Women . Architecture & Design Itineraries Across Europe

Women . Architecture & Design Itineraries across Europe

Barcelona Lisbon Paris Turin The NetherlandsSlovenia

COVER_MOMOWO_GUIDE_01.indd 1 10. 06. 16 10:25 MoMoWo Partnership

With the Patronage of:

This publication reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein. MoMoWo Women . Architecture & Design Itineraries across Europe

Edited by Sara LEVI SACERDOTTI, Helena SERAŽIN, Emilia GARDA, Caterina FRANCHINI

MoMoWo Scientific Committee: POLITO (Turin | Italy) Emilia GARDA, Caterina FRANCHINI IADE-U (Lisbon | Portugal) Maria Helena SOUTO UNIOVI (Oviedo | Spain) Ana Mária FERNÁNDEZ GARCÍA LU (Leiden | The Netherlands) Marjan GROOT SA Lublana Slovenia elena SEAI UGA (Grenoble | France) Alain BONNET SiTI (Turin | Italy) Sara LEVI SACERDOTTI

English language editing by Luigi Genta traduzioni Design concept and layout by Andrea urlan SA, iga orn Revisions of design by MoMoWo POLITO's team

Published by France Stele Institute of Art History ZRC SAZU, represented by Barbara Murovec Issued by aloba , represented by to Luthar

Printed by Agit Mariogros, Beinasco (TO) Publication of the project MoMoWo - Women’s Creativity since the Modern Movement This project has been co-funded 50% by the Creative Europe Programme of the European Commission.

irst edition / rst print run: Ljubljana, Turin 2016 http://www.momowo.eu 4 5 omen’s creativity since the Modern Movement - MoMoWo is a Politecnico di Torino - POLITO, MoMoWo has six co-organisers from Wlarge-scale cooperation proect co-nanced by the European nions universities and research centres in France, Italy, the Netherlands, Portugal, Creative Culture Programme under the Culture Sub-Programme (Education, Slovenia and Spain. he co-organisers elds o interest are complementary Audiovisual and Culture Executive Agency - EACEA). It is a four-year non- to each other. prot proect that began on th ctober . The research teams are made up of architects, civil engineers, designers, The project considers an issue of contemporary cultural, social and art historians, historians of architecture, design historians, technologists, economic importance from a European and interdisciplinary perspective political scientists and economists from six different countries. They are namely women’s achievements in the design professions. These specialised in: gender studies, Modern Movement history and technology, achievements are in elds including architecture, civil engineering, urban cultural heritage, cultural tourism and mareting. his mi o noledge and planning, landscape design, interior design, furniture and furnishing design sills is essential in order to consider MoMoWo as a multidisciplinary proect, some of which are still perceived as traditionally male professions. thus providing European added value and fostering the protection and 6 promotion of European cultural diversity. he proect ors toards the harmonious development o European society by removing disparities and increasing gender equality both in Emilia Garda, Project Leader the orplace and beyond. MoMoWo aims to reveal and promote the contribution of women design professionals to European cultural heritage hich, until no, has been signicantly hidden rom history. At the same Why the MoMoWo project? time - considering istory as a living matter - it aims to promote and he project originated from a number of under reported issues. The increase the value o the ors and achievements o past and present Tcontemporary history of women’s creativity and the tangible cultural generations of women professionals to give strength to future generations heritage produced by omens ors is still mostly unnon today, not only of creative women. by the general public, but also by students, scholars and professionals. his proect, organised or the rst time on a European scale, as Through experience gained during research and teaching it has been noticed conceived to be interdisciplinary and is intended to give a new impetus that, except for a few monographs or female gender anthologies, women’s to broaden studies in Europe and beyond. Besides the Project Leader, ors are not highlighted in tet boos on the istory o Architecture, istory of Building Technologies and Engineering, Urban History and Design History. The project’s major research activity consists of a database of women Furthermore, buildings designed by women are rarely included in tourist or architects, civil engineers and designers active in their profession in Europe, architectural guideboos o maor European cities. nly a e archistar from 1918. It has been created to support MoMoWo cultural activities and its women are represented by the History of Contemporary Architecture, products, such as this guideboo o architectural and design itineraries, the although a considerable number of women architects appears in prestigious international travelling ehibition and its catalogue, and the nal symposium specialised magazines. Conversely, in 20th century history many women and its boos. hree historical orshops and their open-access publications designers in the tetiles, ashion, eellery and ceramics elds have made a aim to collect materials to enrich the database and to share and debate the name for themselves and their talent has been fully recognised. design experiences of European women. hrough the proect e ould lie to anser uestions that have been raised o international competitions, the rst or the design o MoMoWo visual in Europe since the Twenties and that are still of great relevance today. identity and the second, for a photography reportage on women architects’ Is there a professional space for European women in traditionally male own homes were conceived to transform audiences from passive receivers professions? What can be learned from European women pioneers so as into creators and active users of cultural contents. 7 to improve women's current professional achievements in architecture, civil Annual open days held in professional women’s studios celebrate engineering and design? International Women’s Day every 8th March in partners’ countries. They are The project intends to bridge the gap between past and future generations intended to provide the opportunity to mae ne contacts by visiting omen in order to increase the awareness of capabilities of the female gender architects, civil engineers and designers studios, thus transerring no-ho and contribute to women’s liberation from professional prejudices and beteen dierent generations, netoring ith proessionals and creating a clichés. This is why from the outset of the project proposal, engaging a sense of community. broader public ith ors created by omen has been a priority in order to Last, but not least, the MoMoWo website is both a repository of research engender ne perceptions o proessions and ne narratives in the elds o products and eperiences and their dissemination tools. hereore, to nd architecture, civil engineering and design. out more about the project and its activities visit: www.momowo.eu The ambition of this cultural project goes beyond the mere cliché that women architects, civil engineers and designers should be entrusted with Caterina Franchini, Assistant Project Leader tass specically related to omen in order to mae certain built spaces or products even more successul, on the grounds that omen have a dierent vie o things. onseuently, through its activities MoMoWo tacles a real equal opportunities theme, in both the past and present. n many places, tourism is extremely important for the growth of the local especially where the local economy was founded on models of industrial Ieconomy. The valorisation of the territory in tourism terms is increasingly monoculture. lined to interventions to identiy innovative tools aimed at best combining The Italian Ministry of Cultural Property and Activities and Tourism has the expectations of visitors with the welcome of the locals. It is above all dened tourism as the most important economic ministry. A uic, but thans to this crossroads o supply and demand that tourism can be a ont important example: what does valorising culture mean? In November 2012 of economic growth on one hand, and tourist satisfaction on the other. (two years before the centenary), France opened the National Museum The question that arises is no longer that of counting arrivals and stays o the reat War in Meau, and launched it ith the aceboo page (hardware) but rather on the culture of hospitality, the training of operators which told the story of a young engaged couple who had been separated (software) and the integration with policies regarding disabled access, the by the conflict. Again in France, every year, more than six million visitors 8 environment, urban planning, and culture or architecture - as is the case here. buy a ticet to go and see the locations o the ar, and spend on average For this reason, tourism is studied with a more integrated approach, one 6 € if they are passing through, but 88 € if they are tourists staying in the that characterises a reading of the territory by SiTI. area. his is hat valorising means - or rather maing touristic. his approach is then oined by the participation o staeholders and the In Italy it is estimated that cultural tourism generates a total o , billion, use of innovative technology which allow us to analyse and reorganise 60% of which is generated by foreign tourists. To give an idea of how much tourism by monitoring the flow and behaviour of tourists (for example) - a this is in real terms, it is estimated that the added value generated by cultural preliminary analysis for the formulation of any tourism policy. tourism amounts to over . billion and that conseuently , obs are generated. For many regional economies, the tourist industry today is a new development model able to sustain - both directly and indirectly - those verall, a nal estimated amount o over . billion is spent on property territories that over the years have experienced a slump in their economic and events, half of which is sustained by foreign visitors. Once again, by situation. The expansion of the service industry has proven to be a applying the sectorial multipliers, the added value reaches € 8,1 billion and good chance for regions to start to come out of the economic crisis, , obs are generated. The various evaluations, though schematic, substantially show two things: This is why a guide on female architecture includes tourist facilities and that culture is orth approimately billion in tourism around o itineraries. the national total) and € 7 billion in added value; and this area of tourism It ould be a good idea to or on the product/service ratio: i the public 'employs' around 200,000 people, a quarter of the sector. But, above all, is global and diverse, our offer cannot be a standard one but also varied, they tell us that tourists sustain most of the direct expenses incurred by which in fact is what is required by the Creative Europe Programme call for culture and its induced activity. proposals: maing the itineraries in various countries accessible to a ide It may perhaps seem sacrilegious and materialistic to treat cultural range of targets (not only 'professional' tourists). property and events as a factor in the production of income and Furthermore, this guide is structured to allow tourists to use it for longer employment: valorising does not only mean digging, recovering, renovating, stays - not just racing through. By highlighting accommodation, tourists listing, archiving and protecting. These are all preconditions: sacred, ill be able to mae their on pacage holiday in order to generate more maybe, but nevertheless not the be all and end all. In an ideal nancial spin-off throughout the territory. statement they represent an equal number of costs, against which we must start to consider and increase the number o sources o prot. ot 9 only ticets and boos, but increasingly also transport, catering, shopping Sara Levi Sacerdotti and accommodation. In a word: tourist spin-offs. Travelling does not help us much in understanding […] but it does serve to reactivate our eyes for a second. (Italo Calvino, Collezione di Sabbia,

