special role is particularly played surfaces. Whether the entrance front designing was demanded, since every by the bricks chosen for the inner and with side glazing, the story-high opening spatial disturbance created here leads outer walls. A yellowish brick with a to the inner courtyard, the bright wood to a feeling of narrowness. Minimalism varying, seemingly handcrafted surface and the floorboards on the ground is, in this case, not an attitude, but a was coated with white-gray slurry, so floor that merge from the exterior to the necessity. that the house appears very bright, but ­interior and were chosen in a shade the single bricks are still recognized well. corresponding to the walls, or whether “The project was designed The treatment of the brick with burlap the louver, which brings indirect light into and developed with an or with a brush is based on a traditional the stairwell and widens the space process from Scandinavia. Originally upwards: the architect also proved in the economy of visual, spatial from Australia, the architect had gotten details to be a master in accomplishing and structural means. The to know and appreciate this technique the best result in a confined space. material palette and the in Denmark, where he lived for a long design were kept intention- time. Small niches for candles, plants or other objects are incorporated into the ally simple.” brickwork wall in the courtyard.

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The new house integrates into the row of the existing mews in a completely self-evident way.

Niches are incorporated into the brick walls of the inner courtyard as ornamental shelf spaces.

53 Mews House

The bright brick intensifies the effect of the indirect daylight.

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Brick, wood, glass and concrete encounter each other here in a subtle way.

55 HERMANSSON HILLER LUNDBERG ARKITEKTER House Juniskär

PROJECT NAME LOCATION House Juniskär Sundsvall, Sweden

ARCHITECT/S CONSTRUCTION PERIOD Hermansson Hiller 2013–2015 Lundberg Arkitekter, BRICK TYPE Stockholm / SE Facing bricks BUILDING PURPOSE BRICK AWARD CATEGORY Single-family housing Feeling at home

Andreas Hermansson, Andreas Hiller and Samuel Lundberg

A “reflection on the theme of the domes- to the “Raumplan” idea of Adolf Loos, concrete base. It consists of Danish tic” is how the architects of the house in becomes clear. This idea assumes that bricks laid in an English cross bond; the the Swedish coastal town of Sundsvall variously used spaces ought to have a windowsills are also made of brick. describe it. Situated on a flat slope with a different height in order to attain com- The color of the brick varies from russet view to the water, the property is used by fortable and pleasant proportions. With to dark brown. Despite the uniformity, the architects to combine the outwardly this three-dimensional thinking not a lively surface is thereby created; thanks simple-appearing composition of two only are surfaces added, but constructive to it, the house blends harmonically into structures joined together with an bodies are melded into a composition. the nature of the surroundings. The sizes interior offering many variants. A short- The position on the slope promotes this of the window openings and the color er, two-story volume is set to the side of here in an ideal manner: The flatter of the window frames, as well as the an elongated, single-story one. Both volume can develop as a higher space roofing, are likewise sensitively matched are topped with a slightly pitched roof. towards the water while the second with the façade. Out of a supposedly structure can absorb the lower sleeping simple task and a common repertoire, an area, as well as the kitchen underneath, unobtrusive, yet noble house developed, “The uniform and ornamen- which likewise opens towards the one which made a principle quality out tal treatment of the brick garden and the water. It is not divided of its simplicity. surface is underlined by the from the living room by a wall; the precise placement of the change in the flooring, however, from “The house has a sort of wood parquet to dark red tile, marks the windows in relation to the border between the two realms. In this doubleness, or Janus-­ bricklaying logic, which also way, the elegant proportions become character, since it is formal gives the house a classic tangible, since the hallway, stairs, living and symmetrical towards and monolithic appearance.” space and kitchen are not separated the garden but informal from each other by doors. Kept in various hues and framed in white, the and plastic towards the The lower building takes up the garage walls lend the small house a dignified entrance side.” in the front part; a wooden-clad, cut-in atmosphere. area serves as the house entrance. A staircase leads left from the entrance On the exterior, too, the appreciation of hallway half a floor above to the bath- the interior proportions is reflected. room and bedroom; straight ahead, The larger structure is lower, the smaller stairs that become increasingly wider one higher—the exterior appearance downwards open to the high and is thus also staged in a balanced fashion. ­spacious living area. Here the spatial The spatial composition is accentuated ­concept of the house, which is indebted by the uniform brick façade over a flat

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View from the living area with high room heights going outwards.

The color and structure of the brick façades are restrained and lively at the same time.

57 House Juniskär

The garage is on the front left; the incised entrance is on the side.

The window reveals are also clad with brick.

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59 PROJECT ORANGE Foundry Mews

PROJECT NAME LOCATION Foundry Mews London, Great Britain

ARCHITECT/S CONSTRUCTION PERIOD Project Orange, 2014–2016 London / GB BRICK TYPE BUILDING PURPOSE Facing bricks Single-family housing / Paving bricks studio workspaces BRICK AWARD CATEGORY Feeling at home

Christopher Ash and James Soane

Just off the River Thames in West houses accommodating two offices or off with a perforated brick wall and the London, Barnes High Street is a typical studio spaces and an apartment on top. façades are finished with a band of street where shops, amenities and small Building on the plot was difficult, since projecting bricks, adding texture to them businesses have lined up throughout the all materials had to be transported by and balancing the composition of the years. With only their small fronts facing hand from the street through the small whole ensemble. The programmatic mix the street, many of the businesses and passage. The plinth was constructed in and density of the scheme is well workshops spread into the deep back- concrete, the houses above in a block- ­resolved through the careful organization side within the building block. On the site work and timber construction with a of private outdoor spaces of the houses of a former car body repair workshop, limited, yet refined interior finish leaving and the harmonic organization of the Project Orange created a combined constructive elements visible. The mews and the stairs. The use of a single living and working environment employ- façades of the houses are constructed in material provides unity and scale to the ing the traditional model of a mew. a soft yellow/gray brick. The brick ensemble that showcases a desirable façades adapt to the surroundings and way of living and working in our contem- “Foundry Mews makes make a clear reference to the industrial porary cities. sustainable use of a previ- past of the site. The flooring of the mew and the stairs are covered in a paver ously light industrial that fits very well to the bricks. Together brownfield site, decontami- with the cladding of the lower part of nating the land and allow- the division wall along the mew, the light ing an abandoned urban colors create both a uniformity and intimacy determining the character of site a new lease of life.” the ensemble.

Through a passage from the street one enters the winding mew with eight “The client’s long-term ateliers and workshop spaces along it. vision has facilitated a Two open stairs give direct access to the sustainable community six maisonettes that are situated above. that is robust and resilient.” Although there is a clear horizontal division between the workshop and the maisonettes on top, the ensemble reads The brickwork façades are finished with as a row of small houses with pitched flush mortar joints and the window roofs that reflects the scale of the space openings are carefully detailed into the and the surrounding buildings. The mew brickwork. On the upper floor the private is closed in the back by slightly bigger terraces of the houses are screened

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61 Foundry Mews

Longitudinal section

N LONG SECTION FOUNDRY MEWS 1:250@A4 58 BARNES HIGH STREET LONDON, SW13 9LF

LYRIC

ROAD

ROAD

ANNS

ST

ROAD

MELROSE

ST ANNS

ROAD

BARNES

HIGH STREET

SiteSITE PLANplan 1:1250@A4 FOUNDRY MEWS 58 BARNES HIGH STREET LONDON, SW13 9LF

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Bricks rotating out of the façade at a 90-degree angle structure the surfaces.

A perforated brick wall affords privacy on the upper floor.

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Living together Living together

66 MARCOS PARGA 94 STEFAN FORSTER ARCHITEKTEN The RRURBAN Effect Philosophicum

70 TONY FRETTON ARCHITECTS 98 BARKOW LEIBINGER Westkaai Towers 5 & 6 Apar tment House Prenzlauer Berg

78 DMVA ARCHITECTEN 102 E + N ARKITEKTUR A/S Lorette Convent – Apartments Drbstr Mengel Tower

82 WILD BÄR HEULE ARCHITEKTEN 106 PRAKSIS ARKITEKTER Apar tment House with Carlsberg Researcher Apartments Industrial Brickwork 110 M3H ARCHITECTEN 86 UWE SCHRÖDER ARCHITEKT Tugelablokken ROM.HOF Student Dormitory 114 HANS VAN DER HEIJDEN 90 VLA – VILHELM LAURITZEN ARCHITECTS Houses with Two Doors AND COBE Krøyers Plads MARCOS PARGA / ESTUDIO MAPAA The RRURBAN Effect

Marcos Parga

66 I want to tell you the story of how a design commis- exploit diversity. We would then come back to a sion became the unexpected starting point for an certain degree of personalization that in turn creates intense and open-ended investigation. A few identity and redefines our way of living together.

months ago we received a call from a private devel- Besides, this path allows us to explore the limits of Living together oper, asking for ideas to build a small residential participation, as already done by John Habraken block, set in a plot between buildings in the center of with his theories about the “open-building” or Frei Madrid. For several reasons, we decided to deploy Otto with his „Ökohaus“ (“Eco House”) many years a solution that could be easily adapted to any ago. Habraken, in his crucial book Supports: An infill site in the center of our cities, thus increasing Alternative to Mass Housing (1972) stated as a the possibilities for the project to come true. premonition: “Even within the same income group there are many families and individuals with widely The first question we asked ourselves was crucial: differing backgrounds, ambitions, and living habits. What type of home do we deserve? How can mass housing deal with that? […] it means … that before we can introduce the natural relation- Many urbanites would think that the new residential ship, we must find a way to build independent architectures shall give us the possibility to live in dwellings on top of each other.” the city with all its density and effervescence, while Supports advocated for an approach where the enjoying some of the advantages of the (idealized) technicians – architects, engineers and construction rural environment. However, our everyday reality companies – working with the state provided shows us the opposite, and that’s why we decided to the infrastructure. The users could build their own open up our design process to indeterminacy and housing on this basis, thus participating in the participation. The goal was to develop a protocol of design of their homes. action with the aim of replacing the unifying trend of urbanization by operations that exploit diversity and contact with nature. “We soon came to the conclusion that The RRURBAN strategy (Really RURAL and URBAN) is based on some of the conclusions of a research to achieve that kind process that aims to reflect on a new way of under- of ­hybrid, our strategy standing community life in our cities through archi- should combine two tecture. The strategy can be seen as a possible way to introduce the benefits of single-family housing ­actions on the urban in the speculative DNA of collective housing, activat- housing typology: hollow ing, moreover, issues related to participatory design. We soon came to the conclusion that to achieve out and customize.” that kind of hybrid, our strategy should combine two actions on the urban housing typology: hollow A few years later, and following Habraken’s ideas, out and customize. The former to generate spaces of Frei Otto designed his Ökohaus in Berlin, where opportunity for the final users (non-predefined use), he argued that housing must always recognize two and the latter to be able to increase the value of domains of action: the action of the community each house and thus economically compensate the and that of the individual inhabitant. When the ­decrease of built area. From this point, everything inhabitant is excluded, the result is uniformity­ and was easier: We must only substitute the unifying rigidity. When only the individual takes action, the tendency of urban construction with operations that result may be chaos and conflict. This formulation

67 of a necessary balance of control had implications for all parties in the housing process,­ including architects, and it is in this sense that his project has proven to be more innovative. Here architecture can be understood as the formal representation of a sociological experience, which tried to reconcile the aspirations of all the final users.

“What is important is the spatial innovation.”

Recovering the essence of these experiences, in the RRURBAN project we try to work with basic vol- umes and standardized materials to reduce the final price. Because what is important is the spatial ­innovation. Hence, each housing unit can be easily adapted by the final users according to their prefer- ences. A realistic “catalog of wishes” will determine the elementary characteristics of each “urban plot,” which will be completely defined when occupying its final position within the general structure.

The disparity of volumes combined in height will promote the desired porosity, multiplying the ­system‘s adaptability to any site and generating a built environment of variable density composed by stacked basic volumes arranged to be inhabited. Among them, intermediate spaces are generated and treated as valuable extensions of the inner life.

The result is an inspiring as well as unusual collage of elements, a composition based on fragments representing the collectivity. Faced with the tradi- tional neutral envelopes that give a unique and uniform image of the whole, in this case we can affirm that the façade is a sum of individualities and identities, a form of expression of the desires, ­aspirations and activity of each inhabitant—exactly what we were looking for.

68 69 TONY FRETTON ARCHITECTS Westkaai Towers 5 & 6

PROJECT NAME LOCATION Westkaai Towers 5 & 6 Antwerp, Belgium

ARCHITECT/S CONSTRUCTION PERIOD Tony Fretton Architects, 2013–2016 London / GB BRICK TYPE BUILDING PURPOSE Facing bricks Apartment housing BRICK AWARD CATEGORY Living together

Tony Fretton

mental warehouses and mundane porary buildings are no longer load-­ harbor buildings characteristic to this bearing, they are constructed in a half part of the city. The façades are a careful- brick thickness only. The resulting ly proportioned grid of horizontal para- custom-applied stretcher bond of these pets and vertical piers that incorporates contemporary façades lacks the visual Situated along the Westkaai, six residen- all windows and balcony fenestrations. richness of its predecessors. By re-intro- tial towers determine the new horizon The piers run to the ground, firmly ducing the old pattern of bonding, but of the northern harbor area in Antwerp anchoring the towers to their place. An simply shifting the cross-connecting currently under re-development. Old elegant arcade mediates between the brick in this pattern outwards, a decora- brick warehouses are being converted entrances of the tower and the public tive motif of projecting bricks occurs in through multiple programs. Together domain. It lends the building pair from a the façade of the towers. with the new residential buildings, a distance an abstract and monumental mixed-used city quarter develops. This character that fits well within the context. In the wider of the two towers, this row of six towers has simply, but very projecting motif is employed in the effectively been divided into three “The diversity and range parapets and lower part of the piers, pairs of buildings designed by different thereby uniting them into a band that architects. The Towers 5 & 6 realized in of Flemish bricks allow a visually wraps around the building and this project by Tony Fretton in collabora- subtle color difference emphasizes its horizontal proportioning. tion with De Architecten NV are the between the pair. Tower 5 In the slender tower the motif is em- most northern ones. is yellow and Tower 6 red, ployed in the piers only to emphasize the verticality of this last tower in the row. They have a similar organization and the classic colors of brick- The projecting bricks do not start from height, but are slightly differently pro- work, but chosen in tones the ground, but gently appear as the pier portioned. Around a central access core that make their color of the plinth rises up. This persistent the apartments are organized towards highly ambiguous.” difference in horizontality and verticality the façades, with balconies at each of the is played out in the compositional corners celebrating the panoramic view ending of buildings on top, enhancing over the old harbor and adjacent historic To counter the repetition in the façades, their difference. The towers in Antwerp city center. The most slender last tower a simple motif in the brickwork is intro- display the experienced hand of an stands slightly out of the building line of duced with a stunning effect. Originally architect that controls both the overall the others, thus giving an appropriate load-bearing walls were constructed in a monumental expression of a composi- end to the new public promenade along bonding of bricks laid in a length- and tion and much-needed variations so the old harbor dock. The nuanced brick cross-direction. This bonding results in often lacking in contemporary housing façades of both towers tie these new a vivid visual pattern of headers and through the sensitive use of a single additions to the existing mix of monu- stretchers. Since the façades of contem- material.

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71 The residential towers by David Chipperfield Architects (left) and Tony Fretton Architects (middle and right)

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73 Westkaai Towers 5 & 6

Jury Statement “We appreciate this project because it manner in which the use of bricks is treats housing as an aspect of contempo- explored in this project is in many ways rary architecture and with normative radical, but it works with the surface programs in the city. It deals with ques- and the manipulation of brick. It is not tions of density, but also with a difficult so much decorative, but it is strong legacy from a postwar period. It is in the exploration of brick as a material important to recognize the qualities of in its construction. The result is a most this project, particularly the inventive use welcome contribution to the question of of brick. While the two towers work how housing can enhance the contem- within the local tradition of brick housing porary European city.” architecture and at first glance appear simple in their formal language, more careful study reveals clear ideas in strategy and detail. We feel that the

1 1

2 2

1 Tower 6 1 Tower 6 2 Tower 5 2 Tower 5 3 Kattendijkdok basin 3 Kattendijkdok basin 4 Kattendijkdok lock 4 Kattendijkdok lock 5 Lima Square 5 Lima Square 6 Red Star Line museum 6 Red Star Line museum

Site25m plan 100m 25m 100m 1: Tower 6 Façade design in detail … 2: Tower 5

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… and in total view. The verticality is emphasized in the front tower, the horizontality in the back tower.

75 Westkaai Towers 5 & 6

Tower 6, standard floor

N Tower 6 - Ground Floor Plan Tower 6 - Typical Floor Plan 0 5m

0 5 m N Tower 6 - Ground Floor Plan Tower 6 - Typical Floor Plan 0 5m 76 Living together

Tower 5, standard floor

77

N Tower 5 - Ground Floor Plan Tower 5 - Typical Floor Plan 0 5m DMVA ARCHITECTEN Lorette Convent – Apartments Drbstr

PROJECT NAME LOCATION Lorette Convent – Mechelen, Belgium Apartments Drbstr CONSTRUCTION PERIOD ARCHITECT/S 2014 dmvA architecten, BRICK TYPE Mechelen / BE Facing bricks BUILDING PURPOSE BRICK AWARD CATEGORY Apartment housing / Living together offices

David Driesen and Tom Verschueren

Situated half way between Brussels nent lot on the rippling Dilje River was to house. Vertical light strips, cut into the and Antwerp in the heart of the Belgian be made pedestrian-friendly again. façade on the courtyard and street city of Mechelen, the property has a sides, are illuminated at dusk and light lively history behind it. The Hooghuys, The result of the extensive efforts is a the open public space in this manner. an old merchant’s house, counts among sophisticated collage of old and new, of the city’s oldest buildings and stands courage and respect, of conservation Not only does the revitalization of under UNESCO protection. Erected in and commensurate reinterpretation. the almost 5,000 m²-large area testify to neo-Gothic style in 1860, the adjacent While the well-preserved structures were an exemplary collaboration between Lorette Convent was used for almost 130 restored and the façade—along with two differently acting developers, but it years as a girls’ school and a nuns’ the old anchor plates and the loose parts is also a best-practice example for a congregation. In 1989 the houses were of plaster—was lime-washed, the modern handling of old locations. The abandoned. For two decades, Mother ­architects placed three- to four-story ambience they created succeeded so Nature recaptured the area and gradually urban fillings in solid construction with brilliantly that the architects have decided transformed the historic structures a forward-spaced­ brick layer into both to relocate their office and settle here. into a ruin. The condition was deplor- gap sites. Bricks are laid—as is common They couldn’t have given their own able. in Flanders—in an irregularly staggered project a more beautiful compliment. stretcher bond. The slender, but clearly emerging edging around the French “The white brick is an windows is a demure reference to the old, answer to the vitality and partially three-dimensional, ornamented small-scale character of round arches and architraves. medieval Flemish houses.” “The white brick is an answer to the vitality and small-scale character of In 2009, the decay was to come to an medieval Flemish houses,” says David end. Hooghuys and Lorette Convent Driesen, partner at dmvA. “It was never- were sold to two investors, who revital- theless important for us to generate a ized and upgraded the property in the certain tension and to create a stimulat- following years. The building wing along ing dialog between the individual Begijnenstraat was converted into lofts building sections.” Therefore, the mono- and high-quality apartments. The row of chrome new building was broken houses on Drabstraat underwent a through at several neuralgic points with thorough restructuring and was renovat- ground-level passages and ceiling-high ed and extended by the local office of loggias. Elsewhere, in turn, balconies dmvA Architecten. Above all, the promi- and bridge-like additions slide out of the

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79 Lorette Convent – Apartments Drbstr

Color gradations from the merchant’s house, across the new building, all the way to the convent

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The collage of old and new, seen from the inner courtyard.

View from Drabstraat

81 WILD BÄR HEULE ARCHITEKTEN Apartment House with Industrial Brickwork

PROJECT NAME LOCATION Apartment House with Uster, Switzerland Industrial Brickwork CONSTRUCTION PERIOD ARCHITECT/S 2013–2014 Wild Bär Heule BRICK TYPE Architekten, Clay blocks Zurich / CH BRICK AWARD CATEGORY BUILDING PURPOSE Thomas Wild, Sabine Bär and Ivar Heule Living together Apartment housing

How does one, as an architect, provide thick cavity wall insulation is concealed No chiseling work whatsoever was for old age? By erecting an investment behind the striking envelope. necessary. All the electric cabling was and subletting it to strangers until laid into the floor edges as well as the point when one needs it personally. “A single-family house from the 1930s behind the floor-to-ceiling-high door That’s what the three architects Thomas stood here earlier,” remembers the frames and window frames. The three Wild, Sabine Bär and Ivar Heule architect Ivar Heule. “We wanted to show apartments are warmed with floor defi­ ­nitely did. In Uster, a community of that such a small parcel can also be heating installed under the rough-cut 35,000 people near Lake Greifensee, re-densified without harming the urban- parquet flooring. Among all of this they planned a three-family house that istic identity of the quarter.” The differen- industrial bareness, poetry is not to be combines the duty of cost-effective tiation of the three apartments becomes missed: the textile sun protection stores building with the freestyling of beautiful clear by means of the exterior spaces: consist of embroidered insect fabric living. The ground floor is oriented towards the that casts tender shadow patterns into garden, a two-story loggia is attached the room. “We wanted to show that on the first floor, and the maisonette apartment on the attic features two roof such a small parcel can terraces with a view to the old city and also be re-densified with- the lake. out harming the urbanistic identity of the quarter.” However, the house reveals its inner- most values as soon as one closes the entrance door behind him/her. All walls Located in the center of Uster, the house on the interior were made of unplastered on Schöneggstrasse fits like a modern modular bricks. The characteristic sculpture into the neighborhood devel- industrial surface of the building materi- opment. Large window and façade al remained visible and was merely surfaces characterize the building painted white. Depending on the sun covered on all sides in concrete. In order exposure, an exciting play of light and to structure the volume, the architects shadow, changing hourly, emerges in decided to execute the façades in an the vertical grooves and flutes. At some alternately smooth and vertically fluted spots even the lightly whitewashed manner. Despite the hard building production dates of the bricks are to be material, the house received a textured discerned. It is exactly this authentic subtleness. A double-shelled wall rawness that lends the inner spaces their structure with load-bearing industrial so distinctive warmth and feeling of brickwork and internal, 20-centimeter-­ security.