his guideboo oers a ourney leading to the discovery o omens ill be oered. hereore, the guideboo is an interactive tool intended to Tcreativity in the elds o architecture and design that reveals omens transform the visitor from a passive receiver into an active user of cultural contribution to the creation of European tangible cultural heritage of the last contents. two centuries. It encourages visitors into a personal dialogue with European The itineraries presented here focus on four cities - Barcelona, Lisbon, cities and countries along the most varied and even unusual itineraries. Paris and Turin - as well as on two countries - the Netherlands and 10 This publication is the result of MoMoWo’s cultural-tourist itineraries Slovenia. They are representative of the MoMoWo partnership and creation as ell as being the rst architectural-design guide devoted evocative of cultural, geographic and landscape varieties across Europe. specically to omens ors in Europe. It aims to raise aareness and to provide the information about the accessibility to sites, buildings and design Enjoying a strategic position on the Mediterranean Sea, Barcelona had ors created by omen oring alone, in pairs or in a team. According to an important commercial and industrial past, but nowadays it is one of the aim o the MoMoWo proect, the guideboo mainly addresses a broader the main international tourist destinations in the Mediterranean. Europe’s audience, tourists and local visitors, families and young people. Given its westernmost capital city, Lisbon is historically the place of exchange innovative topic, it can also be a useul source o noledge or students between European and non-European cultures. Paris is the European and scholars, professional architects and designers. capital of cultural-tourism par-excellence, while Turin - at the foot of the This free publication is available to everyone including local authorities and Alps - epitomises the successful conversion from an industrial city to a tourist organisations as a way to promote cultural tourism in their areas. city of culture. The Netherlands and Slovenia, both historically intercultural Its digital version can be downloaded from the MoMoWo website and for countries, are quite similar in size, despite having two totally different some selected architectural ors an augmented reality eperience in situ landscapes - flatlands and mountains. his boo o itineraries as conceived to become a pilot non-ehaustive ne criterion or selecting the ors o each itinerary as their proimity cultural product since its format can be extended to other cities and to each other, in order to allow visitors to enjoy the trails mainly by foot, countries beyond the MoMoWo partnership. It is an innovative cultural bie or public transport. Another important criterion o selection as product for several reasons. Firstly, its topic is new because it is focused accessibility to the ors or at least their aades and eterior spaces. on female gender. Secondly, it is not only a guide about architecture This last criterion inevitably led to the exclusion of many private interiors or design, as it considers these to elds merged together in the even though they are note-worthy in contemporary architecture or manifestation of the project’s process. Thirdly, it combines cultural and represent signicant steps or the authors career. tourist contents for technical and informative purposes. Finally, it has To include a large number of women professionals it was decided to restrict double use, as the reader can start reading either at the selected ors or the number o ors o the same author, thus avouring visibility o less at biographies and ors o omen-pioneers. non architects and interior designers orthy o attention or the uality Emilia Garda o their or. he rst investigation, in act, concerning the ors uality was based on a close examination of European prizes and awards such as 11 EU Mies van der Rohe Award, EU Prize for Contemporary Architecture, EU About the methodology and the criteria for the works’ selection. Prize for Housing and Leading European Architects Forum - LEAF Award. he eighteen itineraries published here showcase different types aen into close consideration ere pries and aards given by prestigious To urban and non-urban ors, sites and buildings, created by institutions such as Biennale di Venezia, Triennale di Milano, Musée des Arts omen in the tentieth and tenty-rst centuries. he selection o Décoratifs – Paris, International Union of Architects (Benedictus Award). ors as undertaen to oer a ide variety o building types such as Whereas national awards included Spain’s Architecture Prize of the Higher residential and industrial buildings and complexes, educational, religious, Council of Architects, France’s l’Equerre d’Argent Prize, Slovenian’s three commercial and transport buildings, power stations, medical and care aards leni Aard, olden encil Aard and rance reeren Aard or centres, cinemas, theatres, museums, oces and bans, sports halls Architecture and lastly the Germany’s Designer’s Association Iconic Award. and stadiums, playgrounds and gardens. The selection includes ex-novo Local pries ere also taen into account including undaci rincesa buildings or reuse of pre-existing buildings, refurbishments and restoration de Girona Arts i Lletres - FPdGi Prize, Barcelona Foment de les Arts i del ors, etensions o buildings, urban design, garden design, landscape Disseny - FAD Awards; Portugal Leading Design Hotel Prize; Architetture architecture as well as interior design. The Paris itineraries presents Rivelate Prize (Turin); Golden Amsterdam Architecture Prize. Prizes given furniture and furnishings designed by women which are housed in the to architects included Royal Institute of British Architects - RIBA Stirling renowned Musée des Arts Décoratif. Prize, accVision prize-Women and Architecture and Prix Femme Architecte awarded by the Association pour la Recherche sur la Ville e l’Habitat - Apart rom its introductions, this boo is made up o three itineraries ARVHA. presented in each geographical section (city or country). Each itinerary is preceded by a description of the urban historical context and its he contents o this boo are the results o academic research that transformations. All geographical sections are completed by a short was based on archives and bibliographic sources such as anthologies, biographical article about one or more women pioneers with the exception almanacs, specialised magazines and technical journals. Investigations of Barcelona. The reasons of the absence of Spanish pioneers are well were also done in situ, in order to analyse building structures, techniques explained in that section. and materials. Series o photographs ere taen to illustrate and document the ors. ne hundred and tenty-ve ors are described. Each or is identied by the olloing data: ors complete name in English, and An innovative and interactive research approach as applied up-stream ors complete name in national language or its local name - type o through the active involvement of women architects and designers in or, complete list o authors, year or years o creation and complete suggesting ors to be published. his approach as tested in urin address. In the list of authors, women’s names are written in bold type or the rst MoMoWo public presentation at the Festival Architettura in and the members of a studio follow the studio’s name, while for brevity, Città 2015. On that occasion, a call was launched by the architects and professional titles are not mentioned. engineers associations in order to receive or rom omen proessionals 12 The texts are easily understandable by non-specialists. In most cases, to be presented to the public. hat call ased or the authors avourite and here possible, architectural ors are described in their specic urban not necessarily the most popular one. context, as we consider History of Architecture part of Urban History. At he ors selected by MoMoWo have since become part o the guided the end o the boo are the inde o omen architects and designers and visits Women and the city. ragments o an architectural tal and o the a bibliography. Titles listed in this bibliography do not include a complete open air installation W Women. his installation as ormed by repertoire of references or sources as they are considered useful to the codes o the single ors and provided the estival participants a virtual reader as a base for further personal study. journey across buildings and interiors designed by women in Turin. The The MoMoWo partnership is grateful to all authors, the architects, the designers who participated in these events have become MoMoWo’s designers and their studios, and professional and non-professional rst ambassadors. his up-stream involvement o a specic audience bodies who actively contributed in the creation and dissemination of this contributed to raising awareness of belonging to a European cultural guideboo. community and as the rst step to setting up a netor supporting the sustainability of the MoMoWo project. Caterina Franchini Itineraries

Barcelona

Lisbon

Paris

Turin

The Netherlands

Slovenia 14 BARCELONA BARCELONA

arcelona is a cosmopolitan city with more than 1 million inhabitants (more were promoted by the industrialization of the 19th century, the time of the Bthan 5 million people live in the metropolitan area). The city is located monopoly of the textile trade with Cuba. The economic growth reached its on the shores of the Mediterranean Sea and it is widely known as the “City peak in the First World War and started its fall with the crisis of 1929 and of Counts” due to its past as the capital of the former County of Barcelona. the Spanish Civil War. The city, which supported the Spanish Republic, was The capital of the Autonomous Community of Catalonia is one of the most bombed several times until it was finally occupied by Franco’s troops in important ports in Europe. 1939. The first settlements in Barcelona date back to the Neolithic; some time A third stage for the development of quality architecture in the city was after that, the Laietani, Iberian people occupied the area. According to legend, boosted by the celebration of the Olympic Games in 1992 and, later on, the after the First Punic Was, Carthaginians came to the Iberian Peninsula Universal Forum of Cultures in 2004. In both cases, besides the construction and the city was founded in 230 B.D. by Amilcar Barca, Hannibal’s father. of relevant buildings, some important urban interventions were carried out After that, the city was conquered by the Romans in 218 A.C. In Ptolomeo’s in the city, with the extension of the road systems and the creation of public Mapamundi (2nd century A.D.) the city was referred to as Barcino, evoking its areas in all the urban area. Although the industry has been the traditional Carthaginian past. economic drive of the city, the growth of Barcelona has progressively 16 Barcelona reached its first period of prosperity at the end of the 13th expelled the industrial areas beyond its limits. In the last years Barcelona century when it became a settlement for merchants in the Mediterranean has focused on commerce and service, as well as knowledge-based Sea. The Medieval urban remains are today an essential part of the Gothic activities with important research parks. quarter. A second crucial moment for the history of the city dates back to The patrimonial magnificence of Barcelona stands for one of its most the interventions carried out in the mid 19th century and the outcomes of prominent tourist attractions. From the historical centre with the Cathedral the Universal Exhibition of 1888. Once the Gothic walls were demolished, and the narrow streets of the Gothic quarter to the original Catalan the engineer Idefons Cerdà designed the urban plan of the new bourgeoisie Modernism, the city is truly fascinating due to the quality of its old and new city, with its characteristic blocks with cut squares. This expansion was architecture. Since the Olympic Games were held in 1992, several landmarks the home of the so-called “Catalan Modernism”, a national version of the have been built: this is the case of the Agbar Tower by Jean Nouvel, Saint Art Nouveau, which was supported by the rich clients of the bourgeoisie of Jordy Sports Centre by Arata Isozaki or the Museum of Modern Arts by Barcelona. Figures such as Antoni Gaudí, Domènech i Montaner or Josep Richard Meier. In some way, these projects have gone further with the Puig i Cadafalch provided the city with its original and visual uniqueness of modern architecture of Barcelona defined in 1929 by the Mies van der Rohe a cosmopolitan and modern city. These urban and architecture interventions Pavilion built for the World Exhibition held in the city. itinerary 1 he first itinerary shows the activity of female architects in Barcelona provides a suggestive reference to the function of the construction, as it Tin the historical centre of the city and the area of the 19th century is complemented with a sculpture by Tàpies. Probably, the most ambitious Ensanche (the widening). As these areas are highly protected, the project in this route is the one of the Gardunya Squre (7) by Carme Pinós interventions carried out have been designed with a special sensitivity (2015) in the Raval quarter, where the building closes the back façade of towards preserving the historical identity of the area while at the same the popular Mercat de la Boquería, supporting the logistics operations of time adding modern architecture elements. This is the case of the project the market. In addition, the project envisaged the construction of a block developed by Mercè Zazurca y Codolà and César Sánchez Medrano in of houses and a new urban hub in the very centre of the city. the Barcelona Resident - Student Residence (1) located in the medieval The itinerary also includes three commercial interior design projects. quarter of the Born. This project shows the perfect connection between the The first one can be found in the hallmark gothic Cathedral of Barcelona, two cloisters of the old Saint Augustine convent. Similarly, the colourful with the bold and respectful Shop in the Cathedral Cloister (3) by Pilar restoration of the Saint Catherine’s Market (2) by Benedetta Tagliabue Líbano. In the Mandarin Oriental Hotel (4), located in the heart of the 17 and Enric Miralles (2005) offers a suggestive dialogue between the iron Passeig de Gràcia, the Italian-Spanish architect Patricia Urquiola offers a structure and the glass walls which were frequently used in 19th century rich proposal intended to recover the concept of the 19th century grand markets and Gaudi’s mosaic tradition. hotels by combining functionality with luxury and exotic features. Finally, In the Antoni Tàpies Fundation (5), Roser Amadó and Lluís Doménech Olga Felip’s studio developed the venue of the Malborough Gallery (6) in Girbau (1990) carried out an intervention in an Art Nouveau building Barcelona: the building was designed with pure materials and clear spaces designed by the architect Domènech i Montaner between 1880 and 1885. underlining the commitment of the studio to current trends and achieving The façade, which keeps its brickwork and large windowpanes, an attractive façade with a comfortable and friendly interior design. A.M.F.G. itinerary 1

1 Barcelona Resident - Student Residence arrer antarantana, -

2 Saint Catherine‘s Market Avinguda rancesc amb,

3 Shop of the Cathedral Cloister la Seu,

Mandarin Oriental Hotel 4 18 asseig de rcia, -

5 Antoni Tàpies Foundation arrer Arag,

6 Marlborough Gallery Carrer d’Enric Granados, 68

7 Gardunya Square laa de la ardunya 6 5 4

19 1

7 1 1. 1 Renovation and reuse

his student hall of residence follows the traces and design of the hocolate lined to arcelonas between construction stages as well Tis located in the Born Square old quarter, setting the height and Association of Pastry Chefs, who as provide some shade. The use of area of Barcelona. The project interior spaces. The new residence promoted its foundation), which steel materials in the interior and was carried out by the architects has separated various functions can be found in the courtyard exterior parts of the building – the Mercè Zazurca and César Sánchez by area, with accommodation on connecting the two cloisters of the gallery and the carpentry - supplies a Medrano who aimed to optimise the top floor and activities and old Saint Augustine convent. As modern solution to the use of existing and increase the historical value of leisure areas on the ground floor. for the entrance, a planted gallery- construction elements. the existing and adjoining buildings. The ground floor includes the aade in the inner courtyard as A.M.F.G. The volumetric of the building Aula Magna and the Museum of designed to guarantee continuity www.barcelonaresident.cat