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83 Apartment House with Industrial Brickwork

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A very direct and nonetheless elegant materialization featuring the fine structure on the inside of the house

85 UWE SCHRÖDER ARCHITEKT ROM.HOF Student Dormitory

PROJECT NAME LOCATION ROM.HOF Bonn, Germany Student Dormitory CONSTRUCTION PERIOD ARCHITECT/S 2009–2014 Uwe Schröder Architekt, BRICK TYPE Bonn / DE Facing bricks BUILDING PURPOSE Paving bricks Student residential BRICK AWARD CATEGORY housing Living together

Uwe Schröder

At first glance one feels as if in a painting shell. Alternately making the stretcher However, the centerpiece of ROM.HOF by the Italian artist Giorgio de Chirico. and header sides of the brick visible, the is the community facilities on the first His colorless façades, his repetitive round wild bond breaks the hard rhythm of the floor and in the middle wing. At ground arches, his often deserted streets window arches. While the plinth displays level there are water fountains and ­characterized Surrealism and Metaphysi- a high degree of red, the mixture be- barbecue stations in both inner court- cal Painting at the beginning of the comes more ochre-colored and brighter yards. The collective functions are 20th century. The atmosphere here in towards the top. Schröder himself housed in the slender middle wing: the the not-quite-so-cozy living area of describes the organic progression as the canteen kitchen, the sports and game Bonn-­Dransdorf does not seem any “botany of the wall.” That, however, salon, as well as a two-story, sacred-­ different. The ROM.HOF appears prima not only takes poetry as a basis, but seeming laundry room in which the facie bleak and forbidding, more remi- meticulous planning as well: the color, socialization process at this stage in life niscent of a factory than a student position and direction of every single manifests itself in the form of 14 washing ­dormitory. And the unusual brick build- brick were exactly predetermined. machines and dryers lined next to each ing is also temporally hard to guess. other. A stylized sun with 93 beams, Although erected just a few years ago, which the Bonn-based artist Detlef Beer it could have been standing there “From a design standpoint, painted on the ceiling, hovers above. for ages already. it follows the classicistic Seldom were art, everyday life and university buildings in the architecture so excitingly united as in “We are at the periphery of the city here Südstadt area of Bonn.” this building. and consequently at a location that is neither urban nor rural,” says the Bonn- based architect Uwe Schröder. “From Concealed behind the façade is a strin- a design standpoint, it follows the gent, square floor plan with four stair- classicistic university buildings in the wells in the corner and student rooms Südstadt area of Bonn.” On Siemens- laid out in a ring-shaped manner, straße the building emerges with three grouped around an inner arcade. Each floors; on the courtyard side there is of the altogether 93 rooms features a even one more on account of the sloping small loggia facing the street. While the terrain. With its eleven arch axes, the room units are kept plain and neutral fortress-like structure comes across as with wood and gray linoleum flooring, surreal and irritating. there is a sophisticated color code in the open areas and common rooms which The façade consists of reddish and dip the ceilings, depending on the ochre-colored, waterstruck bricks that position and function, in beige, blue, were built up as a rear-ventilatefacing green and purple.

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Precisely planned organic color gradient

The round arches result from the constructive possibilities of the brick.

87 ROM.HOF Student Dormitory

Ground floor

Section through the inner courtyards and the middle wing

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89 VLA – VILHELM LAURITZEN ARCHITECTS AND COBE Krøyers Plads

PROJECT NAME LOCATION Krøyers Plads Copenhagen, Denmark

ARCHITECT/S CONSTRUCTION PERIOD Vilhelm Lauritzen 2013–2016 Architects, BRICK TYPE Nordhavn / DK Facing bricks and COBE, Roof tiles Copenhagen / DK Brick slips BUILDING PURPOSE BRICK AWARD CATEGORY Apartment housing / Living together retail

Thomas Scheel (VLA) Dan Stubbergaard (COBE)

The historic warehouses and storehous- Christiania. Three volumes soar up to prompt a dialog between old and new, es in Copenhagen Harbor count among six stories skywards and orientate between lightness and heaviness.” the most beautiful industrial areas in themselves in terms of location, size and Denmark. Many of the brick buildings proportion to the surrounding develop- Krøyers Plads comprises 105 apartments standing here are already 300 years old ment. The folded roof surfaces, which featuring between 80 and 250 square and have been converted into residential, stand out like an angular hill contour on meters of living space, numerous shops office and cultural spaces in the recent the façade, act as a slightly playful and restaurants, as well as a super­ past. Only Krøyers Plads remained quote of the historic gables, dormers market. The entire project was planned untouched for a long time: Many project and little crane houses that have according to the principles of sustain- developers got engaged in the aban- ­characterized the harbor from time ability and resource conservation, which doned area directly situated on the water immemorial. fall 40 percent below the legally stipulat- and proposed concepts that were all ed energy threshold values. For the rejected by the local population. In the Particularly sensitive is the choice of socially and ecologically unusual end, the decision was made to develop materials, since the architects decided to ­approach, the completed urban implant the 20,000-square-meter industrial individually develop two completely already received several awards at compound in a participative and direct different bricks and to carry the diversity the beginning of 2016—among others, democratic manner and to involve of the location into the present in this the Green Good Design Award and the residents in the planning process. way. In collaboration with a brick manu- the Nordic Eco-Label. facturer, a shingle-like brick, which covers the entire roof landscape and “Thanks to the different parts of the façade, was produced. At a bricks with their equally further traditional Danish enterprise, varied structures, we could in turn, classic bricks with a cassette-like react to the surroundings recess were selected. The irregular surface, spotted in various color shades, and prompt a dialog lends the project a vintage touch. ­between old and new, between lightness and “The building material plays a central heaviness.” role in this project,” Dan Stubbergaard, Founder and Chief Architect of COBE, explains. “We let ourselves get inspired What resulted is a lively little piece of by the red and ochre of the historic city, placed at the water’s edge like a buildings. Thanks to the different bricks fine, carefully crafted filling between the with their equally varied structures, Royal Danish Theater and Freetown we could react to the surroundings and

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105 apartments at the water’s edge

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Bildlegende

The residents were involved in the planning process.

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Two different bricks were developed for this project.

Folded roofs and architectural massiveness create a dialog between old and new.

93 STEFAN FORSTER ARCHITEKTEN Philosophicum

PROJECT NAME LOCATION Philosophicum Frankfurt am Main, Germany ARCHITECT/S Stefan Forster CONSTRUCTION PERIOD Architekten, 2014–2017 Frankfurt am Main / DE BRICK TYPE BUILDING PURPOSE Facing bricks Student residential BRICK AWARD CATEGORY housing Living together

Stefan Forster

For a long time things didn’t look good turns towards the public. It reflects the façade varies the colorfulness of the old for the Philosophicum. The eminent ground plan structure of the existing building. It is kept in a light brown; the monument of postwar modernism had building: The apartments are oriented color of the bricks changes slightly so been erected at the Bockenheim Campus towards the street, the hallways lie at the that the clinker surfaces are broken up in of Frankfurt University according to back side facing the old building and a diverse manner and are immediately plans by Ferdinand Kramer from 1958 to dock onto the existing stairwells. recognizable as a brick façade. 1960 and had housed the philosophy department. Nearly 80 meters long, nine “We are all especially Great care was applied to the restoration stories high and 10.58 meters deep, of the existing façade. The hope of being the slab was one of the first buildings in happy about the ‘new’ able to preserve it, however, had to be Europe with an unclad exterior steel façade of the existing abandoned. Too extensive was the frame. Neglected by the university building, which hardly damage; the panels were only 5.5 centi- building department, it stood empty for a differs from the original, meters thick and could no longer meet long time after the university had moved today’s technical and thermal require- to another location and was to be torn and that we thereby ments. They were replaced by highly down. But thanks to the protests of civil ­succeeded in preserving insulated, 18-centimeter-thick, lightweight society, politicians and monument a piece of Frankfurt post- metal panels. The windows were also protection, the destruction could be war history and adding replaced, the concrete slabs insulated on prevented. A private investor ultimately the inner side so that the hallways had it renovated and extended by a a new usage.” were somewhat narrower, but the outer five-story building along the road. 238 appearance hardly differed from the microapartments are now located in The façade of the new building adopts original one. A happy end for the city, as both houses; the offer in the new build- compositional elements of the existing well as for the friends of postwar ing is complemented by a day care structure and translates them into a modernism.­ center, a ground floor café and a roof distinct language. Resulting from the terrace. horizontal formats of the windows and the bright panels, the horizontal The architects see the new structure as structuring of the Kramer edifice finds an urbanistic corrective. The old building its analogy­ in the bright-sandy, circum­ is set back from the street; like the ferential concrete ribbons of the new exterior stairwells, the landings running house. The vertical structuring, which along the outer wall are oriented to- Kramer created through the exterior wards the street. Erected upon a trape- steel uprights, is incorporated into the zoid-shaped plot, the new building new building through regularly arranged, completes the urbanistic structure and vertical window formats; the clinker

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The street side with the new addition placed in front of the existing building

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Gap between the two buildings

97 BARKOW LEIBINGER Apartment House Prenzlauer Berg

PROJECT NAME LOCATION Apartment House Berlin, Germany Prenzlauer Berg CONSTRUCTION PERIOD ARCHITECT/S 2015–2016 Barkow Leibinger, BRICK TYPE Berlin / DE Facing bricks BUILDING PURPOSE BRICK AWARD CATEGORY Apartment housing Living together

Regine Leibinger and Frank Barkow

An idiosyncratic apartment house has It changes direction without protrusions yellowish, orange, brown, pink-colored been standing in the inner courtyard of or recesses, runs over the roof edge and and gray bricks alternate with one other. an apartment block in the popular Berlin still covers the inner walls of the parapet Burn marks and handling traces were district of Prenzlauer Berg since 2016. and the floor of the roof terrace. The purposely left in order to ensure a diverse The shape—a cube and a high, truncated garden terrace in front of the ground surface. Specially tapered bricks were pyramid set on top of it—initially pre- floor was also paved with bricks. Distrib- produced for the sloping areas, the sumes the architects’ extraordinary will uted irregularly across the surface, the cornerstones are also custom-made. The to design. Yet the truth is rather different. windows are flush-mounted into the façade was bricked in a wild, irregular It had been expected on the part of the façade and thereby intensify the impres- bond; an applied slurry unifies the façade historic monuments protection authority sion of a clearly sectioned, closed impression again in proportions. that the new structure orients itself to structure. They are made of aluminum the house that had stood here until its and were chosen by the architects to Two spacious apartments, respectively destruction during the war. The separa- recall the often industrially characterized organized as maisonettes, are located tion distance regulations now valid usage of such block interiors in the past. inside. An apartment with a garden and would, however, not have allowed this. courtyard terrace extends across the So the architects used the limits of “A unique character is first two floors; the three-story flat above what the regulations permit in order to created by this interplay of it ends with a roof terrace. generate this exceptional shape. Above the eaves height of 7.5 meters, the materials and production house rises over three stories with a methods, the building 70-degree roof pitch and ends at a height appearing at the same time of about 18 meters below the eaves of handcrafted and industrial, the neighboring house so that its firewall remains present. As a result, the new archaic and modern.” structure is clearly legible as an extension of a newer era, enhanced even more Although the shape, even if resulted out by the narrow shadow gap that sets the of the underlying circumstances, is an new house apart from the existing unconventional one that sets itself apart building. from the existing building, bricks that adapt to the environs were selected for Since the sloping surface actually had the façade of the double-leaf construc- not been conceived as a roof and, on tion. To this end, the architects incorpo- account of the steep pitch, is still read- rated the colors of the surrounding able as a wall, the architects placed the façades and created a range of six hues brick cladding over the entire surface. which the bricks were fired in: white,

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Bricks extend from the garden, across the entire façade, all the way to the roof terrace floor.

99 Apartment House Prenzlauer Berg

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101 E + N ARKITEKTUR Mengel Tower

PROJECT NAME LOCATION Mengel Tower Aarhus, Denmark

ARCHITECT/S CONSTRUCTION PERIOD E + N Arkitektur, 2015 Aarhus / DK BRICK TYPE BUILDING PURPOSE Facing bricks Apartment housing BRICK AWARD CATEGORY Living together

Kjeld Ghozati

A city highway borders the northern Some of these slabs are completely resulting in a characteristic, brighter edge of the inner city of Aarhus. In order closed, others furnished with a few image. At three places the architects to be able to build it, the houses on narrow, high windows reminiscent of pointedly applied the size: The extensive Nørregade, which had previously formed crenels. Slight protrusions provide for wall slab above the entrance is laid so the edge of a city block, had to be vertical lines in the bends, which that the bricks rotate out of the wall layer torn down. One of the rows of houses, ­separate the single slabs from each other in a slightly slanted fashion, creating therefore, with a firewall toward the and therefore emphasize the composi- an especially lively surface. A row of street, previously constituted the un- tional principle. Floor-to-ceiling ribbon vertically placed bricks respectively form sightly boundary. This transport planning windows, somewhat offset inwardly, lie the closure in front of the roof. And the wound was healed with a seven-story between them. As a result, bright interior slender front faces of the wall slabs are apartment building featuring 15 units. spaces emerged, despite the closed to be indicated as the third specialty. The outward appearance. On the interior side slabs run conically towards their ends of the block, facing eastward, the house and thus appear narrower than they “The Mengel Tower is a comes out more open with balconies. actually are in the middle. At this spot sculpturally formed build- They are situated so that one can sit here the right-angled bricks are intermeshed ing. This design is based shielded from the glances of the neigh- from both directions like a zipper. The on the desire for relatively bors. resulting play of shadows accentuates the vertical and lends the house an cheap construction, yet “This special long brick aspiring elegance, despite its defensive boasts an engaging brick character. format, together with the expression.” brick pattern, gives an appearance like a woven Following the new street line, the Mengel textile.” Tower, named after its builder, continues the line of the row of buildings with a bend inwards. At a special location on a A special brick was used for the façade. busy street, but also at an exposed spot, Almost 35 centimeters long and 33 the architects reacted with a composition millimeters high, the reddish brick has a of slabs running the full height of the particularly flat size which finds little building that do not meld into a closed use today. Based on similar historical form, but protrude as single walls in the sizes, the manufacturer of these bricks space, lending the structure a defensive calls them Roman bricks. The flat format and protective quality, as well as an requires that the proportion of the expressive presence at the same time. joints is higher in the elevation, thereby

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103 Mengel Tower

Second and third floors

Site plan

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The Mengel Tower forms the conclusion of a perimeter development that is only fragmentarily preserved.

105 PRAKSIS ARKITEKTER Carlsberg Researcher Apartments

PROJECT NAME LOCATION Carlsberg Researcher Copenhagen, Denmark Apartments CONSTRUCTION PERIOD ARCHITECT/S 2015–2017 Praksis Arkitekter, BRICK TYPE Troense / DK Facing bricks BUILDING PURPOSE BRICK AWARD CATEGORY Apartment housing Living together

Mette Tony and Mads Bjørn Hansen

The Carlsberg district is situated in the overlooking the garden. The rooms are Carlsberg apartments the reversion with southwest part of Copenhagen. The finished to a high standard and detail, a textured façade surface and smooth former brewery site will develop over offering a warm welcome to the guests edges brings about a contemporary the coming years into a mixed urban of the Foundation. interpretation of these classical architec- quarter with housing, amenities and tural themes. It connects this new cultural, as well as educational facilities. The refinement of the interior is mirrored building to the historic surroundings Witnesses to the rich industrial and in the exterior by the special use of while avoiding a mere copying of themes research history of the place, the existing bricks. While usually rectangular, the and, by doing so, opens a compelling buildings are partly listed. At the production of bricks in fact offers a perspective to the future development of border of the J. C. Jacobsen Garden the wide variety of shapes when molds are the area. architects completed a new building being adapted. For the façade of the that offers 22 apartments for academic Carlsberg research apartments an angle researchers invited to work and teach corner has been cut away, allowing in Copenhagen by the Carlsberg the bricks to be placed in a 45-degree, ­Foundation. rotated bonding. The cut allows for a flat backside of the bricks to the insulation, “While usually rectangular, hence offering a standard, cost efficient detailing. Every other layer of the bricks the production of bricks in is turned in the opposite direction. This fact offers a wide variety gives rise to a richly textured façade of shapes when molds are that offers an intriguing play of light and being adapted.” shadow over the ceramic surface. At the plinth, the roof ending, the corners Orientated towards the park, the new and around the windows and loggias, building rises over a communally the bonding of the angled bricks trans- programmed ground floor with entrances forms into a regular running bond with a and educational facilities. The volume flush surface. These transformations of three to five floors with a setback on from textured surface to flush surface are the lower part of the building responds designed with great care and result in a to the various heights of the adjacent remarkable “reverse embellishment.” buildings. Organized around two stair- In historic examples the reveals around cases, the six apartments per floor vary windows, corners and cornices are in size and layout. Connected to the usually subject to ornamentation and living room, each apartment has a loggia decoration in various materials. In the

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The height development is oriented to the neighboring buildings.

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Bricks laid in a 45-degree, rotated bond result in a lively façade ornamentation.

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109 M3H ARCHITECTEN Tugelablokken

PROJECT NAME LOCATION Tugelablokken Amsterdam, The Netherlands ARCHITECT/S M3H Architecten, CONSTRUCTION PERIOD Amsterdam / NL 2014–2015

BUILDING PURPOSE BRICK TYPE Apartment housing Facing bricks

BRICK AWARD CATEGORY Living together

Marc Reniers and Machiel Spaan

In the 20th century, the Dutch architect ensemble in terms of volume and glazing of bricks that are applied in the Berlage drew up the urban plan for the proportion. The new access typologies façade as an independent, decorative Transvaal neighborhood in Amsterdam, with elevators and deck access, as layer. Not only do these decorative long before his well-known plan for the well as new car parking within the block, elements refine the architecture, they south of the city. The neighborhood’s are craftily integrated. Taking a superfi- also resonate with the troubled history plan contains many of the characteristics cial glimpse, one would simply pass of these former Jewish houses. Overall, that gave fame to Plan South, like the by these new buildings without noticing the project does not only display the careful, at times picturesque layout of their presence. possibilities of adding new housing the streets and perimeter blocks, the typologies within the existing ensembles; incorporation of building ensembles into “The brick architecture more importantly the project shows a the plan and, of course, the use of brick way of rethinking the rich brick history of in sometimes decorative fashion as the and the application of art the Amsterdam School in a fresh and dominant building material. Along the elaborate on the local contemporary way, avoiding the traps of train tracks that shape the northern edge building history without nostalgia and mindless imitation. of the neighborhood, five affordable simply imitating it.” housing blocks for Jewish craftsmen were built in 1915 according the design of the architect Leliman. These blocks Upon closer inspection, however, the of four floors plus an attic roof form an new buildings reveal an intriguing ensemble built on the same line along richness in bonding and colors of the the street in an early Amsterdam School brickwork façades. In line with the main architectural style. composition of the original buildings, a variation of running bond, stack bond Within the ensemble, blocks three and and even bricks on edge in tile bond four were recently demolished due is applied. This diversity enables the to their bad technical condition and buildings to be scaled down and allows replaced. The aim with the new build- the repetition inherent to contemporary ings was to provide apartments that housing schemes to be balanced by meet the contemporary demands a rich variation and human scale of the for accessibility for the elderly and to façade. In the existing buildings a increase the much-needed mix of colored tile tableau celebrating the different lifestyles, incomes and ages original intent of the buildings is part of in the area. In order to keep the integrity the façade. This tableau gave inspiration of the whole, both new buildings to an artwork by Atelier NL. The colors are carefully fitted within the existing of the original tableau are used in the

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The colors of this historic tableau provide the basis for the artistic intervention of glazed bricks on the façade.