 1. 1 1. 2 Restoration Restoration and renovation

he maret as built in the mid- of the MUHBA - Museu d’Història by the 'trencadís' of Antonio Gaudí, the building. Tagliabue was awarded T19th century in the area of the de Barcelona (the Barcelona History ho used broen shards o tiles. he the prestigious RIBA (Royal Institute old convent of Saint Catherine, which Museum). It is worth mentioning mosaic of the roof was designed of British Architects) Stirling Prize for had been demolished following that this is the oldest rooed maret by Toni Comella as a metaphor of Best Building in 2005 by the Scottish Mendizábal’s ecclesiastical in the city and its refurbishment was a sea coloured by the idea of fruit Parliament and in 2010 she received conscations. he remains o the old part o the ors to restore the old and vegetables. The new roof, which the RIBA’s International Fellowships. convent, which were found during quarter of Barcelona. Benedetta covers the original structure, is based Other examples of Benedetta www.mercatsantacaterina.com the restoration ors carried out by agliabue Milan, and Enric on a set of irregular wooden vaults agliabues or in arcelona include Tagliabue and Miralles, can be seen Miralles (Barcelona, 1955) introduced and big arches supported by steel the ar Diagonal Mar and the  in the subloor o the maret as part a colourful roof which was inspired beams that seem to be floating over building of Gas Natural Fenosa (2007). 1. 2 1. 3 Reuse and interior design interior and Reuse

he Botiga del Claustre is a hen the aade as closed. the church. The space is closed by a in . er company has ored Tuniue little booshop ound in The selection of items includes simple stained glass window which on different stores of the couturier the cloister of the Gothic Cathedral religious products and souvenirs. eeps the original orge closure Antonio Mir, or Nespresso all over of Barcelona, which has roots In order to eep ith the austerity without interfering in the visual Spain and for countless commercial in the Paleo-Christian style, with of the religious interior design, the aspect of the project. Pilar Líbano establishments, oces and homes. omanic interventions. In , nal designer has chosen hardwood and is a renowned interior and furniture A.M.F.G. construction or began, nishing noble metals or the booshelves: designer born in Barcelona, who at the beginning of the 15th century elements that can also be found in graduated in the Massana School www.catedralbcn.org www.catedralbcn.org

 1. 3 1. 4 Interior design Interior

his hotel belongs to the Mandarin since 2001. The objective was to and beauty. In order to do so, the For the lobby, the designer used a TOriental chain. The original create an international icon for the designer resorted to the classic clean ceiling to highlight the spacious building dates bac to and it Oriental Mandarin brand, originally 19th century grand hotel concept. hall introducing golden aluminium hosted the Hotel Hispano-Americano, located in Hong Kong, and design The hotel reception was accessed lattices. In the Blanc Restaurant, the adapted in by the studio o a building as the flagship of these by a alay ithout stairs or designer re-interpreted an interior Carlos Ferrater and Juan Trías de hotels in Europe. The intervention any obstacle: ruiola used a sil garden with a great white net with Bes, who commissioned the interior was intended to be timeless and and wool handcrafted floral carpet hanging vegetation. B & B Crinoline www.mandarinoriental.com/barcelona design to Patricia Urquiola, a designer overcome any particular trend; at the which resembled Japanese Imari, Collection seats highlight the oriental born in 1961 in Oviedo who has same time, the building was aimed and provided luxurious and silent style of the garden.  ored in her on studio in Milan to provide comfort, functionality loors evoing oriental landscapes. A.M.F.G. 1. 4 1. 5

his project focussed on the Trestoration and refurbishment of the old building of the Editorial

Montaner i Simón, which was refurbishment

originally designed by the modernist and Restoration architect Lluís Domènech i Montaner and was built between 1880 and 1885. Since 1990, it has been home to the museum and the cultural centre devoted to the Catalan artist Antoni Tàpies. The Foundation was 24 created by the author in and it includes more than three hundred ors by pies. Since this is a building between party walls, the famous artist created a sculpture for the top of the building intended Doménech (e.g., the project of the indoor spaces. The project received ored together since and their to increase its height: Nube y Silla Historical Centre of Lerida or the the Década Prize, awarded by a buildings feature rationalism and , ith the chair evoing Archive of the Crown of Aragon), the committee including Robert Venturi functionality, in addition to a deep aesthetic contemplation, a common architects focus on the relationship and Denise Scott-Brown. Roser respect for the urban elements of element in Tàpies’ production. between architecture and the city, Amad arcelona, and Llus their projects. As in other ors by Amad and and on the creation o striing Domnech arcelona, have A.M.F.G.

www.fundaciotapies.org

 1. 5 1. 6

he renovated Marlborough Fine TArt Gallery opens in Barcelona on th September ith an

exhibition devoted to the painter design interior Manolo Valdés. The gallery project Renovation and was developed by Josep Camps and Olga Felip (named Young Architect of the Year 2010 in the LEAF Awards and awarded the Arts i Lletres Award 25 of the Fundació Princesa de Girona 2015), from the studio Arquitecturia. The Gallery building has two hundred square meters of covered premises and includes the Marlborough allery, hich is very ell non in the international panorama. The rst Marlborough ine Art allery which allow pedestrians to see the colour of the walls contrasts with the developments in the Museo de la as ounded in London in , and inside of the building, consisting polished concrete floors creating an Energía de Ascó in Tarragona and by was later established in Barcelona of a white area with a second floor aseptic but warm atmosphere that the Plaza del Ábside of the Cathedral in 2006 in a large exhibition space leading to the central part of the is particularly suitable for exhibiting of Tortosa. hich is open to the street by means building, here several oces and a contemporary art. Arquitecturia A.M.F.G. www.galeriamarlborough.com o steel proles and glass plates meeting room are located. The white is a studio renowned for its  1. 6 1. 7 Urban renewal

he Plaça de la Gardunya goods lifts for logistics operations. completed with the inauguration of effects and the irregular shape of T(Gardunya Square) is an urban his aade does not compete ith the educational centre in academic green areas. All the projects have project by the studio of Carme the existing roofs, but overlaps new year 2016–17. The square will been designed by arme ins ins, and comprises several ones to host new stands. The main be bordered by thirty-nine ocial arcelona, , an architect ho ors hich have redeveloped an idea is to create non-symmetrical social housing residences on the opened her own studio in 1991. area that was originally set up to rhythms integrated with the trees other side of the new venue of the She was awarded the Spanish support the logistics operations and the rounded shapes of the teaching institution. The design is Architecture Prize of the Higher of the Mercat de la Boquería. The square. Moreover, in 2015 the intended to create small dynamic Council of Architects in Spain in bac aade o the maret - one foundation stone for the new Escola public spaces in the middle of 1995 and the National Architecture thousand square meters in size - is Massana, a ne arts centre, as an area o remarable historical Prize in 2008. home to new stands, facilities and laid. The building is expected to be interest, ith dierent aade A.M.F.G. 1. 7 itinerary 2 he second itinerary starts in the Barceloneta - Seafront Promenade (1). line of buildings, in the northern area of the Promenade, the Spanish TAt the beginning of the 19th century, this area contained the entirety National Radio Venue (2) de Carmen Ribas (2008) and Pere Joan Ravellat, of the city’s textile industry as well as a good number of warehouses and in another industrial area in the Poblenou, offers a modern image in the workshops which blocked the sea façade of Barcelona and pushed the old façade which combines the logo of the company using solar protection fisherman’s quarter out to nearby zones. As textile activity progressively sheets to cover the building. The principle of energy efficiency and a abandoned the area to concentrate itself in the suburbs of Barcelona, the commitment to refurbishing the downgraded areas of the city can also be Paseo Marítimo de La Barceloneta turned into a leisure area with public observed in the building for the Catalan Economists' Association (4) by baths and picnic areas. The urbanistic boom and the Olympic Games Mercé Berengué and Miguel Roldán in the area of the Gala Placidia square held in 1992 in Barcelona promoted the opening of new spaces, such or the Passeig de Saint John Refurbishment (3) by Lola Domènech, where sustainability and biodiversity are prioritized with the pedestrian use of the as the Muelle de la Barceloneta and the Paseo Marítimo, which included street. In the final part of the itinerary we recommend a visit to the Social the recovery of the maritime façade and beach for tourists and local 27 Housing Apartments for Young People (5) developed by Marta Peris and citizens. Olga Tarrasó (1995–2001) was one of the architects in charge José Manuel Toral, with simple forms and an efficient use of light and of this ambitious intervention planned by the Council: the project aimed materials. The last stop on this route is the Fabra Observatory (6), located to remove obstacles and optimize traffic. The intervention in the Paseo in the Tibidabo mountain, a spot with a privileged view of Barcelona, Marítimo was designed following the city strategy which had been planned where the architect Julia Schulz Dornburg designed a unique backdrop to during the years prior to the Olympic Games: this strategy included a the “dinners with the stars” held in the old astronomic observatory built global plan for Barcelona and a conceptualization of the city model. On a in 1904. The spectacular scenography of the event is further aided by different level, the so-called "Forum 2004 Operation" implied fragmented the ambient lighting that gives visitors the feeling they are ‘floating‘ over actions, with high level projects regarding design and technology; however, Barcelona. this strategy lacked a general conception model for the city. In this second A.M.F.G. itinerary 2

1 Barceloneta - Seafront Promenade Passeig Marítim

2 Spanish National Radio Venue Carrer de Roc Boronat, 127

3 Passeig de Sant Joan Refurbishment Passeig de Sant Joan between Arc de Triumph and Tetuán

4 Catalan Economists' Association 28 laa de alla lacdia,

5 Social Housing Apartments for Young People Av. de osep icen oi,

6 "Dinner with Stars" - Fabra Observatory Carretera Observatori Fabra, s/n 6

2 29 5 4

1 2 2. 1 Urban design Urban

n ambitious or led by the cleaning the seafront by removing platforms with sports clubs and to 2000. The promenade also includes ABarcelona Council and its technical urban obstacles and improving other services); on the upper level a Nu benches (1991), designed by staff. This project aims to recover an connections with Barceloneta. It is an pedestrian area was designed, including arras ith ordi enrich or Santa area which had been downgraded unremarable public area beteen a bicycle lane. The main aim was to & Cole. The galvanised steel structure due to its proximity to the port and the neighbourhood and the sea, eep the streets pointing out toards united with tropical wood allows a industrial premises. with several squares adapted to the the sea by means of the pavement, the number of compositions and, in fact, The project was set up in two stages buildings’ shape. A bay pointing out plants, and the Kanya lights. has become a characteristic feature and aimed to promote use of the towards the sea was built in order to lga arras avarrs, alencia, in the urban landscape of modern beach by the citizens of Barcelona; protect the lower part at the beach was a member of the Urban Projects Barcelona. additionally, it contributed to level (hosting terraces with wooden ce o arcelona ouncil rom A.M.F.G. 2. 1 2. 2

he building was designed to Thost the Spanish National Ex-novo Radio in Barcelona, and the main functions were broadcasting and administration. The building is located in an area of industrial conversion in the Poblenou of Barcelona. It is part of the urban transormation proect non as 22@Barcelona, which is aimed 31 at converting industrial spaces in Barcelona into an innovative district, focussed on activities related to noledge. The building is a rectangular construction ith a car par, ground floor and four open floors. service alays that can be ound It is supported on concrete pillars throughout the four sides. Between the with screening walls and a central third and fourth floor there is an open communication area. Walays can space, due to the current neighbourhood be found in the four sides of the bylaw, which states that all buildings building which aim to provide some must have open spaces or terraces to of Architecture. In 2007, Olga Schmid roof structure of the San Antonio shade indoors. These colourful avoid the feeling of being 'trapped'. joined the studio as an associate dominical maret or the restoration o resources also provide the building Ribas and Ravetllat teach architecture architect. Also in Barcelona, you may the Orlandi House into a Civic Centre. ith a second sin and hide the at Barcelona’s Higher Technical School nd some o their designs lie the A.M.F.G. 2. 2 2. 3 Urban renewal