A lively variety in color and bond

111 Contemporary brick architecture that does not renounce the history of the location.

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113 HANS VAN DER HEIJDEN ARCHITECT Houses with Two Doors

PROJECT NAME LOCATION Houses with Two Doors Rotterdam, The Netherlands ARCHITECT/S Hans van der Heijden CONSTRUCTION PERIOD Architect, 2013–2015 Amsterdam / NL BRICK TYPE BUILDING PURPOSE Facing bricks Social housing BRICK AWARD CATEGORY Living together

Hans van der Heijden

The Oranjeboomstraat is the main thor­- lower part of the maisonettes is slightly support of the articulated roof ending. oughfare in the Feijenoord district in raised due to the sanitation process of A darker brick that is simply rotated and the south of Rotterdam. Once an avenue the polluted ground. Combined with the put in a stack bond creates the minimal lined with trees on both sides and a articulated roof endings, this results plinth and bay windows. These bay tram running in the middle, the street in an overall classical composition of the windows vary in height from one to the has lost much of its urban grandeur. houses in line with their predecessors exceptional three floors that emphasize The individually parceled three- to along the street. the ending of the building at its angled four-story houses, churches and schools street corner. The overall result is a have partly been replaced by larger scale rich composition of the street façade housing schemes ignorant of their “A slight recess in the brick- built up with minimal means. It displays historic context. The remaining houses work marks the division the potential of how a modest material have been renovated in such way between the houses and put into the hands of a sensitive architect that much of their original architectural lines of differently colored can contribute to the much-needed refinements were stripped off. Recent design of the streets and cities that we social housing designed by the architects brickwork on the top inhabit. along the street shows a remarkable ­support of the articulated sense of place and history. It puts roof ending.” forward an alternative to the prevailing practice of generic and non-sensitive urban renewal that this district largely Within the tight budget and standards suffers from. of social housing, all possibilities that a brick façade offers are employed to The project of 42 social houses fills a gap enhance the urbanistic ambition of the on both sides of an existing school left project. The façades are made of open after a failed larger urban develop- ­standard-sized orange and light brown, ment. In order to restore the rhythm of hand-molded bricks. The bricks have the street façades, a typology of stacked been applied in random bond without maisonettes is employed, resulting in butt joints and deeply recessed length a repetition of houses with two front joints, creating a horizontally textured doors. Car park and storage spaces are surface. The colors are applied in a located in the back along a garden wall rhythm responding to the overall com- to a park and are accessible from the position of the street façade. A slight street through a gate that is an integral recess in the brickwork marks the part of the architectural and urban division between the houses and lines of composition. The ground floor of the differently colored brickwork on the top

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115 Houses with Two Doors

The color and structure of the façades lend the apartment buildings a beautiful rhythm.

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All of the details, right up to the railings, were carefully designed.

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Working together Working together

120 SANDY ATTIA 148 FLORIAN NAGLER ARCHITEKTEN The Design of the Workplace K eep It Simple – Studio, Workshop and Deopt 124 TROPICAL SPACE Terra Cotta Studio 152 BUREAUVANEIG ‘t Melkhuisje 132 HIERL ARCHITEKTEN State Archives Landshut 156 BEDAUX DE BROUWER ARCHITECTEN P avilion Brick Factory Vogelensangh 136 DATA ARCHITECTES

CVAE Pantin – Sorting Facility

140 LRO LEDERER RAGNARSDÓTTIR OEI ARCHITEKTEN Sparkasse Ulm

144 MAX DUDLER Reception Building Dräger SANDY ATTIA The Design of the Workplace

Sandy Attia

120 The office or, perhaps better yet, the workspace—­ fun turned into how to make them smart. The term office has a tinge of obsolete—is one of the most “smart office” describes a data- and technology-­ designed for and studied places in architecture, driven workspace that simulates the human in such considering that it is not really a place specific to a way that the inanimate ensemble of building any one type of activity. An operating room in a systems could not previously do. Striking the right hospital or the command center at the airport are light, temperature, humidity, and noise levels within places with a high quota of specificity and de facto the workplace during the different times of the design. Even though lots of work certainly takes day throughout the year was no longer simply the place in these locations, their explicit functions stuff of engineers, but rather a topic taken on by Working together circumscribe and limit their design. The workplace, an interdisciplinary group of specialists: behavioral on the other hand, is oddly generic and yet, scientists, sound engineers, programmers and generic is the last thing that the doctor prescribes environmental experts to name just a few. From the for the welfare of the workforce. aromas wafting through our air ducts, to the carpet beneath our feet, the office is a complex web of Finding ways in which people at work can be happy, intricate design geared towards creating the perfect productive, creative and “connected” constitute a work conditions. whole flurry of research and studies aimed at elevat- ing the quality of the workplace. Offices today are a far cry from the elbow rubbing, sweaty spaces of our “The term ‘smart office’ grandparents, and the alienating anonymity of the describes a data- and office cubicle has been surpassed by a decade or two. technology-driven work- The open space workplace counterpointed the cubicle with a design solution that transferred ideals space that simulates the of equality and transparency in the call for a better human in such a way that work ethos, but it too has been subject to much scrutiny. The continuity and subsequent monotony the inanimate ensemble of the open space created noise and privacy issues of building systems and was surprisingly no better at overcoming the could not previously do.” dogged anonymity of the cubicle. So while the cubicle and open space planning produced similarly dull spaces, corporate office design sought out Beatriz Colomina and Mark Wigley, in their book new strategies to animate the workplace. Catering titled Are We Human?, examine the omnipresence of to the employee’s individual needs and providing design in our lives, and begin with the statement: all kinds of services that ranged from cafeterias, to “Design always presents itself as serving the human gyms, lounges and grown-up play spaces, the but its real ambition is to redesign the human.”¹ corporate office created a new landscape of work. In a certain sense, this is what the office environment The design of the services, the interiors and the is doing, it is retooling us; the architecture of the building themselves were intended to promote the office appears to accommodate our individual work corporate brand and to coalesce the workforce habits, but it is those very habits that the office is into loyal followers. actually designed to modify. Be it the ergonomic chair correcting our posture, or the automated light Corporate office design has since shed its initial shades recalibrating the dilation of the pupils of our Disneyesque flavor, maturing into a more refined eyes, our designed environment infiltrates our very version of itself. The emphasis on making offices beings. We not only see that design is everywhere,

121 but that we, too, are designed as inanimate objects “Like all networks, a might be—thus the question “Are we human?” ­network of people works The role of technology in the workplace has also only if the individuals of facilitated new forms of how people work together. Co-working and office sharing are now diffuse the group are connected practices, while pop-up companies that come into to each other.” being for a single project are all products of our digital age. The space of these offices is less about These lofty goals for designing for the “spirit” of architecture and more about networks of people. those working are, of course, not new to architectural Like all networks, a network of people works only if discourse. Frank Lloyd Wright in his design for the individuals of the group are connected to each the Johnson Wax Administration Building (1939) other. This connection, however, is not only a digital was fueled by the desire to provide an airy, light or virtual one, but also a human one. filled, collective workplace where people could thrive: “an inspiring place to work in as any cathe- dral was designed to worship in.”² Coincidentally, the “The tectonic rigor of Johnson Wax Building is characterized by its brick brickwork crystallizes a construction. The almost singular use of red brick, together with the iconic columnar space of the Great space nothing short of Workroom, provide an unforgettable workspace—a extraordinary, a beautiful place able to absorb change, a place able to stand place to work and feel outside of time. Indeed, the decision to design and build with brick brings to the fore the relationship good in.” between the materiality of architecture and its direct connotations on the workplace itself. The tectonic Studies have shown that “feeling connected” not rigor of brickwork crystallizes a space nothing short only makes you happier, but it can also add years to of extraordinary, a beautiful place to work and feel your life. Mens sana in corpore sano, sound body- good in. sound mind (and vice versa), sums up the design trend of the workplace as a total environment. Out 1 Beatriz Colomina and Mark Wigley, Are We Human? Notes with the smart, in with the balanced, sensitive, on an Archaeology of Design, Zurich: Lars Müller Publishers, 2016, p. 9. “glocal” citizen as employee. The workplace, like the school, has become a place of learning, self-­ 2 Jonathan Lipman, Frank Lloyd Wright and the Johnson Wax improvement and citizenship building rather than a Buildings, New York: Rizzoli, 1991. place geared strictly towards efficiency. Meditation, mindfulness and environmental awareness converge in this new configuration of the workplace. Coaches, psychologists and color therapists attend to the inner workings of our mind to help us become less anxious and more at one with ourselves and the world.

122 123 TROPICAL SPACE Terra Cotta Studio

PROJECT NAME LOCATION Terra Cotta Studio Dien Phuong, Vietnam

ARCHITECT/S CONSTRUCTION PERIOD Tropical Space, 2016 Ho Chi Minh City / VN BRICK TYPE BUILDING PURPOSE Clay blocks Artist’s studio BRICK AWARD CATEGORY Working together

Tran Thi Ngu Ngon and Nguyen Hai Long

to pass through in this way. The charac- The center of the studio is a one-story, teristic brick structure is a reference to concreted table covered with bamboo the Champa Temple, which was erected mesh, which, as an archaic construction, around 1,500 years ago in this region. separates the contemplative area from the busy one. While visitors go up in In the rainy season, in the middle of the “On one hand, this separating layer the mezzanine and can familiarize them- monsoon, the water in the Thu Bon made of brick creates a certain privacy selves with the works, Le Duc Ha sits Delta can already reach up to the house. for the artist,” says Tran Thi Ngu Ngon, on the ground floor at his potter’s wheel, But that doesn’t matter. First of all, Le who operates the award-winning archi- thus marking the geometric as well as Duc Ha, one of Vietnam’s most famous tecture office Tropical Space together the energetic middle of the house. Above ceramic artists, can then take a break with her partner Nguyen Hai Long, and a circular opening the sun shines on the from work. And secondly, he doesn’t masters the tropical climate like the clay and his hands. The light conditions have to worry about his thrown artifacts. multiplication table. “On the other hand, change along with the weather and Unaffected by the water, these namely the bricks allow some of the wind to the time of day and therefore the working rest a few meters above in one of the blow through so that you get a natural conditions at the wheel as well. Every bamboo shelves separately made for this breeze cooled by the river while work- moment is different. purpose. The concept for this originates ing.” Simple, yet efficient, the construc- from the South Vietnamese office Tropi- tion is the world’s oldest and cheapest cal Space. Their sensitive handling of the air conditioner. “This separating layer building material of brick is no coinci- made of brick creates dence. Already once, namely in 2016, the On the inside, the façades—like a house a certain privacy for the Ho Chi Minh City-based architects within a house—are lined all around by artist.” received the international Brick Award. seven-meter-high bamboo shelves. The 60-centimeter-large cubes, which cling to The Terra Cotta Studio is a 7 × 7 × 7-meter­ - the brick walls like a wooden grid, serve Terra Cotta Studio is a place of concen- ­large brick cube at the foot of the as a gallery, as stairs, as well as an tration and creative abandon. It is a gift Thu Bon River. Hoi An, the world-famous, exhibition area for Le Duc Ha’s artworks. to the artist, but also to all those who UNESCO-­­protected provincial capital, A subtle steel construction with a glass yearn for a beautiful encounter with the is just half an hour away by boat. The roof hovers above it. “At least once a material of clay, which is extensively unusual perforation of the façade already year there are floods in this region,” the celebrated here. An entire microcosm attracts attention at first glance. Each architect explains. “We have arranged was created with very low construction lateral surface is respectively divided into with the artist to store his finished, but costs. With this award the artisanal 36 one-square-meter-large fields, which also unfinished works in higher-lying precision, the engagement with the in turn are bricked in various bonds and shelves at all times. In this way the traditions, and the conceptual strength allow different amounts of light and air floods cannot harm them anymore.” of this extraordinary location take a bow.

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125 Terra Cotta Studio

Ancient temple buildings were the inspiration for the brick structure.

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127 Terra Cotta Studio

Jury Statement “The building combines working produc- the way of using brick. Interesting is the tion and domesticity. In our opinion, relationship between how people work it somehow shows the future of working and how they live, because they live conditions. It is very special how this in a climate zone and brick influences the project uses brick in a traditional way in climate. The quality of the brick, the relation to climate and light. Further- massiveness and the wind permeability more, it is very interesting how history of the material—the fact that wind can enters into a relationship with moder­- pass through it—can change the climate. nity—the past with the future. In this So the building itself is very much related project brick is not something that has to the place and the way of working.” been put over the structure, but it is the structure itself, and it has also been used in the interior. The challenge was to connect the way of working and

The façade fields are bricked in different bonds.

128 Second floor Roof plan Working Working together

Ground floor 1 m 5 m 2 m

Site plan

129 Terra Cotta Studio

The pottery wheel is the center of the house.

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Within the brick structure there is an accessible shelf system made of bamboo.

131 HIERL ARCHITEKTEN State Archives Landshut

PROJECT NAME LOCATION State Archives Landshut Landshut, Germany

ARCHITECT/S CONSTRUCTION PERIOD Hierl Architekten, 2011–2016 Munich / DE BRICK TYPE BUILDING PURPOSE Facing bricks Offices / archives BRICK AWARD CATEGORY Working together

Rudolf Hierl

Since 1809, the Bavarian State Archives and recess. The visual appearance simple store room, but rather a museum in Landshut had been located at Trausnitz changes with proximity and distance: In for profane cultural goods,” according Castle on the southern edge of the detail, the different colors and sizes to Hierl. old city. This place didn’t provide enough come across as chaotically jumbled; with space any more and the climate condi- increasing distance, a rhythmic order Concealed behind the succinct façade tions no longer corresponded to today’s with a pronounced fishbone structure shimmering in gray tones are 42-milli- state of the art, so the partially sensitive gradually comes to light. meter-high bricks cut into various archive material was damaged. Hence lengths and widths, and fired in four the decision was made to relocate the “For the main part, the strongly horizon- different hues. The irregular waterstruck archive responsible for the administrative tal façade tectonics are a reaction to the bricks with their characteristic surface district of Lower Bavaria. The new very long, linear shape of the building,” were specifically developed for this storage facility for official books, docu- explains architect Rudolf Hierl. “In their project. And it was worth the effort: The ments, court records, maps and historical arrangement and stacking, the clinkers bricks are as exceptional and unique plans is now found on a corner lot in are, however, a symbol for the storing of as the files and books located behind the north of the city which had been the archive material, too. Like sheets them. used up until recently as an allotment in a pile of papers or files loosely stacked garden area. on top of each other, the bricks are an indication of the almost unimaginable “In their arrangement and quantity of archive material safeguarded here.” stacking, the clinkers are, however, a symbol for Around 65 kilometers of shelves, respec- the storing of the archive tively, more than three million archive material, too.” items, make up the store, which consists mainly of manually sliding mobile shelving. Various administrative rooms, Hierl Architekten, a Munich-based office, as well as an own exhibition area that proposed an L-shaped development can be directly entered from the foyer, with a plaza-like, urbanistically effective were added. Moreover, the two artists widening along Schlachthausstraße. Hannes Arnold and Klaus-Dieter Eichler At first glance, both of the 70-meter-long contributed their own art in architecture wings seem stringent and forbidding. project. The glass installation “annu’ana” Upon closer inspection, however, one on the hallway walls is also partially recognizes the relief play in the façade visible from the street. “Here, the build- structure with clinker bricks that protrude ing type of the State Archives is less a

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A fishbone structure emerges through the change in chromaticity, size and laying depth of the bricks.

The slender “Landshut steamed” brick was specially developed for the building.

133 State Archives Landshut

Ground floor

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The strong horizontality underscores the shape of the building and, at the same time, is a reference to the paper stacked inside it.

135 DATA ARCHITECTES CVAE Pantin – Sorting Facility

PROJECT NAME LOCATION CVAE Pantin – Sorting Paris, France Facility CONSTRUCTION PERIOD ARCHITECT/S 2015–2016 DATA Architectes, BRICK TYPE Bagnolet / FR Facing bricks BUILDING PURPOSE BRICK AWARD CATEGORY Infrastructure Working together

Léonard Lassagne and Colin Reynier

Boulevard Périphérique around Paris Périphérique. In collaboration with the clearly defined container spaces on the counts among the most heavily travelled architects, a bright, airy structure com- inside, as well as loading ramps and roads in Europe. At the same time, bining functional duty with aesthetic turning areas for the trucks. Following however, the city beltway, constructed freestyling arose. strict safety and logistics guidelines, between 1954 and 1973, is one of the the precise design was planned in city’s largest structural barriers. 35 kilo-­ “Our goal was to utilize the space under coordination with the responsible city meters long, it separates the Paris the beltway in the best possible way and building division. As architect Léonard suburbs and banlieues from the alto- to give it a new task that precisely makes Lassagne says after all: “These are gether 20 arrondissements of the sense here,” says Léonard Lassagne, exactly the challenges and difficult ­metropolis on the Seine. The unat- Head Architect of DATA. “On one hand, underlying circumstances that spur us tractive intersections above and below our project is a small physical interven- planners on and lead to innovative the highway, the bridges and bottle- tion; on the other hand, this intervention solutions and concepts that recycle the necks, are reserved for motorized traffic. has big effects on the beauty and vitality city and make it come alive in a new of this urban space.” w a y .” “On one hand, our project Between the existing bridge pillars, the is a small physical inter- architects defined a 1,400-square-meter- vention; on the other hand, large area that they bordered with this intervention has big single-leaf, cross-bond brickwork. In effects on the beauty and order to let the construction appear lighter, the surrounding walls are execut- vitality of this urban space.” ed with a concave, slightly curved contour. Selective recesses in the At precisely such a difficult “non-place,” surfaces in the form of transparent glass the Paris City Administration decided blocks provide for sufficient daylight in to start a pilot project and to erect a recy- the workspace below the bridge. Not cling and sorting center. The so-called least, the entire lot of bricks was glazed “Centre de Valorisation et d’Apport des in a high-gloss white. That not only Encombrants” (CVAE) is located at Porte brought advantages in regard to clean- de Pantin in the northwest of Paris, ing, but also had an effect once again just a few steps from the famous Parc de on the brightness and the emotionally la Villette and Jean Nouvel’s new Philhar- felt cleanliness. monie, and is one of several waste logistics centers that are to be construct- The recycling and sorting center is ed in the coming years along Boulevard accessed on the east façade. There are

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137 CVAE Pantin – Sorting Facility

White lacquered bricks are easy to clean and provide for a bright, clean atmosphere.

Ground plan

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The subtle design of the brick wall upgrades the location in an aesthetic and atmospheric respect.

139 LRO LEDERER RAGNARSDÓTTIR OEI ARCHITEKTEN Sparkasse Ulm

PROJECT NAME LOCATION Sparkasse Ulm Ulm, Germany

ARCHITECT/S CONSTRUCTION PERIOD LRO Lederer Ragnars- 2013–2015 dóttir Oei Architekten, BRICK TYPE Stuttgart / DE Facing bricks BUILDING PURPOSE BRICK AWARD CATEGORY Offices Working together

Marc Oei, Arno Lederer and Jórunn Ragnarsdóttir

The new building of the Sparkasse Ulm The facing shell of this expressive natural light into the interior of the stands at the edge of the historic inner structure consists of recycled bricks in a corridor zone situated in the middle as city, near the Ulm Minster. Its immediate bright, earthy tone. These bricks basically reflectors. opposite is the “Neuer Bau,” a mighty ensure a lively, diversified surface. The brick building from the 16th century, width of the bricks varies between 8 and Towards the south, where the terrain which, together with the new Sparkasse 11.5 centimeters, but this is not obvious slopes, the Sparkasse building is lower. bank building, forms the entrance to due to the good work performed by the Through this staggering, the building the “Neue Mitte” (“New Middle”). An executing firms. The idea of longevity withdraws at this spot and thereby exemplary city renovation project, and sustainability is implemented here blends into the adjacent urban context the Neue Mitte arose between 2002 and in a two-fold way: through bricks as here as well. This attention is also 2007 as a new development on a thor- robust and enduring building material distinctive for the quality of the whole: oughfare cut through the inner city after and as recycled material. The back side is not neglected in favor the war, the Neue Straße. of the visible side. “On account of our experi- The architects faced the task of design- ing a building that corresponds with ence with used bricks, we the “Neuer Bau,” but at the same time could convince the client self-consciously articulates itself as a about the advantages of product of the 21st century. They solved the old brick. Not only due this with an architecture of expressive elements. A high colonnade lies between to the correspondence to the street and the building wall as a filter; the historical façade, but the office stories above are folded also because the recycling outwards in a zigzag pattern and ribbon of demolished building windows placed around the corners are equipped with polished stainless steel material represents an frames. They develop a special effect in important topic in the the external view, since the surroundings sustainability and consider- are reflected in them like a kaleidoscope. ation of material cycles.” But these windows enrich the interior, too: They provide light and expanse; after all, the view is not only possible A special detail is found on the front straight ahead, but also to the right and façade pointing westward: round, tilted the left. slabs covered with special terracotta-­ colored bricks discretely guide glare-free

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The building as an expressive kaleidoscope

141 Sparkasse Ulm

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Recycled brick was used for the project.