his urban intervention was cast nice natural shade over the urban intervention (which relied Cerdá (1860), adapting the streets Tplanned with two main street. To improve the draining on the collaboration of engineer for pedestrian use and presenting a objectives: on one hand, it aimed to system, a drainage pavement was Teresa Galí), was the recovery of new use for the streets. or as a green corridor leading to designed ith lan and bricor. the Passeig de Sant Joan as a he proect as a nalist in the the ar o iutadella, and on the The automatic watering system social area, with a project where Fad awards 2012. The promenade other promotes the pedestrian use of taes advantage o ater tables biodiversity and sustainability are ey was further extended by the same this street. and autochthonous species are features. In addition, this intervention architect in a recent intervention Two new lines of trees were added continuously used. One of the as undertaen in ull respect o the . to the existing ones, in order to most relevant achievements of this urban layout designed by Ildefonso A.M.F.G. 2. 3 2. 4 Ex-novo

he building is part of a bigger generating several galleries Tproject intended to revitalize the shaping the heart of the building urban area o the laa de alla and emulating the Ensanche de 33 Placídia and is located in the new Barcelona. The building’s main edge of the square. It is a six floor feature is its visibility, since the building designed as a sequence of aades especially at night and overlapped boes, hich are dened ith selective lighting mae the by the use of three materials: glass, inside part of the building appear aluminium and wood. The architects transparent and interactive with the have created a sustainable building square. with low energy consumption, In , the proect as aarded ecient energy systems and air the prize to the best non-residential conditioning: our aades receive project, by NAN Arquitectura y daylight, hile the south aade onstruccin, ith the atalunya is provided with a double-glazed onstrucci Aards, and ith the vented panel. This particular AIT Award. aade ors as a thermal cushion A.M.F.G. 2. 4 2. 5 Ex-novo his project was designed to create T apartments or young people in a social housing project. The building is structured in independent areas that require a basement floor to balance out the difference in level and which gives access to the car par. he elevation o the lats, ith setbacs and empty areas, is aimed to promote sun exposure of 34 the houses. A single type of window was used for homogeneous and plain aades. Sun protection is guaranteed by means of aluminium arcades that provide shade and create plastic richness in the aade. This project was awarded the FAD 2009 Awards, due to the quality of Toral as established in both Manuel Toral (Madrid, 1978) are particularly interested in social housing, and a simple and smart housing plan in architects were trained in Barcelona move aay rom commercial criteria, oring ith dynamic loors ith to- area lie Can Carellau, a place where and in the studios of Esteban Bonell way spaces, or with intermediate spaces that enrich the conflict between the no examples of architectural quality and Rafael Moneo. Marta Peris public and private sectors. could be identied. he Studio Peris + (Palma de Mallorca, 1972) and José A.M.F.G. 2. 5 2. 6 Refurbishment

inner with Stars is an unmissable conference. The observatory and the Germany, 1962) included the floor most popular ors can be ound in Devent in a Barcelona summer. dinners are held in one of Barcelona’s boarding of the area in which the ian Warriors ehibition nalist Held in the Fabra Observatory, privileged viewpoints. The main the activity is carried out. The o the th Saln de Aruitectura it aims to combine scientic building as inaugurated in particular scenography of the event Interior , or the ity o dissemination and astronomic and designed by architect Josep is supported by means of ambient Barcelona Award 2002 in Design for observation with enchanting cuisine. Doménech. It was built for studies lighting that highlights the feeling the ehibition design osmpolis. The plan includes al fresco dining, in astronomy, meteorology and o loating over arcelona. he orges and uenos Aires. guided observation of the night seismology. author is an expert in exhibition A.M.F.G. www.soparsambestrelles.cat/home.html sy ith a telescope, a visit to the The intervention of architect curatorship, exhibition design and  permanent ehibition and a scientic Julia Schulz-Dornburg (Munich, ephemeral architecture. Some of her 2. 6 itinerary 3 he third itinerary of Barcelona as designed by women architects includes Visitors are advised to enjoy two works which are particularly relevant Tseveral landscapes of the western part of the city. Starting by the Zona from the urban and social points of view. One is the the Joan Miró Library Franca, which unites several quarters and industrial areas that hosted (4) which was designed by a group of architects including Beth Galí, in the harbour activities and working-class houses built in the industrialisation Ensanche of Barcelona. This was the city’s first building intended to be used era, we can find a project by Blanca Lleó: 97 Houses for Young People (1). as a library. The second example is the restoration of the Mil.lenari Park This project provides rented accommodation for young people, representing (5) by Isabel Bennasar and Anna Noguer, who designed a clever solution a remarkable example of energy efficiency and social policies in the city for access to the building and the problems relating to the various levels. by combining modern design, low-cost construction and sustainability. Finally, in the site of an old concrete factory, Anna Bofill and architects of the The houses include outstanding views of the Montjuic Mountain, where Architecture Workshop of Ricardo Bofill, planned the "Walden 7" Building (6) the Botanical Garden of Barcelona (2) is located. Bet Figueras, together in 1973. This was an ambitious social housing project inspired by the Unité with other professionals, has been able to group the botanical species of d'Habitation of Marseille by Le Corbusier. The "Walden 7" building is still the Mediterranean at the Botanical Garden following modern landscaping today managed by open assemblies of neighbours. models regarding respect of the environment and water saving. A.M.F.G.. 36 itinerary 3 1 97 Houses for Young People 4 Joan Miró Library Carrer de la Mare de Déu de Port, 179 Vilamarí, 61

2 Botanical Garden of Barcelona 5 Mil·lenari Park arrer Dr. ont uer, Carrer Angel Guimerà - Sant Just Desvern 3 Social Service Centre, Local Archives and Landscaping 6 "Walden 7" Building of the "Waldorf" Block - arrer de albria, Carretera Reial, 106 - Sant Just Desvern

37 5

6 4 3

1 3 3. 1

his project developed 97 flats to be rented out to young people T Ex-novo and located in the Free Trade Area of Barcelona. The building is structured over ve loors and was designed as a long tablet with a diagonal sequence of empty spaces aimed for use as social areas (community rooms, terraces, yards, etc.). This strategy promoted the interaction of private houses with the city environment fostering the air circulation. Each lat is 38 square metres in size, with a well-lit area provided with large double- glazed French windows to promote energy saving. In addition, colour slats (green, glue and mustard) have been installed to control the interior lighting. The slats are also and material, using concrete for the the integration of the building with in the Escuela Técnica Superior de able to capture sunlight, moving structure and panels and designing the environment. In addition, these Arquitectura (Higher Technical School lie sunloers olloing the energy a sustainable system without waste. areas also can be used as social of Architecture) of Madrid and is one source. The compact image of the building meeting points for young people. of the most renowned and prestigious The project was developed in is nuanced by several empty spaces lanca Lle Madrid, is a architects in Spain. modules in order to save both time in the aade or air circulation and Professor of Architectural Projects A.M.F.G. 3. 1 3. 2 Ex-novo, Ex-novo, garden design

he Botanical Garden is located living in the Mediterranean climate placed in terraces. The garden designed in respect of ecology and Tin Montjuïc. It was created in and originating from all over the also has garden centres, a botanic the local ecosystem. 1999 and was intended to be the world, and they are grouped into 5 laboratory, an auditorium, a library Bet Figueras (1957–2010) was one rst botanical garden in the city, phytogeography areas: California, and a restaurant. It is also home of the most famous environmental as the previous one was rather Chile, Australia and South Africa to the Salvador Museum, which architects in Spain. She was small for Barcelona. The creators (as well as the Mediterranean). includes 800,000 samples of trained in ereley, eorgeton

of the project were Carlos Ferrater, The garden also includes species botanic species collected since the and Edinburgh and since her http://museuciencies.cat/ Artur Bossy, Joan Pedrola and from China and Japan. The total 17th century. The botanical garden return to Barcelona in the 1980s,  Bet Figueras. This garden is also number of species is around 7000, has a neat style, following the she contributed to renovating home to a number of species grouped in triangular platforms artistic trend of land art, and was landscaping. A.M.F.G. 3. 2 3. 3 Urban renewal

his project by Conxita Balcells TAssociates (Barcelona, 1962) contributed to recovering interior areas in the Ensanche de Barcelona 40 bloc, maing these spaces available for public use. The intervention was carried out in the site of the old Waldorf cinema. The project was developed in the ground floor, the basement and the central area, and it hosts the Centre for Social Services Several inds o looring concrete areas are interconnected by glass rather original solution for a place and the Local Archives, which can be and draining floors) and colours have wall coverings which are partially which was previously unused, and accessed by an interior pedestrian been used for the leisure area and the closed by metallic slats that allow meets the demands of social areas of corridor. children’s area. All areas are bordered the interaction of the interior and the the El Ensanche neighbourhood. The central area hosts a leisure zone by planter-benches with aromatic exterior areas. A.M.F.G. for the people of the neighbourhood. flowers and carpet plants. Social This project can be regarded as a 3. 3 3. 4 Ex-novo

he building is located in the area for children, a bar, as well as other intended to be used by ith the environment thans to the Toan Mir ar, in the Ensanche ping-pong and bowling premises. adults. The long and narrow porches and the water, resembling o arcelona. he rst proect or he par is decorated ith corridor is overlooed by to alls the Barcelona Pavilion by Mies van this par, opened in , as Lamparaalta streetlights , oring as screens that relect del Rohe. designed by eth al, uintana, designed by al and uintana to the sunlight, casting light on the It as the rst building conceived Solanas and Arriola. Galí was the shed light on the palm trees, which two porches. The shadows cast as a library in Barcelona, and also one leading the last redesign of the were awarded with the Delta de by metal 'people', designed by the the rst one to have an automatic area in . he par is devoted to lata ADI-AD in . creators of the project, lend the catalogue for its resources. 1991

the Surrealist artist oan Mir. he Access rom the par separates setting a casual character. The AD aard nalist or e-build www.barcelona.cat/bibjoanmiro

area contains pergolas and climbing the building in two symmetrical building, surrounded by ponds, is Architecture for Public use with the  plants, a wood, sports facilities, an zones, one for children, and the reserved and simple and interacts oan Mir library. A.M.F.G. 3. 4 3. 5 Garden design

his project focused on the roof central part used for shade over the proles and slate panels. developed several projects ranging To a car par designed as a area set aside for children. Spaces he proect as one o the nalists from the urban to the domestic, landscape for pedestrians. The are bordered by planters close to of the FAD awards in 2007. with an intense activity in public project is next to an old Dominican the pergola so that climbing plants Architect Isabel Bennasar (Menorca, construction, restoration, housing and convent transformed into sheltered can climb the structure; other areas is specialied in landscape interior design. In the last few years housing. The square is accessed by are provided with concrete walls projects and has been involved she has collaborated in a number of ramps. he top part o the paring covered ith slate. he aade o in several initiatives aimed at the tourism projects to Morocco. lot is square in shape with several the eisting paring lot has been environmental recovery of public A.M.F.G. pavement levels, and a pergola in the treated as a lattice with metal spaces, while Anna Noguera has www.santjust.cat/zonesverdes/017.htm  3. 5 3. 6 Ex-novo

his is an iconic building and the architect e anosy. included the construction of three courtyards connected horizontally Tlocated in San Just Desvern The building was inspired by the buildings but, due to economic and vertically. In accordance with (Barcelona) and designed by science ction novel Walden o, reasons, only one as nally built, the democratic and reflective the multidisciplinary group by Sinner, and as originally non limiting the number of houses. spirit of its design, the building is Architecture Workshop, which as Ciudad del Espacio (Space City). Walden as planned as a managed by the neighbours through aims to unite architecture, The project was designed to host a city within the city, a project with open assemblies. Anna oll engineering, psychology, literature small city with flats, houses, shops social housing including lats arcelona, has combined