143 MAX DUDLER Reception Building Dräger

PROJECT NAME LOCATION Reception Building Lübeck, Germany Dräger CONSTRUCTION PERIOD ARCHITECT/S 2013–2015 Max Dudler, BRICK TYPE Berlin / DE Facing bricks BUILDING PURPOSE BRICK AWARD CATEGORY Offices Working together

Max Dudler

Dräger, a company based in the structure were clad with 115-mm-thick The waterstruck bricks used were ­Hanseatic City of Lübeck, was founded clinkers that cover the façade like a grid. ­produced by a traditional process in a in 1889. As a producer of devices and The triangularly tapered pillars empha- coal-fired kiln, which lends them a systems for medical and security tech- size the verticality. rough, diversified and workman-like nology, the firm equally sees itself as character. This special singularity of the being aware of its tradition and oriented “The upper building enve- bricks develops by pressing the clay to the future. The new office building through a mold with water, causing the marking the entrance to the company lope of the structure is water to subsequently react physically premises expresses this in a very pointed accentuated by a fold that with the clay and the air, giving each fashion—its brick façade references lends it an expressive brick a distinct surface. the expressionist architecture of the crown. These details of the 1920s, the large windows showcase the modernity of the building. The new clinker façade mark the “The large, abstract glass structure replaces an old factory gate design as an interpretation surfaces stand for the that previous stood here. Now it func- of Northern Germany’s company’s orientation to tions as the firm’s new and impressive architectural tradition.” the future, while the rough calling card. waterstruck bricks, as a Completed in 2015, the reception build- On one hand, the façade makes refer- traditional material, em- ing, along with two further structures ence to the brick architecture of Lübeck’s phasize the long company from different eras of the company’s old city, on the other hand, to Northern tradition at this location.” history, fills a place that consequently Germany’s Brick Expressionism devel- represents the history of the enterprise oped in the early 20th century, which is up into the 21st century. The new taken up again in a clearly visible One reaches a high, two-story foyer, ­construction is a composition of five-, manner here. Star-shaped corner pillars which functions as a reception room for six- and eight-story components that show this reference in a particularly visitors and employees, via the colon- elegantly connect to the existing stock. distinct way. On the lower six floors, the nade. The offices, where about 200 The lower ones attach to the older large, floor-to-ceiling, frameless win- people work, are accessed from here. structures and segue into an eight-story dows create the impression that a single, Company executives toil on the upper head building which prominently accen- continuous, glass surface would lie floors, which offer a superb view of tuates the corner. This head building behind the façade, thus especially the company compound and the city. orients itself towards the square, proj- highlighting the brick structure. The ects into it; a two-story-high colonnade window surfaces and the horizontal gives the square an urban flair. The brick strips are bent inwards so that the pillars and beams of the steel frame building concludes like a crown.

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145 Reception Building Dräger

The verticality of the building is accentuated by the triangular pillars.

The grid structure of the construction transforms into a “crown” on the top two floors.

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147 FLORIAN NAGLER ARCHITEKTEN Keep it Simple – Studio, Workshop and Depot

PROJECT NAME LOCATION Keep it Simple – Studio, Gleißenberg, Germany Workshop and Depot CONSTRUCTION PERIOD ARCHITECT/S 2013–2014 Florian Nagler BRICK TYPE Architekten GmbH, Clay blocks Munich / DE BRICK AWARD CATEGORY BUILDING PURPOSE Working together Working space

Florian Nagler

The new construction for the artist Peter church. This wish was fulfilled through a “The used constructions Lang consists of three halls of the same solid wall construction, a large, unheated and materials are height and width, but which slightly room volume, and a low proportion of differ from each other lengthwise in a window area, so that the interior room ­extremely simple. The goal somewhat offset manner, making each climate slowly adapts to the outside was to design as few of the three structures well distinguish- temperature fluctuations and the mois- ­details as possible.” able. This simple spatial concept is ture content remains stable. reflected, on the one hand, in the interior structure: One hall serves as a depot For the entire construction, the architects As subtly and discretely the buildings for paintings, the second functions as a chose a single-leaf structure made of may also differ from a common commer- workshop and the third as a painting highly insulating bricks covered on the cial construction through the care studio. On the other hand, the ensemble outside with a coarse, gray-colored given to detail—should they one day blends into the village context in a plaster. The interiors of the workshop not to be used any longer by Peter Lang, suitably scaled manner through the and studio were coated with white slurry; they are also precisely suited for such three-part division. The gabled roofs, the the depot walls remained untreated on purposes, for instance, for a carpenter’s coarse plaster and the large gates, like the inside. The few window openings— workshop; the interior spaces, for those also found on barns, likewise forge the walls of the depot are completely example, can also be accessed by a a link to the local building tradition. closed—are fixed-glazed; the floor small truck from the street. It is not Gleißenberg has around one thousand consists of a smoothed slab made of least this pragmatism that makes this inhabitants and lies close to the Czech steel fiber concrete; an open construc- ensemble stand out as one typical border in the Upper Palatinate region tion with white-varnished wooden for rural construction. north of the Danube. Therefore, the trusses was selected for the roof. cubature also makes a reference to the ­Skylight strips across the ridge line were old glass manufacturers that are part covered with polycarbonate panels, of the regional building history. the closed roof surfaces with sanded ­bitumen sheets. A large concrete beam As simple as possible was the maxim between the studio and the workshops of the design and execution. Simple not enables the spatial boundary closed only in the appearance and materials, by a mobile cabinet wall to be opened, but also in the construction methods creating an over 400 m² space. familiar to every tradesman. And not as an end in itself, but in accordance with the usage requirements: For the storage of his pictures, the artist desired an indoor climate similar to that of an old

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As simple as possible: brick masonry with a rough, bright plaster

149 Keep it Simple – Studio, Workshop and Depot

The trichotomy ensures that the village-like scale is preserved.

The large gates recall those of the barns in the surroundings.

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By opening one large sliding door, the studio and workshop can be connected to each other.

151 BUREAUVANEIG ‘t Melkhuisje

PROJECT NAME LOCATION ‘t Melkhuisje Haarlem, The Netherlands ARCHITECT/S BureauVanEig, CONSTRUCTION PERIOD Rotterdam / NL 2015

BUILDING PURPOSE BRICK TYPE Infrastructure Facing bricks

BRICK AWARD CATEGORY Working together

Marjolein van Eig

t ‘Melkhuisje is a new bridgekeeper and and information point determined the electricity house along the Melkbrug volumes of the lower part of the building. (“Milk Bridge”) in the historic center A steep, asymmetrical pitched roof of Haarlem. It stands in a long tradition crowns the slender volume for the bridge of small utility buildings located in the operator. It protects the control room city. Often designed in series, they from the sun and balances the “belly” of slowly lose their function due to scale the lower part. enlargement and digitalization. This new bridge house is a positive exception “The bricks are laid in to this development and highlights the urban and architectural potential of relief, thus creating a sur- these buildings. face which changes throughout the day by the “The building shows four sun causing different different façades, which shadows on the surface.” makes it fascinating and intruiging. It invites to come This characteristic volume that reads and have a closer look.” differently from all sides plays upon the archetypical house with a roof. The entire façade and the steep part of the The “Milk Bridge” forms a pair with the roof are clad in a brown brick that “Catherine Bridge,” connecting the protrudes outwards every other layer. eastern and western part of the historic The use of brick familiarizes the building center of Haarlem. Both bridges are cast and ties it strongly to its surroundings, iron constructions with Neo-Renaissance since Haarlem is a city built in brick. characteristics and are listed monu- Moreover, the green steel elements refer ments. Built upon the existing founda- to the color of the bridge that it serves. tions, ‘t Melkhuisje replaces a control The texture of the brick pattern lends the building from the 1960s which was slightly awkward volume richness in damaged by a fire. The small structure the play of light. ‘t Melkhuisje fits perfectly contains a power transformer station to the site and addresses in a sensitive and a touristic information point next to manner the rich tradition of utilitarian the control room for the bridge operator. objects that light up our cities when The required space for the transformer made with care and attention to details.

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153 ‘t Melkhuisje

The little house sets itself distinctly apart from the surrounding area through its special brick structure.

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A whole half house

Ground floor First floor

155 BEDAUX DE BROUWER ARCHITECTEN Pavilion Brick Factory Vogelensangh

PROJECT NAME LOCATION Pavilion Brick Factory Deest, The Netherlands Vogelensangh CONSTRUCTION PERIOD ARCHITECT/S 2016 Bedaux de Brouwer BRICK TYPE Architecten, Facing bricks Thomas Bedaux, Pieter Bedaux and Joyce Verstijnen Goirle / NL BRICK AWARD CATEGORY BUILDING PURPOSE Working together Offices

The Vogelensangh brick factory along the surface giving expression to the building brick, lending the interior a slightly Waal River contains the last remaining mass and the bricks it has been con- understated, refined character. The coal-fired ring kiln in the Netherlands. structed from. The characteristic red enfilade of office and reception rooms is The factory has been operating since 1919 bricks produced on site are applied in a united under a vaulted roof reminiscent and after a restart in 1988 the fire has thinner than usual size (Vecht size) of the vaulted chambers of the factory’s been running its perpetual circle in the with deeply recessed bed joints and no ring kiln. kiln, taking around 14 days to fire the butt joints. The loose bonding recalls the bricks. The kiln itself is a listed monument way bricks are stacked when produced. and produces a rich variety of hand-­ Small windows towards the service molded bricks with a nuanced color areas are hidden behind a decorative palette characteristic to this type of kiln. pattern of bricklayers, while the entrance door itself is deeply recessed within “The bricks produced on the building mass. The unity of retaining walls of the platform and the façade site have purposely been emphasizes the ceramic, robust charac- laid in a simple bond ter of the pavilion and announces the that refers to the rational world of bricks one is to enter. way bricks are stacked during fabrication.” “All in all, a pavilion that is closely related to At the entrance of the site the architects its ­environment, not designed a new office and reception only designed for, but pavilion for this historical factory. This also materialized with resulted in a design that, both in its exterior and interior, emphasizes the and inspired by the client.” timeless beauty of the tradition of hand-shaped bricks. The pavilion itself is separated in length by a closed entrance and service zone The pavilion stands slightly elevated on and an office and reception zone offering a platform and elegantly separates a a stunning panoramic view over the “clean” welcome area with parking and factory grounds and the monumental entrance from the muddy production kiln. Contrasting with the warm red grounds. Towards the entrance the outside, all interior walls and vaulted pavilion presents itself with a closed ceilings are constructed in a pale yellow

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The slender brick in stretcher bond contributes towards emphasizing the horizontality.

Reception building of the historic brick factory

157 Pavilion Brick Factory Vogelensangh

The brick is produced on-site and bricked up with deeply recessed bed joints and without butt joints.

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Yellowish bricks were used on the interior of the pavilion.

159

Sharing public spaces Sharing public spaces

162 PATRÍCIA BARBAS 194 EGGEN ARKITEKTER Sharing Public Spaces: St. Olav’s Catholic Cathedral Strangely Familiar 198 ANDREAS HELLER ARCHITECTS & DESIGNERS 166 CHRIST & GANTENBEIN European Hansemuseum Lübeck Kunstmuseum Basel 202 PETER BÖHM ARCHITEKTEN Extension Philosophikum am Domplatz 174 NICOLÁS CAMPODONICO ESTUDIO 206 BEZ + KOCK ARCHITEKTEN San Bernardo Chapel Anneliese Brost Music Forum Ruhr 182 TCHOBAN VOSS ARCHITEKTEN 210 LUNDGAARD & TRANBERG ARKITEKTER R ussian Monastery Church St. Georg Kannikegården 186 HBAAT – HART BERTELOOT ATELIER ARCHITECTURE TERRITOIRE 214 BOLTSHAUSER ARCHITEKTEN Activity and Dance Center Kopfholz School

190 SEA – STUDIO FOR ENVIRONMENT 218 KOEN VAN VELSEN ARCHITECTEN AND ARCHITECTURE Public Transport Terminal Breda The Temple and the People PATRÍCIA BARBAS Sharing Public Spaces: Strangely Familiar

Patrícia Barbas

162 In these times of blurred realities and globalization public space. Thereafter, a program called “one what is public and what is private? And what are plaza for each neighborhood” was implemented spaces either public or private? Despite uncertainty, by the municipality to create new public spaces, I still think public spaces are places where we where micro centrality and soft modes of locomo- ­coexist, not as avatars or digital profiles, and where tion are privileged. we can be at the same time both actor and anony- mous bystander. The city’s logic is timeless. From Our proposal was to design the office tower in the the Greeks’ Agora or the Romans’ Forum, public corner of the plot and free up space on the avenue spaces are still the scene of the main episodes of level for public use. This simple gesture fits between public life and the expressions of the character of its two different epochs, the romantic idea of the 19th inhabitants, besides the continuous changes of century Lisbon, such as the Anastácio Gonçalves technology and media that transform the way we House Museum, and the modern Lisbon, such as the

live, work and travel. Public spaces, in their physical 70’s project for the Sheraton Hotel and the Imaviz Sharing public spaces and symbolical dimension—and within a context of shopping mall and residences. The design of the virtual relationships, far from becoming obsolete— square and new gardens is able to redefine elements have an important role in the city’s existence. and backgrounds connecting the building to its No matter how much we live virtually (informed or surroundings—the neighbors’ alignments and misinformed) through social networks, the places topographical differences—and provide the guide- for reunion, trading, manifestations or representa- lines to transform the space for public enjoyment. tions are still the public spaces in the city. Cities are about people, citizens and “real” life taking place in “real” places. “No matter how much we live virtually (informed In 2015 we were awarded the project for an office or misinformed) through building in Lisbon. The design was selected through a closed competition between seven architectural social networks, the teams that was coordinated between the developer ­places for reunion, and the municipality. They did not just want a ­building, they wanted to design a solution for the trading,­ manifestations complex urban tissue which surrounded the plot. or representations are Avenidas Novas, the 19th century expansion of still the public spaces in Lisbon on the north side, is the new location. The plan for these “new avenues” appropriated princi- the city.” ples and techniques of progressive urbanism which the Parisian boulevards were the references for. The office building is a quite important typology But, differently from Paris or Barcelona, the old city in contemporary societies. Constructive rationality, of Lisbon was not in question, since its development layout flexibility, environmental comfort or good had been planned through enlargement rather energy performance are central aspects of the proj- than reconversion. Unfortunately, the quality of the ect. An office building is a machine, complying with buildings did not correspond to the urban plan, legal regulations and technical standards to satisfy since they were extremely heterogeneous, manifest- the profitability of an investment. Architecture fulfills ing the economic and social fragility of the Portu- this desire to create commercial value and a quali- guese bourgeoisie.¹ Prior to 2016, the area was a fied real estate offer. However, an office building is blend of different eras, and cars had conquered the much more than that. It is a large-scale urban ele-

163 ment impacting both physical and social environ- 1 Raquel Henriques da Silva, “Das Avenidas Novas à Avenida ments. It attracts many people and transforms de Berna” in Revista de História de Arte, n. 2 (Lisbon, 2006), the city’s image. Despite being private as a mission, pp. 142–176. it has a strong public expression. 2 See Giovanni Battista Nolli, La Pianta Grande di Roma (1736–1748). http://nolli.uoregon.edu/. Nolli’s map consists What interested us was this possibility of transform- of twelve exquisitely engraved copper plates that measure ing the place through a hybridization of public approximately six feet high and seven feet wide when combined (176 cm by 208 cm). The map includes almost and private spaces and by not being able to precisely eight square miles of the densely built city as well as the define the boundary which separates public and surrounding terrain. It also identifies nearly two thousand private properties. As a shared space, the new sites of cultural significance. Nolli’s map is an extraordinary quarter is interwoven in the fabric, responding to the technical achievement that represents a milestone in the art and science of cartography. The map not only records the private interests and the individual and public streets, squares and public urban places of Rome, but ­expressions of the building and the city. Nolli carefully renders hundreds of building interiors with detailed plans.

“Only an equal, fair and pleasant experience of space guarantees its public quality.”

The categories of public and private, in spaces and even in life, are separated by tenuous lines. I imagine my city plan, in my daily life paths, designed in a Nolli-like manner. As La Pianta Grande di Roma² where the enclosed public spaces, such as the col- onnades in St. Peter’s Square or the Pantheon, are represented as open civic spaces. My obsession as an architect goes to the point that I would love to design every place that I can access, every public space—every street, every garden—and even design the private spaces that host collective functions, such as religious and trading places, churches and worship buildings, coffee shops, restaurants, ­museums, administration buildings, and everything else. Cities have a wealth of urban identity, and design provides such identity. The architect has the civic responsibility to contribute to such an endeavor, and beyond the totalitarian dream (or nightmare) of a continuous design and redesign, it lays the hope of enhancing our experience of space. Only an equal, fair and pleasant experience of space guaran- tees its public quality. Yes, architecture is politics.

164 165 CHRIST & GANTENBEIN Kunstmuseum Basel Extension

PROJECT NAME LOCATION Kunstmuseum Basel Basel, Switzerland Extension CONSTRUCTION PERIOD ARCHITECT/S 2012–2016 Christ & Gantenbein, BRICK TYPE Basel / CH Clay blocks BUILDING PURPOSE BRICK AWARD CATEGORY Museum Sharing public spaces

Christoph Gantenbein and Emanuel Christ

“Brick is an extremely versatile material,” it is the trace of fluorescent letters that says architect Emanuel Christ. “It can be slowly wander around the frieze, giving produced almost everywhere in the information about the current exhibition world, by hand or industrially, cheaply or or posing rhetorical questions to the city. also very expensively. Very few building The Kunstmuseum Basel possesses one materials offer such a large diversity.” In the interior spaces as well, the archi- of the most eminent painting collections In the Kunstmuseum Basel addition, a tects seem to have removed the color. in the world. The 8,000-square-meter conscious decision was made for a Gray Bardiglio marble from Cararra was extension of the existing building, a material that stands for timelessness, laid in the stairwell and in the hallway; listed structure erected in 1936, was sustainability and structural precision: the walls above are covered with a opened in April 2016. Just a few steps The entire outer shell of the façade likewise gray, rough scraped plaster. “This from the Rhine, the Swiss architects gets by without a single expansion joint. was exactly our intention,” the architect Christ & Gantenbein erected a solitary “We wanted the new building to speak explains. “It is almost as if someone had gray structure that is connected the same language as the existing desaturated the picture in Photoshop through an underground hall below structure with its mighty walls and up to monochromy. The color variety of Dufourstraße with the main building. distinctive horizontal stripes. At the same the second half of the 20th century time, however, we wanted to tell a takes center stage.” On St.-Alban-Graben, the building jumps completely distinct, new story.” back a few meters like a monumental Besides ongoing temporary exhibitions, sculpture. The gesture is skillfully placed, “The architecture has works particularly by American artists since one would like to inevitably look ­something like an aura, like since the 1960s—among them, Roy upward and appreciate the work in its Lichtenstein, Andy Warhol, Jasper Johns, entirety after all. The façade consists of a soul, like a mental patina.” Mark Rothko, Frank Stella, Donald Judd fired bricks, the red and yellow tones and Cy Twombly—are to be displayed of which were extracted with nitrogen. And that it does. At a height of twelve to in the new exhibition spaces. “From the The chemical process lets the building fifteen meters, a large, slightly sublime curating perspective, I can say that art appear like a coarse-grained, black- ­ stripe attracts attention on the main and architecture harmonize well and that and-white photograph in the middle of façades. At dusk the formal secret is the spaces are wonderfully suited for the city. One recognizes a gentle color lifted: LED lights are integrated in the working,” Nina Zimmer, curator and gradient: While dark bricks were rather relief-like grooves made of molded assistant director of the museum, points used in the street area, the material bricks that suddenly let the house speak out. “The architecture is indeed brand becomes successively brighter towards through indirect lighting: One time it is new, but it now already has something the top. an illuminated diamond or stripe orna- like an aura, like a soul, like a mental ment that hovers like a Burlington patina.” The Kunstmuseum has thereby sweater over the façade; another time gained itself as a valuable exhibit.

166 Sharing Sharing public spaces

167 Kunstmuseum Basel Extension

Jury Statement “The Kunstmuseum Basel is a very volume positions itself accurately within interesting and strong project in terms of the immediate context that it sits. This its material investigation that it is power- project has provoked a widespread ful in the way it has employed brick discussion within the architectural work as the external expression of this community. But it must be added, in big, new building. A public building and terms of the purpose of this award, that a national institution, it’s a building this is a very fitting example of what that offers a kind of public accessibility is possible to do in contemporary terms appropriate for its program. Sharing with a building of such civil impor- public space is only part of the story tance—the way that brick can feel noble though; the sharing extends to the city and highly crafted.” itself. It is not just about the interior spaces themselves, but also about the manner in which this very bold brick

The finest surfaces—also from up close

168 Sharing Sharing public spaces

The warm, gray shade arose by treating the fired bricks with nitrogen.

169 Kunstmuseum Basel Extension

Ground floor

Basement

170 Sharing Sharing public spaces

Second floor

First floor

171 The distinctive solitary structure in an urban context

Site plan

172 Sharing Sharing public spaces

LEDs that send messages out into the urban space are integrated into the dark stripe.