and philosophy. The group was and services. Half of the area in and 1000 inhabitants, organized her professional activity with www.walden7.com/

integrated by Ricardo and Anna each structure would be devoted in independent modules o music composition and theoretical  oll, the poet oytisolo, the to social spaces, aling areas square metres each. The result reflections on urban planning and politician and writer Salvador Clotas, and gardens. The project originally is a vertical labyrinth with seven housing. A.M.F.G. 3. 6 pioneers

n Spain, female pioneers in architecture can be found much later than having completed her training in the city was Mercedes Serra Barenys, Iin other European countries. It is worth mentioning that women in Spain who finished architecture in 1964. In fact, in several interviews she has accessed higher education quite recently. The first university female confessed that she had her hair cut like a boy so she would be unnoticed at student in the University of Barcelona was María Elena Maseras Ribera, the University. Other women who completed their studies in the 60s were who graduated in medicine in 1878. The two main pioneering schools in Roser Amadó and Anna Bofill. Since then, women account for more than architecture providing technical training were located in Madrid (created in 50% in the total number of students registered in architecture schools, 1844) and Barcelona (founded in 1875). In both cases, only men could be although we need to underline that their professional recognition has not found among teaching staff and students for many years, as architecture been the same than the one of their male colleagues. As it has been argued and technological and construction degrees were at that time regarded as by Zaida Muxí, the activities of the first architects in Spain were related to administration or teaching; later on, they started to work in studios 44 being ‘male-oriented’ activities. led by male architects (their husbands, in many cases), and only in the It was not until 1936 that the first female architect (Matilde Ucelay last decades it can be said that independent studios founded by female Maortúa, Polytechnic University of Madrid) graduated in Spain. That year architects are common. Nevertheless, it is worth mentioning that the first she was the only woman in the Board of the Association of Architects of women becoming a Full Professor in “Architecture Projects” in a Spanish Madrid. As an aftermath for holding this position in the Spanish Republic, university -Pascuala Campos de Michelena- achieved this position in 1995. after the Civil war she would be judged and banned for life to hold any This fact underlines that the glass ceiling has prevented women to access public position; she was also prohibited to work as an architect for 5 years. high positions in the field until quite recently. The prohibition by Franco’s authorities implied that she did not receive the title or architect until 1946 and she had to ask colleagues to sign for her projects. In Barcelona, the first architect in the Higher Technical School of Architecture was Margarita Brender Rubira in 1962, who actually recognized a degree she had already completed. The first graduate student LISBON LISBON

he 19th century legacy of revivalism and eclecticisms marked the of local references, giving way to organic and regional approaches and TPortuguese architectural production until quite late, extending itself until explorations, expressed on Álvaro Siza Vieira works, first Pritzker of the first decades of the 20th century. However, in the late 1920s and early Portuguese architecture (1992), an architect from the “Oporto School”, as 1930s, Lisbon saw the rising of buildings in an expression balancing between his disciple Eduardo Souto de Moura (Pritzker Prize in 2011). Lisbon owes to Art Deco and purism, which took as reference models in the international Siza Vieira the wise intervention in Chiado after the huge 1988 fire, an urban vanguard of the Modern Movement. rehabilitation project which granted to this central place of the capital, the This first cycle of modern Portuguese architecture is historically first step to modernization. intersected with the military hit of 1926, which led to the establishment of As far as the participation of women in the Portuguese architecture is the Estado Novo dictatorship, established by the 1933 Constitution. Several concerned, they found it difficult to assert themselves in the profession in architects from the first generation of Portuguese modern architecture, were Portugal, which was dominated by the male gender. Taking the remarkable called to the proximity of the Power to work for these years in a strictly formal case of Maria José Marques da Silva, one of the first women graduating in tone, applying either a modernist and international expression, as eclectic- 46 architecture in 1943 who left us several works in Oporto, in collaboration historicist and regionalist, in great campaigns of public works. with her husband, architect David Moreira da Silva, only in the late 1950s With the Post-Second War and especially after the completion of the "First they slowly began to take a more active role, particularly in the context of National Congress of Architecture" in 1948, a generation of young architects professional practice associated with the colonial period. took over from there, deliberately in a more radical way, the sense of modernist research (such is the case of Francisco Keil do Amaral, Miguel Jacobetty However, the turning point was marked in the 1960s, namely by Olga Rosa, Viana de Lima or Francisco da Conceição Silva, who belonged to the Quintanilha: with a degree from the Lisbon School of Fine Arts in 1967, she second generation of national modernism). The assumptions of the modern became the first head of the Portuguese Architects Order, between 1999 movement, clearly referring to Le Corbusier and Brazilian architecture, have and 2001. In fact, after the 1974 Revolution, it was possible to witness a been adopted in a creative way, ethical and ideologically convinced (like in trend towards an increasing feminization of this field, associated with the the interventions and works of the immediately following generation, of Nuno enlargement of the university system and the opening of private courses in Teotónio Pereira, Bartolomeu Costa Cabral or Nuno Portas). architecture, in 1986. Nowadays women architects in Portugal are mostly The end of the 1950s and the 1960s brought a moment of reflection younger than male architects, and have come to assert themselves in the and questioning of the International Style, linked to the research proccess profession. itinerary 1 he first itinerary starts at Praça do Comércio, commonly known as "Terreiro find, for example, the Museu do Chiado and the Teatro S. Carlos. Tdo Paço", a symbolic liaison space between the city and the river. This Go through Largo das Duas Igrejas and you will find Misericórdia Street square was built in the 18th century during the Enlightenment and from the opposite to the right. Follow this street which connects to São Pedro de reconstruction that followed the 1755 earthquake. It is surrounded by arched Alcântara Street , near the Igreja de São Roque, and on the right you will find the buildings and overlooked from east to west by two towers opening up from the beautiful garden and view of São Pedro de Alcântara, built in 19th century. Tagus River. To the north a major arch leads to Augusta Street, and in the centre Continuing along to D. Pedro V Street, you will reach the Square and garden stands the equestrian statue of King D. José I. of Príncipe Real, where you will also find the Ribeiro da Cunha Palace (3) Remaining faithful to the 18th century urban planning, the area was emodelled between 2009 and 2013. From here, you will find Escola Politécnica subject to some change: the most recent in 2010 which enhanced its Street, named after the ancient Polytechnic School, and today the Museu relationship with the Tagus River creating from the pier columns a continuous Nacional de História Natural e da Ciência that integrates the Jardim Botânico da panorama which visitors may enjoy or merely relax in the area. Universidade de Lisboa and the Politécnica Theatre (4) which also stands on 47 Anyone who crosses the river to the south bank will reach the South and the site of the old school. Southeast River Station (1) an Art DecÓ building constructed between 1929 At the Príncipe Real garden, go down to O Século Street – where you will and 1931, it was classified as a Monument of Public Interest in 2012 and find the Convento e Igreja dos Cardaes and the Palácio do Marquês de Pombal recently expanded and currently subject to rehabilitation works. – until you reach Calçada do Combro. Climb it and to the left you will find Igreja Crossing the arch that leads to Augusta Street, we reach the orthogonal e Convento dos Paulistas and, further on and to the right Bica de Duarte Belo frame of Baixa Pombalina, an urban setup also dating back to the 17th century Street. You are now on the edge of Bairro Alto and Bairro da Bica, two legendary reconstruction. At the entrance, you will find on your right the MUDE – Design districts that maintain their importance as residential areas and night time and Fashion Museum (2). Further on, turning left onto Santa Justa Street, you entertainment, where you will find nightspots such as Bar Funicular (5). can access the elevator that connects downtown to uptown Lisbon, reaching In Bica de Duarte Belo Street you can take the lift to Bica: near the the ruins of Convento do Carmo and the Museu Arqueológico do Carmo. building where it ends, a project of ceramic works entitled “Vai Vem” (6) was Down to the left, Chiado, the majority of which was rebuilt after the 1755 recently undertaken. Descending the elevator, you once again find yourself in earthquake and which, following the huge fire of 1988 took its first step on the harbour river side area: go to Banhos de São Paulo, headquarters of the the road to modernisation thanks to the wise intervention of architect Álvaro Architect Order and through Largo D. Luís, where, on the left, you will find the Siza Vieira. From the romantic times of the 1800s, Chiado is claimed to be the Underdogs Art Store (7) at the Ribeira Market. M.H.S. cosmopolitan area of the city and the centre of cultural Lisbon where you can itinerary 1

1 South and Southeast River Station Avenida Infante Dom Henrique, 1

2 MUDE – Design and Fashion Museum ua Augusta,

3 Ribeiro da Cunha Palace raa do rncipe eal,

4 Politécnica Theatre ua da Escola olitcnica,

5 Bar Funicular ua da ica de Duarte elo,

6 "Vai Vem" - Site Specific Art Work ua da ica de Duarte elo,

7 Underdogs Art Store imeut Mercado da ibeira - ais do Sodr, Avenida de ulho, 4

2 6

1 7 1 1. 1 Renovation and extension and Renovation

he building was designed building is still awaiting conclusion. also in the pyramid shaped top began a project of transformation Tby architect Cottinelli Telmo The former station is made up o the aades. he interiors are that altered and extended the existing , built beteen of parallelepiped volumes with decorated with large marble plates building and connecting it to the and , and classied as a a covered terrace its orm taes in contrasting colours and textures, Lisbon Metro station. he ors Monument of Public Interest in inspiration from Art Deco, which metallic wire with geometric were directed by architect Ana Costa 2012. It has recently been subject to is clearly visible in the subsequent designs, ashlars with polychromatic (1960), the granddaughter of Cottinelli etension and transormation ors scaled plans that emphasize the tiles and tile panels. elmo ho too over management o by Atelier Daciano da Costa, yet the curves of large spans and vertical In , the studio o designer the Studio Daciano da Costa in 2005. rehabilitation process of the existing and horizontal directions and Daciano da osta M.H.S. 1. 1 1. 2 Reuse, museum set design

pened in 2009 and centrally that ended with the almost Chamber of Lisbon, a project ourselves in a surprising encounter Olocated in Baixa Pombalina, total demolition of its interiors, was put into effect that foresaw with a modern, 20th century MUDE is a museum dedicated to hich as interrupted thans to the temporary installation of the ruin. Besides the visible concrete all forms of design, with exhibition, the importance of the existing Museum of Design and Fashion. structure, the project was also made creation, meeting and debate areas. patrimonial elements. Up until 2008, Consequently, the architects Joana with materials resulting from the With the end o the colonial ban it remained in a state of almost Vilhena and Ricardo Carvalho construction itself, reinforcing the olloing the revolution complete abandon, with part of (RCJV arquitectos) choose to idea of a continuing process, of that brought independence to the the ornamental plasters, floors and imagine a museum with rather something still going on. www.mude.pt

Portuguese colonies, the building coatings destroyed. In the same unique premises: following the idea M.H.S.  was included in a complex process year, by decision of the Municipal o recycling and reuse, e no nd 1. 2 1. 3 Renovation and reuse

uilt in 1877, the Palacete Ribeiro by four rounded domes. With three The palace passed between several with the collaboration of a team Bda Cunha at Príncipe Real, in the floors separated by a frieze in stone, owners throughout the 20th century, of predominantly women: Carmo corner of Calçada da Patriarcal, is the building is divided at regular with part of it rented to the rectory Carvalho, Cátia Venda, Marta a neo-Arabic building designed by intervals by horseshoe arches. of Universidade Nova de Lisboa, Bandeira, Vanessa Santos Silva. The architect Henrique Carlos Afonso The interior is dominated by the from 1980 to the mid-1990s. owners are the promoters of the as the residence of the wealthy aes dened by the oyer and the oday, it belongs to a ban proect hich started in the capitalist José Ribeiro da Cunha. staircase; these, as well as the institution and was remodelled space includes a commercial gallery With a rectangular top plan with three interior patio are not only areas to be in 2009 by the studios Falcão with several shops, mainly selling aades it has a sloping appearance, used, but also represent an internal de Campos e Appleton & articles by Portuguese creators; there with the four sloping roofs divided way of distributing the space. Domingos Arquitectos, Lda., is also a restaurant. M.H.S. 1. 3 1. 4 Renovation and reuse

everal buildings stand out in Natural History and Science of teaching and research in the Escola architects Patrícia Barbas and Diogo SRua da Escola Politécnica, Lisbon University, which includes Politécnica. Lopes. Besides the main room - with including the one which lent its a number of spaces inherited from At the entrance o this scientic its large iron structured windows name to the street: the former Escola the Escola Politécnica and the garden is the Polytechnical Theatre, a with a view over the plants of the Politécnica, the Polytechnic School, only surviving building from the space that for a long time was used as Jardim Botânico - the adjoining build as educational architecture ancient Real Picadeiro do Colégio canteen for the Faculdade de Ciências room of the same size functions as in Pombalina and Neoclassic style, dos Nobres (1761), the Royal Riding (the Science Faculty) but which once, a multi-purpose hall for exhibitions, and later transformed into the School - and the Jardim Botânico, in 1907, also housed a theatre. lectures, courses and experimental www.artistasunidos.pt Museu Nacional de História Natural the Botanical Garden, designed In October 2011, the theatre company shows. e da Ciência da Universidade de in the mid 19th century as a Artistas nidos, reopened the doors M.H.S.  Lisboa, the National Museum of modern accompaniment to botanic following a project of renovation by 1. 4 1. 5 interior design interior Renovation and

n the edge of Bairro Alto and located in the ground floor of a OBairro da Bica - historical districts building that was entirely restored that maintain their importance as by Cortesão between 2006 and residential areas and night spots 2015, in collaboration with studio ith a number o pubs - you can nd BICA Arquitectos, founded by Inês the Funicular bar and pub in Bica de Cortesão in 2006 and including the Duarte Belo. collaboration of architects Marco dos The pub was remodelled following Santos and Margarida Brito Alves and the 2006 plans by architect and architects and designers Célia Faria designer Inês Cortesão. It is and Maria Rebelo Pinto. M.H.S. 1. 5 1. 6 Urban renewal

s part of the project of urban Within the tradition of Portuguese to the colours of Lisbon’s coats of Areualication o the area net contemporary tile art whose major arms, bringing together the sign and to the Bica lift directed by architect references come from the public art the arro, the tiles tae on a unction Teresa Nunes da Ponte, the ceramic or o Maria eil and Eduardo ery, o indication that, thans to their intervention with tile panels entitled here e can nd inspiration rom changeable characteristics, allude to ai em covers to small alls Op Art or Kinetic Art that enhances the digital signs of today. next to the lift building, created by the continuous ai em lit. ome M.H.S. can-ran.com/vai-vem architects Catarina and Rita Almada and o movement o the lit. In a  Negreiros. play o blac and hite that alludes 1. 6 1. 7 Renovation

nderdogs, a cultural platform he or developed by the proect all Ribeira, Lisbons main maret. contains the ors o over artists Udedicated to promoting the exhibitions, public art programmes, A storeront or the or that has from all over the world, curated by production and distribution of collaborations and exhibitions) has been developed by the project so far, the acclaimed Portuguese artist urban-inspired contemporary art, not only reshaped the city landscape, Underdogs Art Store was designed Aleandre arto, also non as hils, was founded in Lisbon in 2010, and but it has also made art accessible to by Studio Pedrita (designers Rita and by Pauline Foessel. The store have maintained their current or a wider audience and a wider space, João and Pedro Ferreira) and is opened on December on the model - interacting and collaborating transforming the whole city into a devoted to showcasing and selling ground loor o the maret, but as with urban-inspired creators through gallery. Being part of a continually limited-edition screen prints, created relocated to the rst loor on une regular exhibitions in the gallery, public developing process, Underdogs by artists with which the project has 2015, on the occasion of their new art programmes and by producing opened an art store in the heart of already collaborated. visual identity launch.

original artist editions - since . the city, in the legendary Mercado da A simple yet strong metallic structure M.A.S. www.under-dogs.net  1. 7 itinerary 2 he itinerary starts at Santos, an area that was historically linked to the Carry on along Calçada da Estrela until you come to the Romantic Estrela TPortuguese Discoveries. It also has a centuries-old connection with industry: garden, inaugurated in 1852 and the first 'à l’anglaise' garden in Lisbon. After first with shipbuilding and its associated trades and then during the 19th recharging your batteries with a quiet stroll, go left to where the English century with the Industrial Revolution. Its industrial character produced great cemetery connects Estrela to Saraiva de Carvalho Street. You’ll find the Lisbon demographic mobility and, consequently, a population in which the working School of Tourism - Machado De Castro School (3), a former industrial school classes have always mixed with the aristocratic and bourgeois elites. At the regenerated and enlarged by Teresa Nunes da Ponte’s design. time of the Discoveries, the inhabitants were basically located in two areas - the Why not now return to the entrance of the Estrela garden to have a leisurely traditional Madragoa neighbourhood, known as Mocambo, and the area marking look at two emblems of late 18th century Lisbon architecture: the Estrela Basilica the southern limit of the large quarter going down from S. Roque to the riverside and Convent? Afterwards, stroll downhill along the Avenida Infante Santo towards area of Santos-o-Velho de S. Paulo and Boa Vista. the Tagus River, passing the traditional “O Mar” (4) tile panel by Maria Keil. The itinerary highlights the 19th century transformations. Beginning at the You are now heading for Belém, an area inextricably linked to the Discoveries. 57 Largo Vitorino Damásio (named after the engineer José Vitorino Damásio), you Here lies the harbour where the Portuguese fleets set sail from and returned can enjoy a drink at the Left Bar (1), designed by Ricardo Carvalho and Joana to in the 15th and 16th centuries. It was during the early 1500s that the most Vilhena. This square is the result of land filling works on what is now known emblematic examples of Portuguese art of the time were built: the Jeronimos as Aterro de Santos or da Boavista, where silting and earthmoving operations Monastery and, on the riverbank, the Torre de Belém, built by Manuel I, the king were concluded in 1867, leading to urbanisation marked by the opening of the who gave his name to the late-Gothic Portuguese style, Manuelino. Since 1983, D. Carlos I Avenue, in 1889. this group of monuments has been listed as a World Heritage Site by UNESCO. At the beginning of this avenue you will find the IADE building, designed by The grandeur of the Belém riverside was further enhanced in the 20th Tomás Taveira, a renowned Portuguese Postmodern architect. Going up, the century by the Padrão dos Descobrimentos which was created for the Esperança fountain is on the left (designed by Carlos Mardel in 1752), after Portuguese Fair in 1940 and, in the 1990s, by the Centro Cultural de Belém which you reach the fire station, designed by José Luís Monteiro (1848–1942), (opened in 1992). The early 21st century saw work begin on the new home of who adapted the ruins of the Esperança Convent specifically for this purpose. the National Coach Museum (5), opened in 2015. The Building D. Carlos I Avenue (2) is opposite. Multifunctional in design, If you need to rest and relax, both the hotel Altis Belém Hotel & Spa (6) the original project dates back to 1960, reflecting the characteristics of the (opened in 2009), and the restaurant, Espaço Espelho d'Água (7) enjoy great Modern Movement. At the top, to the right, is the former convent of São Bento riverside locations. Initially built for the Portuguese Fair in 1940, Espelho d'Água da Saúde which, following the triumph of Liberalism and the abolition of the was recently restored and reopened. M.H.S. religious orders (1834), was converted into the Portuguese Parliament. itinerary 2

1 Left Bar Largo itorino Damsio,

2 Building Dom Carlos I Avenue Avenida Dom Carlos I, 126

3 Machado De Castro School ua Saraiva de arvalho,

4 "O Mar" - Site Specific Art Work 58 Avenida Infante Santo, 70J

5 National Coach Museum Avenida da ndia

6 Altis Belém Hotel & Spa Doca do Bom Sucesso

7 Espaço Espelho d’Água Avenida Brasília, 210 3

4 2 1 59

7 6 2 2. 1 Reuse and interior design interior

icardo Carvalho and Joana The space was designed to reduce RVilhena’s intervention in 2005 on the excess of elements and material. the old 20th century warehouse in All furnishings - such as the Largo Vitorino Damásio led to the Left balcony - were set up along the bar, Bar as we see it today. highlighting the connection between The project used the unusual the eterior and the interior. hans dimensions to its advantage, maing to the size of the premises, the bar is the most of the narrow width and dar and articial light is constantly great length to create a relationship needed, conrming once again the between the interior and exterior permanent transition between day environments. and night. M.H.S. https://www.facebook.com/Leftbar/  2. 1 2. 2 Renovation

his building on Dom Carlos I da Costa (1960), Jorge Costa Maia the seventh floor, and you may still sunlight, and flat terraced roofs also TAvenue, in Santos, has undergone (1968) and Maria João Eloy (1998). nd a nursery on the last to loors. highlight these architectural lines. a number of interventions since its he building as built to ull a The design features modern The interior, on the other hand, was original construction, all of which variety of functions simultaneously; construction architectural lines, designed as an open-space area with have remained faithful to the initial there are garages on the lower typical of the time. For this reason, ust a e columns that brea the architectural lines - a principle ground loor, several oces that ll the aade has large straight space up on each floor. respected by João Guilherme Faria the building from the ground floor to indos to mae the most o the M.H.S. 2. 2 2. 3 Renovation and reuse

araiva de Carvalho street is which is lit by large windows along Lisbon School of Hospitality and The outer traces of the former Indus- Slocated in the Campo de Ourique its length, and the floors that are Tourism. In 2009, its restoration trial School have been preserved and neighbourhood, an urban structure connected by a ladder to the centre and rehabilitation were completed the interior was adapted to the teach- designed in 1879–80 by engineer which is again lit by natural light. thans to a proect developed by the ing requirements of the hotel sector. rederico essano arcia . In 1975, the former Industrial School studio of Teresa Nunes da Ponte, The high ceilings allowed mezzanines In the latter years of the First Republic was converted into Machado de an architect mainly dedicated to in several areas. The auditorium (1910–26), Machado de Castro Castro secondary school which the restoration and rehabilitation mars the spot here the old palace Industrial School was built by architect closed in 2005, leaving the building o building heritage hose or belonging to the Counts of Paraty was Vitor Bastos Junior. This building is to gradual ruin. It was eventually spans from the master plan scale to expanded, and is now home to a fully- distinguished by its central corridor and fortuitously recovered by the completed objects. equipped 'practice' hotel. M.H.S. www.parque-escolar.pt/en/school/031  2. 3 2. 4 Urban renewal

er extensive and multifaceted and magazines, posters and of geometric patterns, with Art influence lent a particular Hor clearly demonstrates ho advertisements, stamps), sets and triangular motives overlapping to modernity to her or, paving Maria eil alays costumes (stage design), furniture innity in a dynamic visual eb-lie the way for what would become sought to reject the system of and interior design, cards for composition. This prismatic game a central core of her ceramic maor and minor arts, crossing tapestry and tile compositions. is especially clear in the famous tile or: the alls o the Lisbon languages, forms and techniques, er happy encounter ith tile or panel Mar , located underground stations - a constant in a polygraph spanning a variety in gave her the opportunity on one of the walls of Infante Santo presence in Lisbon daily life. of artistic worlds: painting, graphic to develop an eperimental ind o Avenue’s residential complex. M.H.S. design illustration, boo covers research denoted by combinations he striing vibrations o clear p 2. 4 2. 5 Ex-novo

he new National Coach Museum of view: 'museology' as the basic The project included the Marítima de Belém, thus seeing Tin Lisbon opened in 2015 and is criteria or ehibiting remarable construction of a large exhibition to create a new interior dynamic, located between Junqueira Street heritage and 'urbanism' understood hall, an annex building for uniting what is on the inside with the and Índia Avenue, quite close to the as the building of a monumental administrative oces, auditorium outside: a concept that will surely old Museum. It is the new National venue. This project was supported and restaurant, plus a pedestrian increase thans to this ne vitality. Coach Museum from two basic by the States elm ediscovered alay ith ramps lining M.H.S. physical and metaphorical points project. Junqueira Street and Gare www.museudoscoches.pt