Longitudinal section

173 NICOLÁS CAMPODONICO ESTUDIO San Bernardo Chapel

PROJECT NAME LOCATION San Bernardo Chapel La Playosa, Argentina

ARCHITECT/S CONSTRUCTION PERIOD Nicolás Campodonico 2012–2015 Estudio, BRICK TYPE San Lorenzo / AR Clay blocks BUILDING PURPOSE BRICK AWARD CATEGORY Sacral building Sharing public spaces

Nicolás Esteban Campodonico

bordered by straight surfaces, the appear in the east as a cross. For the interior is characterized by curved ones. architect this is the symbolization and A half cylinder opening towards the west visualization of the way Jesus went. The rises above the foundation walls and side of the altar in churches, traditionally merges into a spherical segment to the facing the east, the sunrise and the This chapel is a small masterpiece. east and concludes the chapel through a origin of light, is clearly and manifestly United in it are a sensitive dealing with flat, open arch under which the interior is translated into a contemporary form. the location, an imaginative engagement connected to the exterior. The sphere The fact that the building material of with the principle of church construction, inscribed into the construction finds brick, which is traditional for the region, an equally simple as well as diverse and itself again as a projection in the brick was exclusively used underscores this impressive shape, and a concentrated flooring and is likewise traced by the meditative clarity that transcends the reduction. gallery lying in the west. Bricks applied course of time and the light falling from to the lower side of the gallery are also the west. The chapel is dedicated to the patron oriented to the middle point of the circle saint of a small community near where it paraphrasing the sphere. “In the plains there are no was erected. It stands where an old farmstead was situated, in the Argentine This space, constructed with traditional stones or woods, just earth. Pampa, framed by a small grove that craftsmanship, is already impressive The brick is the Pampa’s shields it towards the east. Neither enough. Yet what significantly enhances ‘natural’ material, so it is the running water nor electricity is available it is how the architect deals with light only material used.” at the site itself. Only the light of the sun which, as a metaphor of divine truth, and nature determine the atmosphere. plays such an essential role for Christian- Bordered by walls, the premises exude a ity. The aperture that opens to the west The old bricks of the house that previ- cheerful, monastic mood. captures the light of the sun that one can ously stood there were used for the see wandering along the wall. The shape outer walls. Their patina ensures that the One enters the area from the north; a is conceived so that light does not strike site, the building and nature combine surface paved with bricks is spread out any protrusions or edges. Two wooden into an entity. In the evening, the warm in front of the chapel and bounded by poles are arranged on the gallery, one light shines out from the flat arch of the a low bench, likewise of brick. One goes vertically, the other horizontally. They are east side from the inside to the outside, round the building on its eastern side not connected to each other. First the and thus conveys, in a once-again before entering it from the southern side. course of the sun, which projects the distinctive manner, what has culminated A tapering path leads into the interior, shadows of the two wooden poles as on the inside in the evening in the fusion guiding the visitor into the chapel, the lines on the interior surface of the of both lines into a cross. impressive interior of which cannot chapel, gradually brings these shadow be anticipated. Whereas the exterior is lines together and lets them ultimately

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175 San Bernardo Chapel

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177 San Bernardo Chapel

Jury Statement “A traditional project—not only in the It is powerful with a very small configu- use of material, but also in the configura- ration, but there is a lot of skill, sensibility tion of space. The most interesting and feeling towards light and the aspect of this project is that the outside ­material of brick. It is sure it is a place of doesn’t reveal the interior space. A very great joy for anyone who goes there poetic and special project because it is and it was a great joy for us to review it.” full of surprises and will never become outdated. It is done as an extraordinary craft. Old bricks have been re-utilized and the structure of the brick wall uses light in a completely interesting way. It is a small project and that is the great thing about it, since it creates so many emo- tions and so much awe as you go inside.

An entity of nature, construction and materiality

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The east side of the chapel with the bench in the foreground

Old bricks were used for the external walls and the wall around the chapel.

179 San Bernardo Chapel

N 0 1 3 6 Ground plan PLANTAN 0 1 3 6

PLANTA

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Longitudinal section 0 1 3 6

CORTE LONGITUDINAL

Cross section 0 1 3 6

CORTE TRANSVERSAL

181 TCHOBAN VOSS ARCHITEKTEN Russian Monastery Church St. Georg

PROJECT NAME LOCATION Russian Monastery Götschendorf, Germany Church St. Georg CONSTRUCTION PERIOD ARCHITECT/S 2012–2017 Tchoban Voss BRICK TYPE Architekten, Facing bricks Berlin / DE BRICK AWARD CATEGORY BUILDING PURPOSE Sharing public spaces Sacral building

Sergei Tchoban

Götschendorf is located in the middle of bright, hand-molded bricks, which were The result is a simple sacred building Uckermark, a moraine landscape in the subsequently covered with white slurry. with few accents. It unmistakably bears solitude of Brandenburg. Surrounded by Behind the subtle cement veil, the ochre, witness to its spiritual origin, colors forest edges and small farmhouses, a gray, and red tones of the fired material and materials, but adapts very unpreten- Russian Orthodox church suddenly and shimmer through. Depending on the tiously to the conditions on site. Erected surprisingly emerges on the side of the incidence of light, the surface seems to in such a way, the essence of a Russian road. The plain, white structure is part of glitter from silvery to copper-toned as Orthodox church is an innovative, an Orthodox monastery complex found- a result. Together with the sculpturally because unorthodox contribution to ed by the former journalist and news formed doorway arches, window sur- contemporary sacral architecture. In correspondent Norbert Kuchinke in 2006 rounds, vertical pilaster strips and the the coming years the monastery church after he had given up his job in Moscow clearly pronounced mortar joints, a is to be expanded by a guest house and decided to devote his life from this subtle depth arises in this manner, for pilgrims and visitors. time on to the less worldly things. instilling a certain liveliness in the midst of calm. A wooden eaves cornice and bright gray-weathered roof shingles “Planning a new church is made of wood conclude the structure. already a special building task in itself.” “Planning a new church is already a special building task in itself,” says Sergei Tchoban. “But in this case, the A square space measuring seventeen additional challenge entailed inscribing meters in side width and ten meters a Russian Orthodox church building in height forms the basis of this sacral into a Protestant-shaped town.” Born and building without a plinth. In the altar raised in St. Petersburg, the architect area, the ground plan is extended by has a foible for subtlety and sensitivity three semicircular apses. Providing room up to the last detail, and already caused for up to 200 people, the space is com- an unexcited stir with his Museum for pleted according to Russian-Byzantine Architectural Drawing on Prenzlauer architectural tradition by a cross-­­in- Berg in Berlin, which he erected in 2013. square cupola with a round lantern and “I therefore decided to reduce and to onion dome. The distinctive spire soars abstract the appearance compared to 26 meters into the sky. classic Orthodox churches and to fit the building harmonically into its setting.” The materials used here appear unusually reduced: The entire façade is clad with

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Monastery church based on the Russian-Byzantine building tradition

183 Russian Monastery Church St. Georg

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Hand-molded bricks covered with white slurry allow the original color of the bricks to shimmer through.

185 HBAAT – HART BERTELOOT ATELIER ARCHITECTURE TERRITOIR Activity and Dance Center

PROJECT NAME LOCATION Activity and Dance Quesnoy-sur-Deûle, Center France

ARCHITECT/S CONSTRUCTION PERIOD HBAAT – Hart Berteloot 2014–2015 Atelier Architecture BRICK TYPE Territoir, Facing bricks Lille/FR BRICK AWARD CATEGORY BUILDING PURPOSE Sharing public spaces Mathieu Berteloot and Heleen Hart Leisure center

Quesnoy-sur-Deûle is a small community surrounded by streets, single-family Clarity and simplicity also dominate at the northernmost tip of France. The houses and a school, the architects the interior. Besides the three instruction proximity to Lille, Calais and the Belgian decided to shift the structure to the rooms, which completely open up border has brought the town a brisk northern edge and to locate a narrow, towards the courtyard through wall-to- amount of through-traffic since antiquity. but well-utilizable open space on the ceiling sliding glass doors, there are Even today, around 18,000 ships travel southern part. The small, sealed inner wardrobes, sanitary facilities as well as a the Deûle annually. Barely 70 meters courtyard is enclosed on all sides by a 170-square-meter-large dance and from this strategically so important river, cement wall. Greenery was consciously ballet hall. Among the materials used are where a run-down kayak club once left out. Everything here is influenced plastic floors, locally produced, ready- characterized the location, a minimalist by the physical, space-spanning made concrete bricks, as well as unvar- gem is to be found. HBAAT erected a ­movement between the inside and nished pine plywood for sliding doors small dance and movement center here the outside. and wall cladding. The bricolage made for the youngest members of society. of cheap and recycled construction The Dance and Activity Center, part of materials blends in perfectly with the the cultural and educational program “We see ourselves not only surroundings dedicated to learning, of the Lille Region, became operative in as architects, but also as dancing and the childish love of adven- June 2015. companions and project ture. developers.” “We see ourselves not only as architects, but also as companions and project developers,” say Heleen Hart and Mathieu The façade is made of exposed concrete Berteloot, who run their office in Lille and white clinkers. As mostly found and are specialized, among other things, in industrial buildings, these were in public facilities such as day care bricked in an offset stretcher bond. The centers, schools, libraries and cultural gray joints allow the raw, industrial buildings. “Therefore, we also super- visual effect to clearly stand out. Surface vised this project from the very begin- refinements like plaster or color are ning—from the first meetings with sought in vain. On one hand, the project the community, to the analysis of local had to be erected in a very cost-con- conditions, to the planning and con­ scious manner; on the other hand, the struction.” color here is reserved for the dancing boys and girls. During performances, the In order to be able to take maximum house and inner courtyard mutate into advantage of the somewhat more than a minimalist, nearly dematerialized 1,000-square-meter-large lot, which is picture-frame stage.

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187 Activity and Dance Center

Exposed concrete and white clinkers with gray joints on the façade

Model photos

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The house and courtyard are kept in a neutral gray; the color comes from the children and the furnishings.

The materialization underscores the industrial character. Ground floor

189 SEA – STUDIO FOR ENVIRONMENT AND ARCHITECTURE The Temple and the People

PROJECT NAME LOCATION The Temple and the Vennached, India People CONSTRUCTION PERIOD ARCHITECT/S 2014–2015 SEA – Studio for BRICK TYPE Environment and Clay blocks Architecture, Hyderabad / IN BRICK AWARD CATEGORY Sharing public spaces BUILDING PURPOSE Sacral building

Venu Kopal, Shyam Kumar and Hari Krishna Karri

Indian architecture is considered as one performed better in tests in regard to red not only reflects the earth, but also of the world’s oldest. Its beginnings lie sturdiness, building logistics and the different saffron tones that are to in the cities of the early Indus culture in ­durability, the choice fell to brick. The be found in many Hindu buildings and the third century BC. Since the seventh deployment of material is innovative objects. century AD, that building typology and unique in this way. known up to this day as Hindu Temple, “But the most important element of respectively Mandir, has been practiced. Perforated clay bricks with a material every temple,” says the architect, “is the The design, sequence of rooms and thickness of 15 centimeters were used on ornamentation that usually shows ornamentation follow strict rules that the walls and outer walls of the temple people, animals and deities in all con- differ from region to region. room. For the seven-meter-high shikhara, ceivable colors. In this temple, however, In Vennached, a small village southwest as the convexly stepped tower is called, the resplendent decoration is abstracted of the metropolis of Hyderabad, this new ten-centimeter-thick bricks were used. in the pure geometry of the shikhara. temple, which breaks with all traditions The characteristic slant of the bricks, Through the once symmetrically of Hindu construction—at least at first which result in several sequences of ­incidental, another time unpredictably glance—was erected. slats, is a reinterpretation of the tracery-­ dancing sunlight on the structural like perforated screens, the so-called jali, brick surface, the light itself becomes the which are traditionally found in Indian ornament. And the color … it comes “Through the once sym- architecture. from the people who go in and out of metrically incidental, here.” One understands now at the latest ­another time unpredictably “In retrospect, I am very happy about why the architect describes his sacral dancing sunlight on the this development,” mentions the debut project as a distillate, as the ­architect Karri, who describes himself as absolute essence of a traditional Hindu structural brick surface, the an agnostic and made his first foray temple. light itself becomes the into sacred architecture with the temple, ornament.” “since in combination with the concrete, the grout, the omnipresent Tandur gray of the surrounding buildings and The architect Hari Krishna Karri planned the deep blue of the sky, wonderful, a plain temple dedicated to the saint warm contrasts, which we would have Shirdi Sai Baba and was to be construct- otherwise had to do without, emerged.” ed in locally common Tandur stone. A Srivathsan, architecture theoretician In consultation with the clients and the and Academic Director of the CEPT authorities, however, the decision was University in Ahmedabad, describes the made to switch from the gray stone to a choice of material in one of his texts more robust building material. Since it as eminently harmonious, because the

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191 The Temple and the People

The slant of the bricks draws upon the tradition of tracery-like perforated screens.

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193 EGGEN ARKITEKTER St. Olav’s Catholic Cathedral

PROJECT NAME LOCATION St. Olav’s Catholic Trondheim, Norway Cathedral CONSTRUCTION PERIOD ARCHITECT/S 2015–2016 Eggen Arkitekter, BRICK TYPE Trondheim, NO Facing bricks BUILDING PURPOSE BRICK AWARD CATEGORY Sacral building Sharing public spaces

Eggen Arkitekter

With around 200,000 inhabitants, “The location in Trondheim is unique,” other hand. And, naturally, the mix of Trondheim is Norway’s third largest city the architects explain, “St. Olav’s Cathe- materials with the copper, the oak wood after Oslo and Bergen. The Roman dral lies on a prominent bottleneck at the and the heavy, brushed limestone on Catholic community is traditionally very south end of the historic old city, on the the floor and on the altar is also an small, but through the strong influx bank of the Nidelva River, directly next expression of authenticity and durability.” from Eastern and Southeastern European to the Elgeseter Bridge and in the middle In any case, the pastor of the sacral countries it has vigorously grown in of beautiful art nouveau mansions. building is satisfied. During the conse- the past years. “The old church was much For this reason we decided to design the cration in November 2016, Egil Mogstad too small for our needs,” recalls Egil project in a very classical manner. We attested a prominently referencing, Mogstad, pastor of the newly erected see the church as a modern interpretation early Christian aesthetic to his cathedral: St. Olav’s Cathedral. “Besides, there of a traditional basilica.” “This church is as beautiful as Santa were construction flaws and symptoms Sabina in Rome, yet as modern as the of old age like mold and corrosion. The first impression is characterized by 21st century deserves.” There was an urgent need for action.” tenderness and elegance. Barely has the heavy oak door with its shimmering copper fittings closed when a warm, “For us, the brick and cozy interior space, holding up to 450 the classic architectural persons, opens up. It almost seems as if elements are an it had already been there forever. The main aisle, the side aisles and the pillars intellectual connection are homogenously kept in brick. A few to the rich history of Nordic-cool light beams fall into the this city.” space through the twelve windows in the clerestory. The altar is found in the round apse. A lightweight wooden roof struc- In the year 2010, a national architecture ture with iron tension rods hovers above competition for a new cathedral was everything. tendered. Unobtrusive and classical-­ appearing, the winning project is com- “For us, the brick and the classic archi- prised of a three-aisled basilica with tectural elements are an intellectual a freestanding church tower and diverse connection to the rich history of this city,” annexes where the parish center, both architects stress. “The plain con- library and three priest’s apartments struction with its changing brick surfaces are ­situated. Bright, gray-brown brick is lends the space calm, on the one hand, the dominating building material. and a rich, vibrant relief texture, on the

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195 St. Olav’s Catholic Cathedral

GOUND FLOOR PLAN 0 1 2 5 m 1:200

GOUND FLOOR PLAN Ground plan 0 1 2 5 m 1:200

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The use of brick, stone, wood and copper stands for authenticity and durability.

197 ANDREAS HELLER ARCHITECTS & DESIGNERS European Hansemuseum Lübeck

PROJECT NAME LOCATION European Lübeck, Germany Hansemuseum Lübeck CONSTRUCTION PERIOD ARCHITECT/S 2013–2015 Andreas Heller BRICK TYPE Architects & Designers, Facing bricks Hamburg / DE Roof tiles BUILDING PURPOSE Paving bricks Museum BRICK AWARD CATEGORY Sharing public spaces

Andreas Heller

In the history of the Hanseatic League, Castle Friary rises, thereby bordering the towards the top, so that the ensuing Lübeck plays a crucial role. It is no old city towards the Trave River and the shadowing increases the effect of the coincidence, therefore, that the largest port facilities. In the typical local material darker brick even more. The overall Hansa museum in Europe came into of a red clinker, the closed front of the result, therefore, is a richly varied picture being in 2015 in Lübeck. museum appears at this spot like a that splendidly complements the reminiscence of the city wall that once historic surroundings and the old Friary “With the architecture of stood here. About in its middle, a public buildings. staircase leads up the Castle Friary hill the new museum building to a roof terrace, an observation platform, At the southern edge, the modern we have combined and further on into the old city. shape of the new building segues into hand-crafted, high-quality a traditional gabled house, which is brick materiality with ele- “In the interplay of the adorned with an ornamental façade made of quatrefoil motifs likewise based gant modernity.” new structure with the on Brick Gothic and found again, for listed monument of the instance, on the windows of the Friary. Located on the northern edge of the Castle Friary and the out- Also hand-produced,­ the bricks on inner city, the museum consists of a new door facilities, the Euro­ this façade feature a rough and vibrant structure and the renovated and restored surface. buildings of the Castle Friary, one of pean Hansemuseum has the most important medieval monastery melded into a distinctive The museum is accessed from the stairs complexes in Northern Germany. sign that forges a link leading through the building, which, in Through the restoration, its eventful between the past and the addition to information about the Hansa history has been made comprehen- and spatial installations that take view- sible and integrated into the over present.” ers back into the era of the Hansa, 7,000-square-meter-large compound. displays original documents and archae- Prior to that, additions and installations A new brick, based on the format of ological finds. Moreover, the building not worthy of preserving had been traditional Brick Gothic which spread now surrounds a former excavation site. removed. With few amendments, throughout the entire Baltic region In this way the museum makes history decidedly identifiable as those of a new with the Hansa, was developed for the accessible at many levels: in the exhibits, era through the use of white concrete façade. Hand-pressed in wooden in the historical and new sections or bronze as materials, the architect molds, the bricks were coated with of the complex, and in its architectural clarifies the overall spatial situation and ­different slurries that result in various language. shapes it into an entity. color shades; the darker bricks were The new, two-story building snuggles up used mostly higher up in the façade. In to the slope of the hill upon which the addition, the joints were recessed

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199 European Hansemuseum Lübeck

A brick whose color shades vary on account of various slurries was developed for the façade.

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The color gradient of the bricks gets darker going upwards while the joints get deeper.

The new building stands on the location of the former city wall.

201 PETER BÖHM ARCHITEKTEN Philosophikum am Domplatz

PROJECT NAME LOCATION Philosophikum am Münster, Germany Domplatz CONSTRUCTION PERIOD ARCHITECT/S 2011–2017 Peter Böhm Architekten, BRICK TYPE Köln / DE Facing bricks BUILDING PURPOSE BRICK AWARD CATEGORY Education Sharing public spaces

Peter Böhm

Home to the university philosophy also establishes a connection to a small of brickwork, which are department, the Philosophikum lies park and a creek. washed with a bright directly on the western edge of the central Domplatz (Cathedral Square) in The façade is designed so that the old sand-colored lime-cement the Westphalian city of Münster. Since and the new become an entity. A sand- mortar. The reddish the postwar era it has been located in an stone façade covers the head of the old brick will glimmer only old building erected in 1903 as a semi- building; its section extending down- very slightly through nary, which underwent major changes wards is brightly plastered. For this through additions and conversions reason the architects decided for a brick this surface.” following war damage. A modernization façade coated with yellowish, ochre- had become inevitable; moreover, the toned slurry, which orients itself in terms The dialog between old and new is to outdoor space on the sloping property of color to the existing building. But the be experienced in the interior, too, where was unsatisfactorily designed and an red of the brick, which is a frequently the carefully detailed brick walls of the extension of the spatial offer desired. applied façade material here in Münster, new structure face the former outer The Cologne-based office of Peter Böhm nonetheless shimmers through. Clad façade of the old building. Situated in the Architekten prevailed in a 2010 competi- in brick, the story-high pillars form a modernized existing structure are lecture tion with a design that was completed type of large shelf with the horizontal halls, offices, seminar and meeting in 2017. ­concrete elements, which reveal the rooms (as well as other departments) stories. This thereby points to the fact and—like before—an auditorium and a After the additions were torn down, a that the new edifice’s approximately studio stage of the German Studies long, narrow block was placed in front 1,800 m²-large floor space is mainly used Institute. Thanks to the use of geother- of the existing building. Five stories as a library. The pillars are arranged in mal energy and the activation of the high, it is somewhat lower than the old front of the head end of the bookshelves: concrete slabs for heating and cooling, it building, since it adopts the eaves the inner spatial rhythm therefore is possible to utilize distance heating heights of the development bordering to structures the façade as well. solely to cover the peak load and to the south. Because the new structure otherwise fall back on renewable energy was additionally placed parallel to this “The new building forms for the most part. development opposite it, an interstice that widens towards the old building and an entity with the old The university received a successfully takes in the foyer as a glass hall resulted. one, connected by a glass renovated and attractively expanded Slightly stepped, the courtyard com­ hall as an interstice. This building. Aside from that, the citizens of fortably leads downwards from the ­uniform character is the municipality profit from an upgraded ­Cathedral Square to the entrance at the public space. western end of the new building. As a also strengthened by the public space accessible to everyone, it ­materiality of the façades

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203 Philosophikum am Domplatz

Red bricks were coated in yellowish ochre slurry.