 2. 5 2. 6 Ex-novo

ltis Belém Hotel & Spa, a design river in such a ay as to best tae Ahotel near the Tagus river, advantage of the views over the city represents a contemporary tae on and the estuary. The Hotel also has Portuguese expansion overseas. a rectangular platform, occupied by Its design taes into account the the restaurant, designed to increase axis between the Belém Tower and the privacy of its guests. the Padrão dos Descobrimentos his otel as aarded rst prie (the Monument to Discoveries), for Portugal’s Leading Design Hotel ithout blocing the connection 2015 in the World Luxury Hotel between the two. Awards. The main structure of the two R.B. www.altishotels.com/EN/HotelAltisBelem  -floor building lies upright to the 2. 6 2. 7 Renovation and reuse

spaço Espelho d´Água is the Pavilion of Nautical Amusement created the vertical garden, while the cinema, video, among other subjects. Elatest name given to a building , the aval rigade club - entrance was designed by Yonamine Located next to the Monument of constructed over the Tagus River museum, a restaurant (Espelho and Sol Lewitt created a mural in the Discoveries, the area includes a over sixty years ago. Initially designed d’Água) and club (T-Club). Finally, restaurant area) in a collaborative restaurant, cafeteria, promenade and by architect Antnio Lino as part o in 2012, the space was refurbished rehabilitation project: Portuguese art gallery / concert venue, creating an the ortuguese air hich too thans to a Lisbon ourism expansion overseas. Intended as environment which - according to the place in , it as redesigned and Association public contest, gathering a platform for cultural exchange owner, Mário Almeida - aspires to be extended three years later by architect a team of architects (Duarte Caldas and inspiration, the Espaço Espelho both artistic and cultural: a reflection and lmmaer os ngelo ottinelli de Almeida), designers (Rita João and d’Água provides a wide range of of the relationship between the Telmo. Pedro Ferreira – Studio Pedrita) and cultural activities and events, related Portuguese people and the world.

The building has been used as a artists (Michael Hellgreen, CGD who to art, design, music, gastronomy, M.H.S. www.espacoespelhodeagua.com

 2. 7 itinerary 3 he itinerary starts at the Castil Building (1), which runs alongside the project for the headquarters and museum building includes a remarkable TBraamcamp Street and Castilho Street, in the Barata Salgueiro collection left by Calouste Gulbenkian, and was designed by a team of neighbourhood. The urbanisation project of this neighbourhood started in the Portuguese modern architects. last decade and a half of the 19th century, following the city’s expansion of By leaving Gulbenkian and crossing Espanha Square onto Columbano Bordalo Liberdade Avenue - the main road that opened in 1885 which lends Lisbon a Pinheiro Avenue, you leave the so-called "Avenidas Novas" (New modern boulevard look, evoking Baron Haussmann’s Paris. Avenues) which were created out of the progressive urbanisation development In the early 1970s, several buildings were built for the tertiary sector, dating from the end of the ninetieth century that we mentioned earlier and in resulting from Portugal’s touristic and economic development, and almost which Berna Avenue plays a final role. simultaneously the Franjinhas (Braamcamp Street, 1969–71) and Castil Columbano Bordalo Pinheiro, on the other hand, connected Berna Avenue buildings were erected, designed by architect Nuno Teotónio Pereira (in with Campolide Road, in 1929. Where José Malhoa Avenue meets Campolide collaboration with architect Nuno Portas) and by architect Francisco Conceição Street stands the Twin Towers Complex (4), the emblematic work of architect 67 da Silva (in collaboration with architects Tomás Taveira and Maria João Eloy) Olga Quintanilha (1942–2005), first president of the Portuguese Architects respectively. Both buildings represent new relationships between public and Order. commercial spaces, making up one of the most well-made set of buildings Completing the itinerary, we recommend you visit a work in which the which then occupied the area around the Marques de Pombal Square. past meets the present: Thalia Theatre (5), on Laranjeiras Road, near the Zoo. Continue up Castilho Street to Joaquim António de Aguiar Street, where Commissioned by the 1st Count of Farrobo, in 1820, next to his Laranjeiras you will find the side wall of the Ritz Hotel (2) façade; the main entrance is palace, whose luxurious good taste was famous in Romantic Lisbon. In a little further on, in Rodrigo da Fonseca Street. A set of two separate but 1862, devastated by fire and abandoned, it seemed condemned to eternal interconnected buildings (built at different times) the initial project, created ruin: a situation worsened in 1978, when the theatre’s roof and annexes were by Porfírio Pardal Monteiro (1956–64), contemplated the hotel area of the demolished. Belonging to the Ministry of Education and Science, in 2010 the building. A modernist work decorated by various Portuguese artists who helped architectural rehabilitation project signed by Gonçalo Byrne, Diogo Lopes and turn the interior into an important collection of contemporary Portuguese art. Patricia Barbas, was finally started, and completed in 2012. The intervention The subject of contemporaneity in Lisbon leads us to one of the most aimed to maintain the volumes of the traditional scenic spaces, while the important collections of buildings in the capital, located on Berna Avenue: new volume is a light and transparent sustaining pavilion which reflects the Amphitheatre of the Calouste Gulbenkian Foundation (3), surrounded by a construction of playgrounds and leisure spaces that existed in the old Conde de verdant garden, home of Centro de Arte Moderna, to the south. Opened in 1969, Farrobo Quinta das Laranjeiras. M.H.S. itinerary 3

3 4 1 Castil Building ua astilho,

2 Ritz Hotel Rua Rodrigo da Fonseca, 88

Amphitheater of the Calouste 3 Gulbenkian Foundation Avenida de erna, a 2 69 Twin Tower Complex - 4 Malhoa Residential Complex Avenida José Malhoa 1 5 Thalia Theatre Estrada das Laranjeiras, 211

3 3. 1 Ex-novo

ocated on the elegant and executive architects Tomás Taveira and Maria demonstrated by the internal square It is no coincidence that this was also LCastilho Street, the Castil Building oo Eloy and opened in . A that leads to the shops. The end the rst shopping centre in ortugal as Lisbons rst shopping centre. A consequence of the social and result reflects the influence of to have a paring control system, ith pioneering example of architecture economic situation of 1970s Portugal British architect James Stirling on ticets to get in and out o the car in ortugal, thans to the audacious - the country’s economic and tourist onceio Silvas or: clear here par through the bar. evertheless, combination of aluminium structures growth and the increasing housing in a programme uniting oces far from being considered merely as and glass on its aade, as ell as needs in the urban centre - the Castil with shopping mall both of which a commercial and business area, the its verticality; the building (1970–72) Building also embodies a newfound required a cosmopolitan language building was awarded the status of was designed by Atelier Francisco interest in the relationship between to satisfy the demands of the real Monument of Public Interest in 2011. da onceio da Silva, along ith public and commercial spaces, estate maret. M.H.S. 3. 1 3. 2 Ex-novo and and Ex-novo interior design interior

he Ritz Hotel was created from Tan idea by Casimiro Antunes Paulo and the desire of a consortium of capitalists (among them the Esprito Santo and ueiro ereira 71 amilies to have somehere dignied to welcome the rising number of high-class tourists that were more frequently starting to arrive in Lisbon after the Second World War. sumptuously furnished with Espírito O Século newspaper, also earning it egreiros, Lino Antnio, among eing the rst grand luury hotel in Santo Foundation furniture, Austrian a cover on Life magazine three years others. The initial project underwent the Portuguese capital, it became crystal chandeliers, and tapestries later. a general rehabilitation in 1990 and the portrait of a noble, modern from Belgium and the Portalegre Considered by some as a museum, has been adapted over the years, and elegant Lisbon. The bold and textile factory. the Ritz Hotel is lavishly decorated remaining today a mar o modernity comple design as the or o he hotel as opened on ith ors rom amous ortuguese and grandiosity of the city, located Porfírio Pardal Monteiro (1952), with November 1959 with an exuberant artists, such as interior designer next to the Eduardo VII garden.

loors, rooms, conerence banquet and party, described as and painter Estrela Faria (1958–59), M.H.S. www.ritzlisbon.com rooms, 2 restaurants and bar, all pulent grandeur, otel it by the and painters Sara Afonso, Almada  3. 2 3. 3 Renovation

ounded in 1956, on request of Moderna - CAM), the Arts Library and Events such as Jazz em Agosto hold and shelter all the necessary Falouste Saris ulbenian in the alouste ulbenian Museum. (Jazz in August), among others, are equipment, such as lighting and his ill, the alouste ulbenian The garden, designed in the 1960s held outside in the garden in the sound machinery. Foundation is dedicated to fostering by Antnio iana arreto and outdoor amphitheatre. hans to its covering, the and promoting noledge and onalo ibeiro elles, is not merely Given the wide variety of events that amphitheatre can host outdoor improving life through the arts, a quiet place for escaping from the tae place at the amphitheatre and shows, concerts and performances, science and education. hustle and bustle of daily life, but the bold cultural programme offered in an intimate and whimsical ne o the citys most remarable also a reference for the modern by the Foundation, it soon became environment provided by the cultural spaces, it is home to the movement in Portuguese landscape imperative to create a flexible yet lighting and its effect on the natural

Modern Art Centre (Centro de Arte architecture. resistant structure, which could surroundings. M.H.S. www.gulbenkian.pt  3. 3 3. 4

here José Malhoa Avenue a residential space with shopping Ex-novo Wmeets Campolide Street stands centre, comprising two towers the comple non as ondommio with 28 floors each, constituting in oers, an emblematic a housing model intended for the or designed by architect lga upper middle class. uintanilha , hose lga uintanilha considered or as crucial to her rise to public this peripheral area of Lisbon as association status of the Order cosmopolitan, contributing to the 73 of Portuguese Architects in 1998, characterization of a public space becoming its rst president - a that was previously a non-place - a position she held from 1999 to 2001. fragmented crossing point with Approved by the Municipal Council plenty of mobility obstacles - and of Lisbon in 1998 amid much thus overcoming the features of controversy - its 90 meters high the commercial buildings of José much exceeded the limit of 25 Malhoa Avenue. meters set by the Municipal Plan M. H. S. - this complex opened in 1999 as