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View from the foyer to the lecture hall

205 BEZ + KOCK ARCHITEKTEN Anneliese Brost Music Forum Ruhr

PROJECT NAME LOCATION Anneliese Brost Music Bochum, Germany Forum Ruhr CONSTRUCTION PERIOD ARCHITECT/S 2013–2016 Bez + Kock Architekten, BRICK TYPE Stuttgart / DE Facing bricks BUILDING PURPOSE BRICK AWARD CATEGORY Concert hall Sharing public spaces

Martin Bez and Thorsten Kock

Erected from 1868 to 1872 in a neo-Gothic display the new without completely the inside, the view to the brick façade style, the St.-Marien-Kirche (St. Mary’s distancing themselves from the old: of the old building is possible on its west Church) marks the beginning of the St. Mary’s Church had also been built of side, as well as in the entrance areas Bochum inner city expansion westwards. brick, the typical local building material. of the concert halls. The new bricks can After a structural reform of the respon­ Placed in a precise and concentrated also be found again on the walls there, sible diocese, the church was secularized fashion in the largely closed façade, the varying the correspondence between the in 2000 and was to be demolished; new doors and window frames blend existing building and the extension a thanks to the commitment of citizens, art excellently into this dialog of old and second time. historians and the conductor of the new. Bochum Symphony Orchestra, Steven In the concert hall itself, the seats are Sloane, it was finally able to be pre- arranged so that the orchestra is served as a part of the Anneliese Brost “This is a model example ­surrounded by the audience and a close Music Forum Ruhr. of successful and mutually atmosphere of shared experience is fruitful collaboration be- created. Made of cherry, the wall panels Seating somewhat more than 900 tween the client, planner lend warmth to the space. Meshed listeners, the concert hall of the Bochum grating on the ceiling and behind the Symphony Orchestra, which they had and architect. It was the podium, as well as slight curvatures on long been missing up to then, connects only possible way to fur- the front side of the hall may recall the to the sides of the church widthwise ther develop the architect’s interior of a nave and thus establish a in the nave towards the south. A flexibly spatial ideas with good reference to the church on this symbolic programmable multifunctional hall level, too. But whoever does not share was added in the north. Owing to the acoustics and the client’s this association will appreciate that the single-­story transition area between wishes into a space valued church was not torn down and has the church and the halls, the old building by everyone.” meanwhile become a center of cultural distinctly makes an appearance in life in a new way. keeping with its original function. The side rooms of the concert hall are The foyer of the new music center, which also set apart by such an interstice, can be accessed via the freestanding elegantly and manifestly dividing the chancel, now forms the interior of large total volume in this manner. St. Mary’s Church. Like the chancel, the tower porch in the west also emerges out The façades of the new structures are of the alignment of the entire complex. made of bright, lime-washed, terracotta-­ After secularization, the church interior red bricks which were specially produced had considerably suffered—now it has for this building assignment. They been newly staged in a vibrant white. On

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Like the former church, the Musikforum also features a brick façade.

Passage into the concert hall

207 Anneliese Brost Music Forum Ruhr

The old bricks are preserved.

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Longitudinal section

SPS-0448 Anneliese Brost Music Forum Ruhr

Ground plan

209 LUNDGAARD & TRANBERG ARKITEKTER Kannikegården

PROJECT NAME LOCATION Kannikegården Ribe, Denmark

ARCHITECT/S CONSTRUCTION PERIOD Lundgaard & Tranberg 2014–2015 Arkitekter, BRICK TYPE Copenhagen / DK Facing bricks BUILDING PURPOSE Paving bricks Offices / BRICK AWARD CATEGORY multipurpose hall Sharing public spaces

Lundgaard & Tranberg Arkitekter

Ribe, once an important place of trade event space is elevated. A sweeping, far developed for this building. Rather on the North Sea coast, is Denmark’s drawn down roof with a narrow base undemanding, the mounting technique oldest city and a bishop’s see since the is pulled over the glazed ground floor follows a centuries-old tradition, ensur- 14th century. The cathedral is the center like a bonnet. As a consequence, the ing that the individual tiles can be easily of the well-preserved medieval city slope of the roof already begins on the replaced. The roof gutter on the lower and one of the most important sights. first floor. The window openings are edge is likewise clad with brick tiles; Sensibly fit into the neighborhood, a irregular and, as required, nonetheless it protrudes slightly, thereby setting the new building for the parish council and quite sparingly arranged so that the upper stories apart from the glazed the cathedral staff, which includes a ­character of the closed volume dominates basement. public auditorium, was completed in and the contrast between the open lower 2015 right across from it. and closed upper part is not impaired. Through the directed control of the oxygen feed during the firing, the bricks During construction work, the crew came “The upper part of the received exactly the range of color tones upon remnants of the cathedral court- with which they blend into the surround- yard wall dating from the 12th century. In building is covered with ings and incorporate the rust-red hues order to preserve and make them acces- specially developed façade of the neighboring buildings. Production sible, the architects split the building tiles in reddish brown traces and surface irregularities were into two parts: In the lower part, glazed shades comparable to the consciously taken into account in order on all sides and bordered by rough, to not let the new building appear as a exposed concrete walls, the uncovered city’s and the region’s foreign body within its historic setting. In archaeological findings can be viewed. characteristic, brick houses this way, the historic center of the old Rough wooden slats structure the – but as a more contempo- city was properly and worthily enriched façade. Since the historical site lies rary interpretation due to with this new building. deeper than the present-day ground level, a terraced open space was laid out the larger size of the tiles.” as a small atrium, in order to afford good natural lighting. Steel steps with The steel frame construction of the an industrial look and feel lead from a upper floors is completely clad with brick small foyer and a gangway down to tiles. Adapted to the surroundings, the the old ruins. Everything here has been façade cladding consists of hand-pro- kept unwrought and original. duced, five-centimeter-thick plates with a surface of 63 × 35 centimeters, which are Resting upon concrete pillars above this mounted on top of each other in an ground floor, the actual new building imbricated manner on a lattice construc- with offices, the meeting room and the tion. This brick tile format was specifically

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The brick plates cover the entire structure of the upper floors.

2 11 Kannikegården

The coloring of the bricks corresponds to that of the surrounding historical buildings.

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Terraced open space on the south side

The wall remnants of the old cathedral courtyard

213 BOLTSHAUSER ARCHITEKTEN Kopfholz School

PROJECT NAME LOCATION Kopfholz School Adliswil, Switzerland

ARCHITECT/S CONSTRUCTION PERIOD Boltshauser Architekten, 2013–2014 Zurich / CH BRICK TYPE BUILDING PURPOSE Facing bricks Education BRICK AWARD CATEGORY Sharing public spaces

Roger Boltshauser

The Kopfholz School building is a prefabricated panels. The bricks have positioned in line with the shifting substantial extension to an existing a rich color nuance that runs from green orientation of the façade on the second school ensemble from the early 1970s in to gray, with traces of coal burning on floor and support the overall proportion- Adliswil, a small village on the south the surface. They are made in a thinner ing of the building. side of Lake Zurich. The new building, format than usual, thus enabling the designed by Roger Boltshauser, is ­consumption of raw materials and energy By applying the pavilion typology and situated north of the existing sports hall to be reduced during brick production. using all architectural means to scale amid the green surroundings composed Rather than mimicking a traditional brick down the building, the architect succeeds of mature trees. Over four floors and an façade, the bricks are put in a standing, in fitting a relatively large project into underground, the new building accom- rotated bonding in the cast of the panels. the sensitive setting. In color and texture, modates a large variety of functions such By doing so, the façade gains a lively the façade of the schoolhouse resonates as kindergarten rooms on the lower texture of vertical lines with the play of with the play of light and shadow on floors, schoolrooms and a music room light and shadow upon them that would the leaves and the barks of the surround- on the higher floors, with additional be hard to realize in traditional brick- ing trees. The refinement of the façade offices and therapy rooms that function work. supports the architectural ambition and as an extension to the school. The floor enhances the pavilion-like character plans are organized around a compact “At first glance, the volume of this fascinating extension that seeks core with stairs. An articulated window is modest, the layout sym- to dissolve rather than contrast with for each classroom faces one direction its surroundings. and a window in the support room faces a metric, the object a simple different direction to enhance the play cube. Nevertheless, the of light within the building. The windows building does not come are arranged and shifted over two floors across as austere: The to scale down the building. Almost cubic, the volume has slightly shifted façades recess of the walls lends which furthermore support the pavilion the body a playful charac- typology of the school extension. ter, the relief-like brick façade with its protruding The façades of the new schoolhouse are constructed as massive walls. The windows gives the building material palette with warm gray window a powerful impression.” frames and nuanced brick carefully fits the new building into its green environs. The joints between the large panels The large closed surfaces of the building render invisible in the vertical play of the are clad in bricks that are cast into façade. The horizontal joints are carefully

214 Sharing Sharing public spaces

The two-story windows make the building appear smaller.

215 Kopfholz School

216 Sharing Sharing public spaces

Framing elements with vertically laid bricks were mounted onto the façade.

217 KOEN VAN VELSEN ARCHITECTEN Public Transport Terminal Breda

PROJECT NAME LOCATION Public Transport Breda, The Netherlands ­Terminal Breda CONSTRUCTION PERIOD ARCHITECT/S 2012–2016 Koen van Velsen BRICK TYPE Architecten,­ Clay blocks Hilversum / NL Facing bricks BUILDING PURPOSE Paving bricks Infrastructure / BRICK AWARD CATEGORY ­apartment housing Sharing public spaces

Koen van Velsen

As in many European cities, the train darker and hard wire cut brick in the temporary infrastructural buildings that station and the tracks in Breda have been plinth to deal with the intensive use of end up in spectacular roofs spanning a dividing line between sides of the city. the spaces. Resonating with historic over rationally organized programs Built just outside of the former ramparts, buildings where traces of alterations and actually alienate and disengage with the the station connects with a classical extensions made over time are often urban surroundings, the Breda terminal late 19th century neighborhood to the visible in the brickwork, surfaces of provides a successful alternative. The historic center in the south. To the differently colored bricks are applied on complex is conceived first and foremost north, factories and large social housing the façades. These surfaces are inspired as a classical urban building, a recogniz- ensembles determine the urban land- by changes made in the design during able type in the city. By adding conven- scape. The transformation of the station the process, like the shifting of a window, tional urban programs to its façade, it into an integrated public transport and are executed in slightly contrasting, has an attractive face to both sides of the terminal has been the catalyst of a large differently sized bricks and especially station. In addition, by using the same urban renewal project to reconnect glazed bricks. These seemingly indepen- material most of the surroundings have both sides of the city. dent surfaces contribute to the scaling been built up with, the transport terminal of the complex and provide a fascinating succeeds in its ultimate ambition in The new station designed by Koen van play over the façades that relativizes becoming the connection between the Velsen architecten is an impressive and the rational organization of the terminal formerly separated parts of the city. well-organized combination of a high- building, the offices and the housing speed train terminal, normal train behind. terminal, a bus terminal, bicycle parking and a large car park on top of the station. “Inspiration was drawn In addition to the transport program, the complex provides extensive retail and from historic Italian office spaces and, most remarkably, cities, in which brickwork 147 apartments. Two large, brick-paved façades express the public squares connect the complex ­changes over time.” to the immediate urban surroundings on both sides. The use of a single material ties not only Brick is the main facing material on both all the different functions in this large the inside and outside walls, lending complex together, it also creates a direct the monumental complex a scale we can and recognizable link between the new physically relate to. The warm-colored, complex and the existing brick buildings soft hand-molded bricks of the main of various ages and ambitions on both façade surfaces are combined with a sides of the station. Where many con-

218 Sharing Sharing public spaces

219 Public Transport Terminal Breda

The terminal connects the previously separated parts of the city.

Bricks establish the connection between the individual components of the traffic hub and the structures in the surroundings.

220 Sharing Sharing public spaces

The pattern could be read as a reaction to changes during the implementation process.

221

Building outside the box Building outside the box

224 MIKKO SUMMANEN 256 WIRTH ARCHITEKTEN F rom Clay to Gold – Innovative Remisenpavillon Concepts and Ways of Using Bricks 260 MUKA ARQUITECTURA SLP 228 U.D. URBAN DESIGN AB Dwelling Between Party Walls & GOTTLIEB PALUDAN ARCHITECTS Värtan Bioenergy 264 FEAT. COLLECTIVE CHP Plant Lanka Learning Center

236 ALEAOLEA ARCHITECTURE & LANDSCAPE 268 VECTOR-I ARCHITECTS WITH DAAD ENGINEERS The Old Church of Vilanova R estaurant Southside New Market

de la Barca 272 PÉRIPHÉRIQUES ARCHITECTES

244 ARCHITECTUUR MAKEN Lorraine Coallia – Paris 75019

De Gouverneur 276 CIVIC ARCHITECTS AND BRIGHT; THE CLOUD COLLECTIVE 248 ADMUN STUDIO Augmented Brickwork – Public Cloaked in Bricks Railway Passage Tilburg 252 MVRDV Crystal Houses MIKKO SUMMANEN From Clay to Gold – Innovative Concepts and Ways of Using Bricks

Mikko Summanen

224 Alvar Aalto’s most creative years are often referred horizon for innovation. Through digitalization, cus- to as the “red brick period.” He was a master in tomizing bricks even in small quantities will become using brick in unforeseen ways, which resulted in more and more feasible in the future. Drones and organic and human, yet powerful architecture. robots will allow us more freedom in form giving. Aalto took brick architecture into new frontiers with Algorithmic design will help us optimize the struc- his experimentations with organic form giving, ture and usage of material. The forerunners in reliefs and customization of brick as well as ceramic this field like Gramazio Kohler Architects have given tiles. These experiments are present in his most us the first glimpses of this new horizon. innovative red brick buildings. Already in 1948 Aalto designed a student dormitory at MIT, deliberately using second grade brick in order to create a rustic “Architecture is about feeling. In the fifties he designed the Säynätsalo transforming a Town Hall, the Muuratsalo Experimental House and worthless stone into the House of Culture in Helsinki, which are all ­acknowledged as masterpieces of modern architec- a nugget of gold.” ture. The second way to interpret the metamorphosis Building Building outside the box Aalto once cited Frank Lloyd Wright during his Aalto and Wright spoke of has to do with time. Brick lecture in Vienna in 1955: “The brick is an important is one of the oldest building materials in history and instrument for us in the creation of form. I was yet it still is reborn again and again in new contexts once in Milwaukee with my old friend Frank Lloyd and concepts. This heritage within the material itself Wright, who was attending a conference there. He is valuable to people also culturally and emotionally. began: ‘Ladies and gentlemen, do you know what a The brightest architecture always contains elements brick is? It is a worthless, ordinary little object that of both heritage and future. Brick as a material can costs 11 cents, but it has one very special quality. serve as a bridge there. In the projects published in Give me a brick and it will become worth its weight this book there are several outstanding examples in gold.’ That was perhaps the only time that I of this kind of approach, such as AleaOlea architects’ had heard in public, stated clearly and bluntly, what Old Church of Vilanova de la Barca. architecture really is. Architecture is about trans- forming a worthless stone into a nugget of gold.” Today, more than ever, we must consider the need This metamorphosis from a simple basic unit of for creative thinking in a broadest possible sense. burnt clay into innovative contemporary architecture Innovation and creativity must include social is as true now as it was in the fifties when Aalto and ­responsibility in addition to new forms and textures. his contemporaries built their masterpieces. In contemporary buildings sustainability and energy efficiency are often associated with the concept To my mind this metaphor can be in interpreted in at of “smart buildings.” To meet the criteria for smart least two different ways. The first one has to do with buildings they are, in many cases, solved with the brick’s potential as a basic material unit. Even complex technology such as elaborate HVAC sys- the most ordinary clay brick can be laid together and tems or multilayered building envelopes. In this arranged in countless different compositions. Doing respect we could call them “high tech smart so, contemporary architects have proven the versa- ­buildings.” However, there is another approach tility of brick in their architecture and will continue which is quite the opposite. Massive, homogeneous to do so. Today, the customization of bricks and structures such as solid brick or clay block walls or advances in new technologies are expanding this solid Cross Laminated Timber or log wall solutions

225 possess potential for becoming “low tech smart way in the Neues Museum in Berlin. These awarded buildings.” The positive aspects in these solutions examples of contemporary architecture testify to lay in their simplicity. Too often we are facing prob- the vitality and relevance of brick as a contemporary lems with technical systems or complex structures material. The awarded and nominated projects in which are too difficult to operate or maintain. There this Brick 18 book are proof of this same vitality. In are also challenges in legislation, norms and ways all these projects the metamorphosis from ordinary of assessment for energy efficiency which, in many clay to timeless architecture is true—from clay to cases, disregard the ability of solid wall structures to gold as Frank Lloyd Wright so well put it some sixty store heating and cooling energy. These methods years ago. of assessment do not reveal the true performance of homogeneous envelopes and should thus be ­expanded and further developed.

Another challenge has to do with life cycle of build- ings. It really is not sustainable to build buildings for a life span of thirty or fifty years when the other option is to build with simple, solid structural and material solutions for a life span of one hundred years. This long life span requires success in many fields, but by reducing the amount of complexity and vulnerable technology the probability for a long life is increased.

“These awarded exam- ples of contemporary ­architecture testify to the vitality and relevance of brick as a contemporary material.”

Looking at the best of contemporary architecture, it is noteworthy that four out of six finalists of the European Union’s Mies van der Rohe Prize in 2017, which is inarguably the most prestigious architec- ture award in Europe, were brick buildings. One of the finalists, Lundgaard & Tranberg’s Kannikegården Church Extension, is a masterpiece of archetypal architecture, which succeeds in being ancient and entirely new at the same time. The winner of the Mies van der Rohe Prize in 2011, David Chipperfield, used recycled brick in a delicate and contextual

226 227 U.D. URBAN DESIGN AB & GOTTLIEB PALUDAN ARCHITECTS Värtan Bioenergy CHP Plant

PROJECT NAME LOCATION Värtan Bioenergy Stockholm, Sweden CHP Plant CONSTRUCTION PERIOD ARCHITECT/S 2013–2016 U.D. Urban Design AB, BRICK TYPE Stockholm / SE Ceramic façade panels & Gottlieb Paludan Architects,­ BRICK AWARD CATEGORY Copenhagen / DK Building outside the box

BUILDING PURPOSE Infrastructure

Helena Glantz (U.D. Urban Design) und Michael Krarup (Gottlieb Paludan Architects)

The overground part of the plant has stacking of floors, to which we can been clad in a curved façade of vertical physically relate. ceramic elements. The curved shape of the façade unites the various installa- The façade elements are made out tions that make up the plant into a single of paired ceramic elements placed in a The sites for energy production and gesture, while reducing its acoustic and V-shape and on top of each other. The public infrastructure were originally visual impacts. Its dynamic form proudly resulting expression connects the new located on the periphery of our cities. Due expresses the building’s civic function. plant to the characteristic brick buildings to increasing urban expansion, these within the ensemble. sites have become part of our daily “The custom-designed Above all, the new façade positions this urban environment. Usually considered piece of infrastructure as a contempo- as technical design assignments, the fins that make up the rary building that fits within the tradition on-going transformation and extension unique curving surface of of the Northern European city. of these crucial and often hard-to-move the building provide a infrastructures have become an urbanis- transparency that subtly tic and architectural question. reveals the activities within The Värtan power plant is a case at hand. – since safe, reliable and Located near the port of Stockholm, environmentally responsi- this ensemble of buildings has become ble energy production surrounded by roads and housing estates, offices and other industry, as is nothing to hide.” well as recreational areas. Several monumental oak trees and a fauna path The inevitable future changes and connection on the site had a profound extensions on the installation can be impact on the extension of the plant, realized within the building envelope, which includes the world’s largest urban thus maintaining the strong expression biofuelled cogeneration plant. The and presence of the building in this new plant is a very large piece of infra- part of the city. The unity of the façade is structure that reaches underground to established by a stacking of vertically the harbor for its supply of biomass and placed ceramic elements. The horizontal makes a significant contribution to steel profiles between the ceramic the reduction of the city’s CO2 footprint. elements not only act as support con- struction of the façade, they also give the façade a sense of scale, not unlike the

228 Building Building outside the box

The envelope also serves as noise protection.

229 230 Building Building outside the box

231 Värtan Bioenergy CHP Plant

Jury Statement “At the time when factories are moving same time connects with the entire outside the center of cities—it’s a feeling of the neighborhood. A beautiful ­European protocol to move industry project which represents something outside of the cities—this factory lies that is unexpected of an industrial plant. in the city with a great presence for Usually terracotta is associated with a tourists. The first example of a success- more traditional, low-tech building, and ful industry that becomes part of the it is unusual and innovative in associat- city and doesn’t have to run away and ing the material with high-tech, industrial become part of the urban fabric. The buildings. This combination is surprising texture of the exterior envelope and the and therefore very successful. It opens variation of the bricks make it an attrac- the roads for other industries to remain tive presence, instead of a just industrial in the cities with new covers and with drag industry—day and night. The new, more sustainable procedures.” building is very contemporary, but at the

45° 45°

+13,800

+11,440

+4,750

-3,578 0 5 10m Section A-A 0 5 10 m

Värtan CHP energy plant

232 A

+13,800

2 010 x 910 SP-03 Building Building outside the box

+4,750

A

Ground floor 0 5 10 m Floor plan entrance level, +14.000 0 5 10m

Värtan CHP energy plant

233 Värtan Bioenergy CHP Plant

V-shaped ceramic elements, placed on top of each other, form the envelope for the entire plant.

234 Building Building outside the box

The plant in the urban context

235 ALEAOLEA ARCHITECTURE & LANDSCAPE The Old Church of Vilanova de la Barca

PROJECT NAME LOCATION The Old Church of Lleida, Spain Vilanova de la Barca CONSTRUCTION PERIOD ARCHITECT/S 2015–2016 AleaOlea architecture BRICK TYPE & landscape, Facing bricks Barcelona / ES Roof tiles BUILDING PURPOSE BRICK AWARD CATEGORY Multipurpose hall Building outside the box

Roger Such, Laia Renalias, Nawl Laroui, Carles Serrano, Leticia Soriano

posed to reproduce the original contour the small-sized hole texture. Ornamental of the structure, to complete the space, light and shadow images fall into the and to make use of the former church as space through windows set at various a multi-purpose hall for exhibitions heights. In order to underscore the and concerts in this way. The building contrast between the old and the new, “All architecture proposes an effect on material of brick plays a major role in the brickwork was painted white. the human mind,” the British thinker and this time puzzle. The contemporary intervention of the writer John Ruskin said some time ago, architect is intentionally subdued in and “not merely a service for the human “The way we used the a chromatically aware manner. frame.” The revitalization of the church of Vilanova de la Barca in the heart bricks is a quite conscious A gabled roof with steely rafters and of Catalonia does both. It is not only a connection to the lively purlins forms the upper closure. Naked protective measure for ruinous wall variety of the old, heavy light bulbs hang on white cables from remains that slumbered away for dec­ ashlars.” the ceiling and lend the space a nearly ades and had already nearly lost the workshop-like character. In the apse on battle against nature, but also a story the east side, the lamps are consolidated that became a manifesto, making the “We renovated and secured the wall into a minimalistic chandelier. The stirring history of this site readable remains and placed a type of ceramic space allocation plan is extended by a and experienceable for the first time. bowl over them,” explains Carles smartly integrated sanitary module, ­Serrano, one of the five partners of the as well as a newly created entrance on Erected in the 13th century, the church is interdisciplinary collective AleaOlea. The the south side. mainly Romanesque, but pointed arches new envelope consists of double-shelled and the apse make the Gothic influences brick masonry with a loosely offset, The revitalization of Santa María de la noticeable. An abrupt breach took place porous bond on the outer façade and a Barca is an unusual approach to dealing in 1936: During the first months of the solidly bricked, but airy-seeming layer with historical building fabric. This Spanish Civil War, the town of Vilanova of hollow block bricks on the building’s project shows the versatility and adapt- de la Barca was extensively bombed. inside. Various brick structures in the ability of brick as a building material The destruction also did not spare the surroundings provided inspiration for and creates a unique dialog between the little church. For more than 80 years the the masonry work. present and history. walls lay waste. “The way we used the bricks is a quite In 2009, a decision was made to stop conscious connection to the lively the decay and to conserve Santa María variety of the old, heavy ashlars,” Serrano de la Barca in its current condition. The explains. The voluble, exuberant history Barcelona-based office AleaOlea pro- of this location appears to continue in

236 Building Building outside the box

The view of the church was re-established outside; a hall for exhibitions and concerts arose on the inside.

237 The Old Church of Vilanova de la Barca

238 Building Building outside the box

An airy envelope made of bricks was placed over the remains of the wall.

239 The Old Church of Vilanova de la Barca

Jury Statement “The character of this building is It’s a light, fresh, modern atmosphere ­established by the interplay of historic designed by the architects using fragments and modern architecture. brick in an elegant, not simple-minded Accordingly, the roof and parts of the way. What results is an existing, façade had to be newly built. Its missing innovative, but nonetheless traditional walls are made by a very sensitive use interpretation.” of brick. The brick that is used is nearly white, which is not typical for Spain. Spanish architecture has a long tradition of beautiful brick stone, but this stone is not really in the tradition—it is not a colorful presence, it is more a sign of silence. The project is therefore reduced to its material and its substance, and not to its color.

Ground plan

A gabled roof with an open soffit connects the old and the new.

240 Building Building outside the box

Through their white coloring, the new components take a backseat to the existing fabric.

241 242 Building Building outside the box

243 ARCHITECTUUR MAKEN De Gouverneur

PROJECT NAME LOCATION De Gouverneur Rotterdam, The Netherlands ARCHITECT/S Rotterdam / NL CONSTRUCTION PERIOD 2016 BUILDING PURPOSE Single family-housing / BRICK TYPE office Facing bricks

BRICK AWARD CATEGORY Building outside the box

Nina Aalbers and Ferry in’t Veld

Traces of history, ranging from 19th the architects collaborated with the From the outside, the recycled bricks do century houses, open plots due to war start-up firm StoneCycling in the produc- not differ from other bricks, but when damage and ambitious post-war plan- tion of the bricks applied in the façade cut they reveal their unique texture and ning and urban infill from later dates of the house. color. The architects used these cut make up the urban tissue of the Gouver- bricks in a decorative pattern over the nestraat near the center of Rotterdam. façade, thereby adding to the overall In the middle of the street the architects “This new house in an old appearance of the house. This building is constructed their own house. To secure street complies with the thus the testimony of the guiding motto daylight to the adjacent buildings and an old by the introduction of of this young practice, which is to pay existing small alley to the garden, the something new. Although attention to “the beauty of sustainability plot was limited to a footprint of 4.6 × 8.8 and the sustainability of beauty.” square meters. In order to keep with the the chosen bricks seem prevailing building heights in the street, ordinary, they are waste- the house was constructed over four based. The waste is there- floors with a kitchen on the ground floor, by the ornament in the followed by an office space, a living room and finally a bedroom on the top façade and at the same level. The architects aimed at a maxi- time looks identifiable, mum flexibility in the use of the house. showing the beauty of a They achieved this through the position- circular building material.” ing of the stairs, and the fact that the unique space of each floor can be split into multiple rooms. The start-up has been pioneering in the production of building materials from This simple, yet elegant house conceals waste since 2013, resulting in the series an ambitious story behind—or rather WasteBasedBricks. Materials used in within—its brick façade. The building these bricks range from waste glass to industry represents a considerable ceramics and bricks, resulting in a fraction of all waste produced in the surprisingly rich palette of colors and Netherlands. Within their practice, the textures. The façade of the house is architects aim through design and the first project to be built with these building not only to limit the production ­WasteBasedBricks and resulted in a of waste, but also to reduce the actual considerable reduction of waste by waste generated by the construction recycling materials into the production industry. In order to achieve their goals, of the bricks.

244 Building Building outside the box

245 De Gouverneur

Recycled bricks made of demolition waste were used for the façade.

246 Building Building outside the box

247 ADMUN STUDIO Cloaked in Bricks

PROJECT NAME LOCATION Cloaked in Bricks Teheran, Iran

ARCHITECT/S CONSTRUCTION PERIOD Admun Studio, 2015 Teheran / IR BRICK TYPE BUILDING PURPOSE Facing bricks Apartment housing Shobeir Mousavi, Amir Reza Fazel and Mehdi Kolahi BRICK AWARD CATEGORY Building outside the box

“Brick is a very popular building material the brick gills rotate sometimes more, a fast-growing and densely built city. It in Iran,” says Amir Reza Fazel, “but we sometimes less, out of the façade plane. is even more important to develop other lack a creative, refreshing dealing with it. “With the help of a separate software adequate forms of privacy.” After hardly any innovative brick struc- program we were able to structure the tures were erected in the past years, this approximately 1,100-square-meter tradition has been disappearing more façade surface in a large-scale manner “Especially important to and more from the cityscape. And that is and to exactly calibrate the necessary us was also the function a great pity.” Together with his partner light openings,” explains Fazel, who even as a regulating interface Shobeir Mousavi, Fazel founded an developed easy, unmistakable building between public and architecture office in 2010 that has made instructions for the construction workers. a resolution to change this circumstance. “Despite complex design parameters, private space.“ The studio is specialized in linking the brick mounting could thus be easily tradition and innovation, as well as carried out on site.” Bricks were not only used on the vertical traditional and new construction materi- level, but also on the entire ground floor. als with each other. The result is a thin skin that apparently The floor and ceiling of the foyer and the pulsates to the beat of the city, not only partially covered entrance area are “And that is exactly what we have done making the house distinctive, but also completely “bricked in,” giving the paths, in this project,” Fazel believes. Admun offering the people living in it many steps and ramps a pleasant down-to- Studio mounted a type of membrane technical and building-physical qualities earthness and grounding the weightless made of classic bricks in front of an that Teheran calls for: “Cloaked in façade one last time before it vanishes existing high-rise. These, however, are Bricks” serves as shading, as suspended over the roofs like a swelled sail. not cemented or laid in a mortar bed noise protection and not least as a as otherwise customary, but rather form thermal measure. A chimney effect a light, airy veil by being modularly arises through the air space between the attached to a vertical frame. What’s more, building and the façade, allowing the they are not mounted horizontally, but warm air to escape upwards and pas- showcase their bearing side straight up sively cool the living spaces behind it. towards the street. “Especially important to us was also the The unusual pixel ornamentation was function as a regulating interface developed and calculated by means of ­between public and private space,” the an algorithm, which takes the spaces architect explains. “In traditional Iranian lying behind it, such as the living room, architecture the people live, introverted kitchen and balcony, into consideration. and withdrawn, around an inner court- Depending on the light exposure need, yard. That is hardly possible still in such

248 Building Building outside the box

249 Cloaked in Bricks

The bricks are not walled up, but rather placed on rods.

250 Building Building outside the box

Depending on the function behind it, the individual bricks rotate more or less strongly out of the façade plane.

251 MVRDV Crystal Houses

PROJECT NAME LOCATION Crystal Houses Amsterdam, The Netherlands ARCHITECT/S MVRDV, CONSTRUCTION PERIOD Rotterdam, NL 2014–2016

BUILDING PURPOSE BRICK TYPE Retail / apartment Facing bricks housing Glass bricks

BRICK AWARD CATEGORY Building outside the box

Winy Maas, Nathalie de Vries and Jacob van Rijs

Cinderella had her glass slippers to deck interplay of glass and terracotta, which texture and the high fat content made herself out with for the king’s ball. intertwines between the first and second the optical examination easier. The Amsterdam now has its first glass house stories like a three-dimensional puzzle, is adhesive, on the other hand, is a high-tech which dressed itself up for the world of a steel construction that transfers the product originating from prosthetic high fashion. On Pieter Cornelisz Hooft­ primary loads of the building to the floor. dentistry and—like at a dentist’s—is straat, only a few steps from the Geothermal energy is used for heating locally applied and hardened by ultra­ world-famous Rijksmuseum, the Dutch and cooling. The depth probes reach up violet light. Thanks to this procedure, architects MVRDV erected the so-called 170 meters into the earth. the details of which are kept secret for Crystal Houses, a brick house based safety reasons, the bonding surfaces can on the classical model, but with the sole “This project proves that be dissolved and damaged glass bricks difference being that large parts of the replaced at any time. façade are not bricked with fired clay, but poetry exists.” rather with glass. The Crystal Houses is a best-practice “The architecture is one part,” Maas example of how technical innovation, “The global shopping streets look points out, “but the really fascinating material transparence and contemporary the same everywhere today,” says Winy thing about this project is the years design approaches can be implemented Maas, partner of MVRDV. One could of research and development work that in a historical city center. Possible hardly tell the difference between ­preceded the planning and construction.” symbioses for the future allow them- London, Paris and New York, between The basic research and the material selves to be derived from the unusual Prada, Dior and Louis Vuitton. “That’s research took place in collaboration with interaction between glass and clay why we made it our goal to build a the Delft University of Technology, as which manifests itself in the façade. commercial structure that bears the well as with industrial partners. Glass “This project proves that poetry exists,” typical local signature of Amsterdam bricks calculated and optimized in this Winy Mass maintains. “And it provides from the top to the bottom and nonethe- manner were produced at an Italian proof that even the most tender and less allows transparent insights into the manufacturing facility near Venice. A translucent dreams are realizable. That interior. It’s as if the whole house had German company specializing in indus- is the key to innovation for me.” dissolved, as if it had transformed into trial adhesives, in turn, supplied the glass with a single touch.” adhesive technology.

While a 620 m²-large business premises, Glass blocks for the 120 m²-large and used today as a Chanel flagship store, around 35 cm-thick façade were produced is situated on the two lower stories, the in three different sizes and ­laser-cut and classically bricked second floor is polished. Dutch whole milk was used to ­reserved for residential purposes. Con­- check and guarantee the size tolerance of cealed behind the sophisticated façade maximum 0.3 millimeters: the opaque

252 Building Building outside the box

253 Crystal Houses

254 Building Building outside the box

At the height of the first floor the glass bricks transition into fired bricks.

255 WIRTH ARCHITEKTEN Remisenpavillon

PROJECT NAME LOCATION Remisenpavillon Affinghausen, Germany

ARCHITECT/S CONSTRUCTION PERIOD Wirth Architekten, 2014–2015 Bremen / DE BRICK TYPE BUILDING PURPOSE Re-used bricks Pavilion BRICK AWARD CATEGORY Building outside the box

Benjamin and Jan Wirth

A garage was needed—at the beginning. Remisenpavillon can also be used for as well. The wood originated from a The pavilion that ultimately emerged dining at larger tables, for parties, as centuries-old oak tree that had been can also serve as such. Two cars have a retreat for concentrated working, or as struck by lightning several years earlier space in it; thanks to the ceiling height of a summer loggia. Situated at the edge and still stood on a nearby meadow. almost 2.5 meters, a small tractor of the lot, it is now the first building of The bricks are likewise old—they come could also be parked in it. Wood can be the entire ensemble that is visible: a from a house that had burned down. stored and processed here: A functional simple, closed cube, since it is accessed The bricks were cleaned, but the traces agricultural building, a brick shed via the courtyard. A wooden gate on of prior use are distinct. Old and located near Bremen, on the property of the long side opens towards the house; hand-produced, several of them still a farmstead ensemble typical of the the two-winged gate opens across the display handprints. region—it accomplishes everything one entire width to the rear property. expects of it. The interplay of a utility building and Between a floor and a ceiling slab made an ornamental construction is also found of concrete, the walls of brick are un- in the detail. Inlets for the ceiling lamps “The Remisenpavillon doubtedly something special. They are are gilded, lending nobility to the simple completes a typical old laid from the ceiling slab up to the upper light bulb fitting without seeming wrong farm ensemble of the edge of the roof and therefore on gaps, or out of place. In this mixture of clear Lower Saxony region in resulting in a hole pattern. The wall form and craftsmanship, the pavilion is a closes where the pillars supporting the statement for the fact that the past and Germany, continuing the roof stand; the parapet and base areas the present can be combined without existing building lines, are also closed. In this way, the construc- loud gesturing. the traditional scale and tive setup can be subtly read. Towards building materials.” the middle of the fields between the pillars, the openings become large, resulting in fluid transitions between the Yet the architects made more out of this open and the closed. At the same time nondescript building assignment. What this ensures that the space is always developed was a structure, consisting of well-ventilated. A wall support leads into bricks, concrete and an old oak tree, a low wall with a fence that demarcates in which the idea of pavilions from the the premises and connects the pavilion parks of aristocratic estates lives on with the main house. somewhat, serving to provide shelter, to take something in, to withdraw to, but Although the design vocabulary is which likewise were an expression of modern, wood and brick are not only educational awareness. The Affinghausen traditional materials, but actually old

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257 Remisenpavillon

The bricks originate from a burnt-out ruin, the wood from a dead oak tree.

258 Building Building outside the box

The perforated façade ends where the load-bearing pillars stand.

259 MUKA ARQUITECTURA Dwelling Between Party Walls

PROJECT NAME LOCATION Dwelling Between Party Piedrabuena, Spain Walls CONSTRUCTION PERIOD ARCHITECT/S 2016–2017 MUKA Arquitectura, BRICK TYPE Madrid / ES Facing bricks BUILDING PURPOSE Ceramic panels Single-family housing / BRICK AWARD CATEGORY office Building outside the box

Moisés Royo

Piedrabuena, a small community near windows were possible for this reason, elements forms the door in the entrance Ciudad Real, is located about 200 kilome- they were lit from above: the wooden area; two of them were mounted on the ters south of Madrid. The center of beam ceiling is offset from the wall so top floor as opening casements that the town of nearly 5,000 inhabitants is that natural light can come in. swivel around the center axis; the others dominated by a brick church with a are immovable. The connection to the classicistic façade from the 19th century. A bedroom and the living area are two neighboring houses is established In other ways as well, brick is a typical situated on the top floor; a box was through the material. Between rows of local building material—that’s why it was additionally placed here for the bricks laid flat and arranged in the façade chosen for the façade of the project ­bathroom. Natural light also comes in layer, offset against each other in height, discussed here. from above: from sheds, one facing bricks of the same type are inserted south and two oriented to the west. A upright and perpendicular to the façade “In a plot of two-and-a-half white, rounded glass mosaic wall layer. What results is a structure en- merging into the roof reflects the light abling natural light to fall into the loggia, meters of façade, the use in the bedroom. respectively, the hallway. The mottled of an embossed clay slab light is comparable to traditional shutters. acts as if it were a ceramic “The alternate arrange- At the same time, the relief of this curtain.” southwardly oriented façade creates an ment of the module draws ornamental play of light and shadow a porous and vibrant lat- on the inside as well as the outside, Just a few meters from the church, a tice. Vibrant is the play of enlivening the façade and allowing it to narrow gap site measuring 2.5 meters in shadows cast and chang- take on different appearances depending width was filled with a two-story apart- on the position of the sun. In the rear ment. After an approximately ten-meter- ing, and porous because it area of the apartment as well, glass doors long crevice that even narrows towards filters the direct light that ensure that the façade is visible from the back, the property first opens to penetrates to the interior of here. When moistened, it additionally the rear courtyard. Therefore, not much the house.” climatizes the space. space was available. The architects, however, dealt very deftly with it. They laid the access and stairs in the narrow Also facing the street, the kitchen is gap; three small rooms are found in located on the top floor. A small loggia is the rear area of the ground floor. Of the placed in front of a fully glazed wall two cubes placed into it, one serves used as a weather protection. Like the as the toilet, while the other takes in the entire façade, it is closed by brick ele- utilities. Since the spaces directly con- ments, equally simple and sophisticated, nect to the neighboring building and no mounted in steel frames. One of these

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261 Dwelling Between Party Walls

The steel frames in the small loggia area can swivel around their central axes.

262 Building Building outside the box

The ornamental-like structure of the façade is the result of bricks arranged vertically and edgewise, as well as rotated at a 90-degree angle.

263 FEAT. COLLECTIVE Lanka Learning Center

PROJECT NAME LOCATION Lanka Learning Center Parangiyamadu, Sri Lanka ARCHITECT/S feat.collective, CONSTRUCTION PERIOD Stuttgart / DE, 2015–2016 Zurich / CH, BRICK TYPE Ahmedabad / IN Facing bricks BUILDING PURPOSE BRICK AWARD CATEGORY Education Building outside the box

feat.collective

Parangiyamadu is a small fishing village center was developed in close collabora- An important part of the project was the to the south of Kalduday in Sri Lanka. tion with the villagers and consists of actual construction of the center itself. The region has suffered largely from the five buildings hosting an administration, Applying low tech and local building ethnic civil war and the disastrous a schoolroom for girls and one for boys, techniques with locally produced bricks tsunami of 2004. Thus, the Lanka Learn- a kitchen and canteen, as well as work- and on-site cast concrete allowed the ing Center was initiated with the goal shop room. A water tower and separate users of the center to get involved in the of reconciliation between ethnic groups entrance to the center are incorporated construction. It also ensures long-term through equal access to education. into the ensemble. sustainability, since all future adaptations feat.collective developed this project and repairs can be done without help. constructed with local entrepreneurs, The center plays upon the archetypical In this way, the actual construction and craftsmen and workers after making community type with the building the maintenance become part of the edu- a comprehensive analysis about local organized around a central clearing, cational goal of the project by offering construction principles, cultural which works as an outdoor multipurpose young people the opportunity to develop ­peculiarities and climatic demands. space. When entering the structure, skills. It also raised the commitment of one arrives into the central court from the community members to the project. “Through constant dis- which the buildings are accessible. Rather than a “gift,” the center becomes course with craftsmen, we A continuous outside wall separates the the own achievement of the villagers, in- and outside, thereby lending the securing the new center into the future were able to acquire ­classic center a sense of the protected space its community life. materials with added value wants to be. Local construction methods in terms of architectural were employed to build the Learning expression and climatic Center. A simple concrete frame of posts and beams carries the steel cantilevering effects.” roofs of the buildings. While on the side of the court the frames of the buildings The center is located in a village com- are filled with wooden panels, all posed of a randomly arranged number other parts of the frame are filled with of houses connected by a network of brickwork. Depending on the use, parts paths between palm trees. A few clusters of the brick wall are executed in an of vegetation mark the landscape and open bonding to allow the wind to pass outside the monsoon period the climate through and ensure maximum ventila- is hot and dry. In order to keep the tion while keeping the robust protection existing sparse vegetation, the center of the center. was placed with great care between the existing trees. The program for the

264 Building Building outside the box

Ground plan

265 Lanka Learning Center

266 The bricks were produced on-site; the house was erected with the help of its users. Building Building outside the box

In order to guarantee good ventilation, large sections of the brick masonry were laid in an open bond.

267 VECTOR-I ARCHITECTS WITH DAAD ENGINEERS Restaurant Southside New Market

PROJECT NAME LOCATION Restaurant Southside Groningen, New Market The Netherlands

ARCHITECT/S CONSTRUCTION PERIOD verctor-i architects 2015–2017 with Daad engineers, BRICK TYPE Groningen / NL Facing bricks BUILDING PURPOSE BRICK AWARD CATEGORY Restaurant Building outside the box

Ben van der Meer

Southside New Market is a new, two-­ brickwork. Bricks are applied in a variety Instead of directly gluing one brick to the story, brick-clad building in the historic of stack bond and soldier course with next, each brick is glued to these recessed center of Groningen. In 2014 it was special-sized bricks. Along the chamfered ceramic strips in between, resulting in designed by Vector-i Architects to create a window reveals the bricks are placed a traditional joint width of 10 mm. This big restaurant (interior design by Matteo vertically. Though the brickwork displays allows for traditional on-site pointing Thun) with a rooftop terrace overlooking a certain tectonic integrity, it is—on closer afterwards. The expansion joints follow the city’s skyline. Located on a 32-meter-­ inspection—clear that this expressive the same width and finish as the normal deep L-shaped site, Southside New and complex brickwork was impossible joints, and are therefore invisible in the Market occupies a plot that runs between to make on site in the prevailing North final result. Since the elements are Poelestraat and the New Market, and is European building practice. prefabricated and can be lifted, they can surrounded by historical buildings. be constructed in any position, for In order to construct the façade, the example, on their side or in a horizontal “The project is radical in its architects closely collaborated with a position. This enables the execution of company specialized in brick prefabrica- these complex elements with a rich approach, as the entire tion and applied a revolutionary tech- variety of brick bonding. The project is façade is prefabricated, but nique. The entire façade of the project is radical in its approach, as the entire it opens up to the conven- built out of prefabricated brick elements façade is prefabricated, but it opens up to tional practice of combin- up to three meters large that are fitted the conventional practice of combining together on site and mounted against the traditional brickwork with prefabricated ing traditional brickwork main construction of the building. The elements, avoiding the use of secondary with prefabricated ele- bricks are glued together off-site by using concrete or steel support elements. ments, avoiding the use of reinforced glue instead of traditional secondary concrete or steel mortar. This allows the brickwork to take up tractive forces and the elements to support elements.” be lifted and transported. In themselves, these glued joints are common practice, The smaller façade on Poelestraat and but they normally result in thin 3 mm the wider façade on the New Market are joints. Larger expansion joints between made to fit within the historic parceling the elements would have been directly of narrow houses along the streets and visible, destroying the search for unity in follow the overall classical arrangement the expression of the façade. with a plinth, a slightly higher first floor and a top floor. Over a depth of 30 This problem of the visible expansion centimeters, both façades develop a joints was resolved by applying small remarkably expressive detailing in the ceramic strips between the bricks.

268 Building Building outside the box

269 Restaurant Southside New Market

The entire façade is built out of prefabricated brick elements.

270

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The design of the façade is related to the historic parceling.

271 PÉRIPHÉRIQUES ARCHITECTES Lorraine Coallia – Paris 75019

PROJECT NAME LOCATION Lorraine Coallia – Paris, France Paris 75019 CONSTRUCTION PERIOD ARCHITECT/S 2015–2017 Périphériques BRICK TYPE Architectes,­ Ceramic façade panels Paris / FR BRICK AWARD CATEGORY BUILDING PURPOSE Building outside the box Social housing / ­restaurant

Emanuelle Marin and David Trottin (Marin+Trottin Architectes) and Anne-Françoise Jumeau (Jumeau Architectes)

Rolled out over the bars, bistros and contractor, decided to preserve and industrial partners, Périphériques first brasseries on Rue Petit are classical convert one of the houses, whereas the developed a digital model, then proto- Parisian, dark red awnings. Yet suddenly, other was to be demolished and replaced types out of foam and plastic and, finally, behind a classic garret house, a by a new building. The result is an the first workpieces made of stoneware bright-blue-shimmering sculpture soars apartment building with 177 one-room and fired clay. The optimization of the into the sky on one of the street corners. flats for migrant workers and a non-­ shining enamel surface, which had to be The entire range of changeable, untamed profit restaurant. In order to visually tone executed to be resistant to rain, acid April weather is reflected in the wildly down the heterogeneous ensemble of and ultraviolet light, took several months faceted, expressively folded cassettes: At old and new, both building components as well. times the façade shines brighter, at times received a unified façade. darker, at times a wisp of gold and pink While the front, south-facing side of the flashes through, at times the cheerful “We wanted to completely dissolve the building is kept in blue shades, the midday sun, at other times furious storm borders between the old and the new north side along Rue de Lorraine appears clouds appear to be mirrored therein. building,” recalls Anne-Françoise Jumeau, as a pixeled rendezvous of sand and architect at the Paris-based planning sky hues. The color play is accentuated collective Périphériques Architectes. by tiled carpet ornaments on the ground “We developed a brick that, “Therefore, we developed a brick that, on floor. The laundry room, offices and on one hand, directs every- one hand, directs everybody’s attention meeting spaces branch off from here. body’s attention to it but, to it but, on the other hand, has such Likewise operated by Coallia, the restau- on the other hand, has a varied effect that no impression what­­- rant is located on Rue de Crimée. “It was soever of repetition and systemization a very intensive project,” Anne-Françoise such a varied effect that no develops.” A square 45 × 45 cm-large 3D Jumeau remembers. “And it is a piece impression whatsoever of brick tile with a surface enameled in of architecture that combines the aspects repetition and systemiza- an iridescent shade of blue, respectively of research, technology, craftsmanship, tion ­develops.” yellow, was selected. In order to enhance art and social responsibility under one the vividness of the façade, three differ- roof.” ent reliefs with two, four or six folded The Coallia Residence in the 19th arron­ partial areas respectively were used. The dissement lies in a colorfully patched overall appearance is that of a wild together neighborhood between Bassin and yet somehow tamed, comfortable de la Villette and Parc des Buttes-Chau- pangolin. mont. Two apartment buildings erected in 1979 once stood here. In the course Years of research and development work of a restructuring and re-densification of preceded the actual architectural project. the property, Coallia, a social housing From 2013 to 2015, in collaboration with

272 Building Building outside the box

273 Lorraine Coallia – Paris 75019

The existing building and new structure were consolidated with a unified façade.

274 Building Building outside the box

Three different 45 × 45 cm 3D-tiles are the basic elements of the façade.

The façades with the gleaming enamel surfaces are rain-, acid- and UV-resistant.

275 CIVIC ARCHITECTS AND BRIGHT (THE CLOUD COLLECTIVE) Augmented Brickwork – Public Railway Passage Tilburg

PROJECT NAME LOCATION Augmented Brickwork Tilburg, The Netherlands – Public Railway CONSTRUCTION PERIOD Passage Tilburg 2014–2016 ARCHITECT/S BRICK TYPE Civic Architects and Glass bricks Bright (The Cloud Collective), BRICK AWARD CATEGORY Amsterdam / NL Building outside the box

BUILDING PURPOSE Infrastructure

Ingrid van der Heijden, Ian Lebbink, Gert Kwekkeboom, Rick ten Doeschate

The Spoorzone in Tilburg is the redevel- robust plinth, a series of wall segments ally re-directing a row of bricks in the opment of an old railway yard into a built out of smooth and curved glass opposite direction. mixed-use urban quarter that incorpo- bricks provides the wall with an overall rates many of the existing and monu- rhythm that breaks the length of the In the daytime the light from the ends mental brick buildings on the site. The tunnel. of the tunnel and the openings between Willem II passage is a newly created the tracks is reflected on the walls public space for cyclists and pedestrians and emphasizes the rich texture of the connecting the center of city with this “The wall structure wall. In the evenings and at night a new and vibrant extension. For the inspires and directs the ­multi-­colored LED light behind every passage the architects designed a light effects and vice brick in this wall lights up. The under- sequence of spaces. It runs through the versa, during the day pass transforms into an intriguing and existing tunnel under the train tracks and endless play of light by responding to through the former railway workshop and night.” the atmospheric variations, movement building. On the sides it links to a restau- and social dynamics in the tunnel. rant, a public terrace and several gardens. Although technically spoken the “bricks” Occasional colorful associations such as Hence, the passage is not only used as in this wall are remote from the tradition- orange on King’s Day or pink on Gay space for traffic flow, but also for cultural al understanding of ceramic or glass Pride Days can be “directed.” By employ- events. bricks, the “brick thinking” has been a ing all the possibilities that this “glass guiding principle in the design. Based brick” thinking offers, the passage “The materials, rhythm and upon the measurement of the prevailing reaches far beyond an infrastructural bricks applied in the old buildings on connection and has become an existing composition of the passage the site, the architects developed a new urban space in its own right. refer to the classical brick type of glass brick in close collaboration architecture of Willem II with the manufacturers. Thick, fairly Straat – in a contemporary rough glass plates are first produced and afterwards “bended” to their characteris- manner.” tic round shape. The plates are then cut to size and mounted into steel frames The walls of the tunnel are employed by that form the segments of the tunnel. the architects to organize the space. These bricks play upon the image of While these spaces are usually redun- decorated, expressionist brick façades, dant and socially uncomfortable, the as we know them from history. Each of innovative use of glass bricks lends the segments obtains a unique character the passage a surprisingly active and by using two different heights in the attractive character. Placed upon a 30,000 hand-made bricks and occasion-

276 Building Building outside the box

During the day the glass bricks reflect light into the passageway, at night they colorfully glow.

277 278 Building Building outside the box

279 The Authors

SANDY ATTIA, born in Cairo in 1974, is WOJCIECH CZAJA was born in 1978 in MARCOS PARGA is an international, an architect and, together with Matteo Ruda Sla´ ˛ska, Poland, studied architecture award-winning architect and designer, Scagnol, co-founder of MoDus Architects at the Vienna University of Technology founder and principal at Estudio MAPAA, located in Italy. She received a Master and is working today as a freelance and has been a PhD architect since 2015 of Architecture degree from the Graduate architecture journalist for newspapers, and Assistant Professor at the School School of Design at Harvard University magazines and professional journals in of Architecture, Syracuse University, NY in 2000 and was nominated for the 2013 German-speaking countries. Since 2005 since 2017. Previously he was Associate arcVision Prize in recognition of her he has been working at the Austrian Professor of Design at the School of exceptional contribution to the field of daily newspaper Der Standard, where he Architecture, Polytechnic University of architecture. Her latest, co-authored is responsible for the topics of architec- Madrid for nine years. He also has been book Designing Schools was short-listed ture, urban culture and real estate. He is a visiting critic and lecturer at various for the 2015 National Research Award a lecturer at the Vienna University of universities, works as a writer on archi- and her cross-disciplinary work in Applied Arts, as well as at the University tecture theory and criticism, and is the educational environments continues of Art and Design Linz, and teaches promoter and editor-in-chief of the with her involvement with the Agnelli communication for architects. annual academic and research journal Foundation in Turin. Sandy Attia was a 115Días. He is currently conducting visiting critic at the Princeton School of CHRISTIAN HOLL studied architecture practice-based research and developing Architecture in 2017 and at the University in Aachen, Florence and Stuttgart. From an educational strategy that both strive of Trento from 2015 to 2017, and was 1997 to 2004 he was the editor of db – to recover the radical procedures of the Muschenheim Fellow and Lecturer deutsche bauzeitung, and founded frei04 50 years ago (which he explored in his in Architecture at the University of publizistik together with Ursula Baus dissertation), bringing new meaning and Michigan from 2002 to 2004. and Claudia Siegele in 2004, where he inserting them into a conversation published reports, commentaries and about emerging architectural concerns. PATRÍCIA BARBAS, born in Luanda, essays. He is a book author, works as a Angola in 1971, graduated with an freelance editor, journalist and critic, and WOLFGANG PAUSER studied philoso- architecture degree from the Faculty of had teaching assignments in Darmstadt, phy, art history and law in Vienna and Architecture at the Technical University Stuttgart, Wuppertal, Kaiserslautern and completed the postgraduate study of Lisbon. She collaborated with Aires Frankfurt on Main. From 2005 to 2010 of Museum and Exhibition Curator. He Mateus, Gonçalo Byrne, and João Pedro he was scientific assistant at the Urban worked as an art critic, essayist and Falcão de Campos and was project Design Institute of the University of columnist at daily newspapers, including coordinator for Promontório Arquitectos Stuttgart, from 2007 to 2013 editor of the Neue Zürcher Zeitung and Die Zeit. in Salvador da Bahia, Brazil during 2005 german-architects.com. Since 2008 he In addition to his involvement with fine and 2006, guest Professor at Carleton has been a curator and member of the arts, design and architecture, his interest University, Ottawa between 2013 and exhibition committee of the “architektur- in topics concerning everyday and 2016, and jury member of the FAD galerie am weißenhof,” since 2010 consumer culture grew. In 1998 he Awards 2016. Patrícia Barbas, together managing director of the Association of received the Literature Prize for Essay with Diogo Seixas Lopes, founded German Architects Hesse (BDA Hessen), Writing of the State of Lower Saxony. Barbas Lopes Arquitectos in 2006. Their and since 2017 co-publisher of the In 1999 and 2016 he taught architectural realized projects or those under develop- Internet magazine marlowes.de. theory at the Vienna University of ment include public and private build- Technology. He is a conceptual designer, ings, single-family housing, exhibition text writer, advises companies in devel- designs, and interiors. The practice oping cultural identities and is special- is also engaged in collaborations with ized in the cultural-scientific analysis of architects such as Peter Märkli and products, brands and markets. Gonçalo Byrne. Their work was nominat- ed for the Icon Awards 2012, Designs of the Year 2013, and the Mies van der Rohe Award 2013.

280 MIKKO SUMMANEN, born in 1971, JAN PETER WINGENDER, Partner at received a Master’s degree from the Office Winhov, focuses his work on Helsinki University of Technology in 1999 urban (residential) buildings and ensem- and did Master’s studies at the Tokyo bles, the renovation and extension of Institute of Technology from 1996 to 1997. heritage buildings, and on public and He is the founding partner and CEO of civic programs. He is involved with the K2S Architects Ltd., and an adjunct office’s projects in the Netherlands and professor at the Aalto University School Switzerland. Jan Peter studied at Eind- of Art, Design and Architecture, where hoven University of Technology and he holds a shared professorship for the Berlage Institute in Amsterdam. He building technology together with his regularly holds lectures, writes about partners Kimmo Lintula and Niko Sirola. architecture and is a member of various The focus in his teaching and research is advisory and editorial committees and on innovative building materials and juries. He is frequently invited to be structures. K2S Architects are known for a guest lecturer and critic at architecture high-quality public buildings, innovative schools in the Netherlands and abroad. experimentation with building materials From 2003 to 2007 he was head of and forms, as well as the intelligent the architecture study program at the reuse and refurbishment of buildings. Amsterdam Academy of Architecture. They have won several international and Jan Peter has been a lecturer at the Finnish prizes and awards, including Amsterdam University of the Arts since the Finnish Steel Prize 2016, Architizer A+ 2010 and published the book Brick. Award 2014 and Wienerberger Brick An Exacting Material in 2016 as a result Award Special Prize for Hotel Paasitorni of his research project. in 2014.

281 282 283 284 285 286 287 Imprint Photo Credits

Editor Front Cover: Nicolás Campodónico Mengel Tower Philosophikum am Domplatz Wienerberger AG 2–3: Michel Kievits 102: Jens Friis 202–205: Peter Böhm 4–5: Jacob Lerche 103–105: Thomas Mølvig Anneliese Brost Music Forum 6–7: Rory Gardiner  Carlsberg Researcher Ruhr Editor-in-Chief 10 left: Stijn Bollaert Apartments­ 206: Stephan Baumann Veronika Schuster-Hofinger 10 right: Peter Cook 106: Laura Stamer 207–208: Brigida Gonzalez 11 left: Oki Hiroyuki 107–109: Jens Lindhe Kannikegården 11 middle: Rory Gardiner Tugelablokken 210: Lundgaard & Tranberg Copy Editing 11 right: Robin Hayes 110: Kees Hummel ­Architects Eva Guttmann 12: Uwe Strasser 111–113: Allard van der Hoek 211–213: Anders Sune Berg 14: Wienerberger AG / Kurt Keinrath Houses with Two Doors Kopfholz School 16–17: Gustav Willeit Photography 114: Mirjam van Avezaath 214: Michael Artur Koenig Translation and Proofreading 18–19: Thomas Mølvig 115–117: Stefan Müller 215–217: Kuster Frey Brian Dorsey Public Transport Terminal Breda 218: Harry Cock FEELING AT HOME WORKING TOGETHER 219–221: René de Wit Translation Essay Wolfgang Pauser David Koralek 24: Axel Walek 120: Marco Pietracupa 27: Uwe Strasser 123: Michel Kievits BUILDING OUTSIDE THE BOX Atlas House Terra Cotta Studio Graphic Design 28: Bas Czerwinski 124–128, 130–131: Oki Hiroyuki 224: Marco Huttunen Bruno Margreth, Aurelia Peter 29, 31, 33–34: Stijn Bollaert State Archives Landshut 227: Adrià Goula Villa Platan 132–135: Edzard Probst Värtan Bioenergy CHP Plant 36: Jacob Birgens CVAE Pantin – Sorting Facility 228: Per Kristiansen Lithography, Printing, and Binding 37–39: Jacob Lerche 136: DATA Architects 229–231, 234–235: Robin Hayes DZA – Druckerei zu Altenburg GmbH  Social Housing in the 137–139: Schnepp Renou The Old Church of Vilanova de la Vines & Public Garden Sparkasse Ulm Barca 40: Swan Architects 140: Zooey Braun Fotografie 236: AleaOlea architecture & 41–43: David Foessel 141–143: Roland Halbe ­landscape © 2018 Park Books, Zurich House on Mühlbach Reception Building Dräger 237, 239–243 Adrià Goula 44: Lutz Sternstein 144: Max Dudler De Gouverneur 45–47: Gustav Willeit Photography 145–147: Stefan Müller 244: architectuur MAKEN Park Books AG Lee&Tee House K eep it Simple – Studio, 245–247: Ossip van Duivenboden Niederdorfstrasse 54 48–51: Quang Dam ­Workshop and Depot Cloaked in Bricks Mews House 148: Germany Pressestelle TUM 248: Masoud Almasi 8001 Zurich 52: Russell Jones 149 top, 151 top right: Florian 249–251: Parham Taghioff Switzerland 53–55: Rory Gardiner ­Nagler Crystal Houses www.park-books.com House Juniskär 149 bottom, 150, 151 bottom and 252: Jasper Zwartjes 56: Hermansson Hiller Lundberg top left: Stefan Müller-Naumann 253–255: Daria Scagolla, Arkitekter ‘t Melkhuisje Stine Brakke 57–59: Mikael Olsson 152: Maarten Kools Remisenpavillon Park Books is being supported by Foundry Mews 153–155: Alard van der Hoek 256–259: Christian Burmester 60: Alex Sarginson Pavilion Brick Factory Dwelling Between Party Walls the Federal Office of Culture with a 61, 63: Jack Hobhouse ­Vogelensangh 260–163: Javier Callejas general subsidy for the years 156: Rogier Fokke Lanka Learning Center 2016–2020. 157–159: Michel Kievits 264–265, 267: Felix Yaparsidi, LIVING TOGETHER ­Valentin Ott, Barbara Vetter, Vincent Heiland All rights reserved; no part of this 66: Ira Lombardia SHARING PUBLIC SPACES 266: lichtbildarena.de publication may be reproduced, 69: Francisco Mendoza Ruiz Restaurant Southside New Westkaai Towers 5 & 6 162: Xavi Padrós Market­ stored in a retrieval system or 70: David Grandorge 165: René de Wit 268–270: Harry Cock transmitted in any form or by any 71, 75: Filip Dujardin Kunstmuseum Basel Extension 271: Marieke Kijk in de Vegte means, ­electronic, mechanical, 72, 74: Peter Cook 166: Markus Jans Lorraine Coallia – Paris 75019 Lorette Convent – Apartments 167: Rory Gardiner 272: Sergio Grazia photocopying, recording, or other- Drbstr 168–169: Stefano Graziani 273–275: Luc Boegly wise, without the prior written 78: dmvA Architects 172: Stefano Graziani Augmented Brickwork – Public consent of the publisher. 79–81: Bart Gosselin 173: Rory Gardiner Railway Passage Tilburg Apartment House with Industrial San Bernardo Chapel 276: Ingeborg Brunt Brickwork 174–179: Nicolás Campodonico 277–279: Stijn Bollaert ISBN 978-3-03860-090-9 82–85: Roger Frei R ussian Monastery Church ROM.HOF Student Dormitory St. Georg 282–283: Stefan Müller 86: Behrendt & Rausch 182: Holger Talinski 284–285: Schnepp Renou 87, 89: Stefan Müller 183–185: Lev Chestakov 286–287: Christian Burmester Krøyers Plads Activity and Dance Center 90 left: Jens Rosenfeldt 186: HBAAT All photographs were provided by 90 right: COBE 187–188 top: Delesalle the respective architectural office. 91: Rasmus Hjortshøj, COAST 189 bottom: HBAAT Studio­ The Temple and the People 92–93: Helene Høyer Mikkelsen 190: REVATHI Philosophicum 191–193: Ujjwal Sannala, 94–97: Lisa Farkas Akhila Rao Apartment House Prenzlauer St. Olav’s Catholic Cathedral Berg 194: Eggen Arkitekter 98: Corinne Rose 195–197: Matthias Herzog 99–101: Simon Menges European Hansemuseum Lübeck 198: Isadora Tast 199–201: Huthmacher

BRICK 18

In today’s building culture, brick architecture is more alive and diverse than ever before, as evidenced by the fifty buildings nominated for the Wienerberger Brick Award 2018. This book presents each project in a collage of images, texts, and plans. Argentina, Great Britain, the Netherlands, Spain, Sweden, ­Switzerland, and Vietnam—the recipients of the award hail from many different countries and cultural backgrounds. Equally ­international are the authors of the five essays that accompany this compilation of contemporary brick architecture.

ISBN 978-3-03860-090-9

Printed in Germany ISBN 978-3-03860-090-9

9 783038 600909