3. 4 3. 5 Renovation

he Theatre Thalia is located on the Teatro Nacional Dona Maria proect, signed by onalo yrne, an imposing body which merited TLaranjeiras Road next to Lisbon II, in Rossio. In 1862, devastated Diogo Lopes and Patricia Barbas, preservation and protection in Zoo. It was commissioned in 1820 by re and abandoned, it seemed nally began and as completed its entirety. By contrast, the new by oauim edro uintela st condemned to eternal ruin, a in 2012. The intervention aimed area is a sustaining pavilion, light Count of Farrobo (1801–69) near situation worsened in 1978 when to maintain the volumes of the and transparent, reflecting the his Laraneiras palace. In , the theatre’s roof coverage and traditional scenic spaces - the construction of playgrounds and the Count decided to rebuild and annexes were demolished. Foyer, Stalls and Scene - clearly leisure spaces that existed in the renovate the theatre, commissioning Owned by the Ministry of expressing the relationship old Conde de Farrobo Quinta das the job to Italian architect Fortunato Education and Science, in 2010 between old and new, and lending Laranjeiras. Lodi, who was also responsible for the architectural rehabilitation the ruin an autonomous entity as M.H.S. www.sec-geral.mec.pt/pagina/teatro-thalia  3. 5 pioneer

aria Keil studied painting at the Escola and - with special relevance to the composition of tiles. Mde Belas-Artes de Lisboa (School of Fine She is portrayed in the history of post-war Portuguese tile work as one Arts of Lisbon). She bequeathed a vast and of the key characters in the reinvention of wall tiles. She is one of a group multifaceted work which, while it started of artists who, through a variety of paths, reached the position of carrying with painting, quickly took on other art forms, out tile work on public art commissions. highlighting her pioneering role in graphic Contents, forms, colours, motifs all highlight her intention to depart design and advertising, but also illustration, from the folk themes - be they nationalistic or historical - which some furniture, scenography and costume artists created (with varying degrees of quality) due to dictatorship design, tapestry and more particularly tile demands. If it is true that a figurative design persists, her fortuitous 75 design, and she left Lisbon several urban encounter with tile work from 1954 allowed her to develop an experimental interventions that are a contemporary type of research denoted by geometric pattern combinations, with heritage of the capital’s tile legacy. triangular motives overlapping in an infinite and dynamic visual web-like Maria Keil She was part of the ETP - Estúdio composition. Técnico de Publicidade (Technical Studio This prismatic game is especially clear in her famous panel of tiles, of Advertising, under the direction of the “O Mar” (1956–58), found on a wall in one of the Infante Santo Avenue’s designer José Rocha). Here, Maria Keil was the first woman to participate residential complexes; suggestive vibrations of clear Op Art influence which in pioneering graphic design works for Portuguese advertising, which are lent a particular modernity to her work, paving the way for what would embodied from 1942 in a number of almost humorous ads for the women’s become a central theme of her ceramic work: the Lisbon underground, lingerie manufacturers Pompadour, renowned for their subtle irony. designed by her husband Francisco Keil do Amaral (1910–75). Maria Keil constantly tried to reject the passé arts system, anticipating Despite the recurring themes, the motives all have unique features what today is designated as a dissolution of genres, crossing languages, and their own identities, varying in each underground station, showing forms and techniques in a polygraphy that overcomes the multiple artistic the maturity of the artist’s sensitivity. The prisms in the Campo Pequeno worlds which she developed, both in graphic design (illustration, editorial Station lack the density of those in the “O Mar” panel. Reduced to acting design, posters and commercials, stamps) and furniture and interior design as a frame, they are transparent and only occasionally filled in to give them sphere styling and Islamic-inspired motifs. The potential of this process is given further relevance with the opening of the Intendente underground Station in 1966, which is rightly considered the artist’s most accomplished work within the Lisbon underground context. In the stations that opened in 1972, it is clear that the artist had embarked on a new path. A return to research into optical effects which, despite being rather close to the wall coverings designed so far, now takes on a greater role. The dimly 'Vasarelian' effects of the Alameda Station have greater visual dynamism than the meshes which fill the Areeiro Station. However, it is the initial project for the Alvalade Station that fully expresses Op Art, being Maria Keil’s work that most effectively expresses the movement. Changed upon request by the client - who was afraid that Maria Keil, Azulejo wall, PraÇa de Espanha's Metro station, Lisbon the optical illusion could have adverse effects on users of the space - here (as already sensed in Areeiro) we see a new path, the withdrawal of the tile grid to which the artist had subjected much of her work so far. The curved 76 some body. The overall effect is therefore lighter, dematerialising the wall lines and filaments print an absolute dynamism, escaping the more inert and giving the illusion of more space to the user. geometry in a way in which the edges prevent greater freedom. The Restauradores Station (the covering of which was partially Her work was also a means of educational and civic intervention, removed) is the most original of this first cycle of wall coverings for the simultaneously playful and artistic, capable of projecting images onto the Lisbon underground system: a combination of traditional Portuguese tiles very visual memory of in contrast with the modern language. Lisbon and all those who In 1963, in the Rossio Station the artist returns to using methods for visit the city. wall tiles which date back to the early 16th century, when the tiles used in the Portuguese public sector came from Sevillian potteries and the dry rope technique was widely used. This process prevented colours from running in the composition. Maria Keil reinterprets it, giving it prominence and creating an intricate mesh of diverse elements, but in which one can Maria Keil, Azulejo wall, sometimes contemplate some historical grammar, through the armillary Parque Metro station, Lisbon PARIS PARIS

n 2008, the Pavillon de l’Arsenal published the Guide d’architecture elsewhere too, and not exclusively in guides on Parisian architecture. I1900_2008 by Éric Lapierre. In the preface the author, an architect by Karen Kingsley pointed out, ironically, that of all the books on the history training, listed the criteria on which he had selected the buildings in his of architecture, Modern Architecture: A Critical History (first edition in book: spatial, temporal, historical significance and artistic quality. He 1980) by Kenneth Frampton was the one that included the most women also wrote that he had not wanted to choose only buildings that were professionals. The historian cited four female architects: Gertrude Jekyll, important by virtue of their location, their function or their budget, but Charlotte Perriand, Margaret MacDonald Mackintosh and Lilly Reich also those more modest or discreet buildings. The guidebook recorded (Kingsley 1991; Kuhlmann 2013, 14). 1024 buildings in all twenty arrondissements of Paris, designed by a What should be emphasized is that the profession of architecture thousand architects or architectural agencies. The index of names in was closed to women for a long time. There was the fine yet distant the appendix clearly reflects the proportion of women architects in the example of Sabine von Steinback, who succeeded her father as head of construction of buildings deemed worthy of inclusion in a 20th century the Strasbourg cathedral building project, but that prestigious precedent architectural guide of Paris: four percent. This figure furthermore needs had no posterity. It is, for instance, noteworthy that the Rome Prize for 78 to be considered in relation to the number of buildings actually built by Architecture was never awarded to a woman, right up to its final edition in women architects. While some men architects each have their name 1968, whereas in the early 20th century the highest academic distinctions next to over twenty buildings considered to be significant (Jean Prouvé, were bestowed on women sculptors - Lucienne Heuvelmanns in 1911 - Auguste Perret, Henri Sauvage among others), we rarely see their female and painters - Odette-Marie Pauvert in 1925. Notwithstanding the fact colleagues mentioned more than twice; usually only once. that women were enrolled at the École des Beaux-Arts in 1893; in 1902 Le Guide de l’architecture moderne à Paris by Hervé Martin, published Julia Morgan, born in San Francisco in 1872, was the first woman to by Alternatives in 1996, with a revised edition in 2001, proposes a graduate in architecture in France (Clausen 2010, 153–161). In the latter selection of three hundred buildings considered important in Parisian half of the 20th century Paris was the site of what journalists termed architecture from the late 19th century to the present. The author the Grand Travaux (Great Works) but, also in this very busy period, little selected no more than four examples produced by women architects, attention has been paid to the work of women architects. one of which is distantly related to architecture (the Bercy Park), and only Ultimately, women’s involvement in the transformation of Parisian one was awarded to a woman working without male collaborators. Such architecture dates back only to the second half of the 20th century or a limited number of examples of buildings by women is of course found even, to be precise, to the last quarter. Prior to that there is little worth mentioning, apart from a private mansion built at 33 Avenue Gambetta Bourget housing estate, rehabilitated in 2012) and offices (Avenue in 1903, by Louise Brachet, an architect about whom very little is known. Montaigne, Rue de Vaugirard, and Rue Alfred Roll, among others). The presence of women architects in the following decades appeared From the 1980s, women started to appear more regularly in building only insofar as they were associated with their husbands. In 1939 Juliette programmes in Paris, first associated with men architects who generally Mathé and her husband Gaston Tréant built a charming residential signed the work (group of residences in the Rue Baudricourt, and at building with cylindrical bow windows at 109 Rue des Entrepreneurs, Rue de Hautes-Formes, 1979, signed by Christian de Portzamparc with as well as residential buildings at Bon Marché, Rue Saint-Denis and Georgia Benamo), and finally autonomously - although still as a small Rue de Metz. Likewise, in the 1950s and 1960s, in collaboration with minority. her husband, Renée Bodecher built a series of blocks of flats (the Paul

79 itinerary 1 arious strata shaped the historic heart of Paris and gave it a works, all displayed in the same museum: Tripodal Vase (2) by Suzanne Vcomplexity that is reflected in its architecture and in its urban Ramié, Sun Chair (3) by Janine Abraham and Dirk Jan Rol, “Le Roi” and organisation. The ancient Lutetia was founded on the Île de la Cité, “La Reine” (4) by Janine Janet, “Prince l'Impérial” Chair (5) by Elisabeth at the heart of the current city (or, according to recent archaeological Garouste and Matia Bonetti. excavations, near Nanterre). The nation’s political power was concentrated Our sixth work is only a 14 minute walk away. Head to the Solferino in a narrow space, which today houses the symbols of power: the Palais de Bridge and cross the Seine River, after going through the Jardin des l’Elysée and the Palais de Matignon, the ministries, the National Assembly Tuileries. We arrive at the D'Orsay Museum (6), a world-renowned former and the Upper House. The respectable character of the architecture of railway station built in 1900 and reconverted to a 19th century museum this historical area, even though profoundly modified under the Second in 1986. The interiors of the new Parisian museum were entrusted to Gae Empire, offers only a few possibilities of intervention to the contemporary Aulenti. architecture. The National Museum of Modern Art, on the plateau of Our next stop in our city centre visit not far from the Musée d’Orsay, is Beaubourg, is one of the rare examples of the inscription of a modern in the Quartier Latin. This is the main university district in which - despite building within a historic district. Thus, traces of architectural modernity the invasion of fast food restaurants and fashion shops - the romantic have to be searched for inside the buildings, as decorations and layout, or spirit of medieval Paris still pervades. The city is famous for the number 80 in the numerous museums, which occupy former palaces. and quality of its cinemas, and in the Quartier Latin are some cinemas The "Phantom" - L'Opéra Garnier Restaurant (1), which is the first stop devoted to showing art films, such as the Nouvel Odéon Cinema (7), which of our visit, is an appropriate example of this design redevelopment within was restructured in 2010 by Matali Crasset. prestigious architecture. Located in the Palais Garnier, a major symbol of Our visit to the centre of Paris ends on the other side of the Seine. the neo-Baroque architectural eclecticism of the Second Empire built by From the cinema, head back to the river and walk through the Île de la Cité the academic architect Charles Garnier, the decoration of this restaurant towards the Les Halles neighbourhood near the grand boulevards. In 2003, was conceived by Odile Decq. the City of Paris launched a competition for the transformation of the By following the Avenue de l’Opéra towards the Seine River, we arrive former Gaîté Lyrique Theatre (8), which had been built under the Second at the Musée des Arts Décoratifs, which occupies a wing of the Palais Empire but had not been used or maintained since 1967. The idea was du Louvre (entrance 107, Rue de Rivoli). The museum, established in to create a cultural centre for present-day music and contemporary arts. 1905, preserves an important collection of contemporary design in the Manuelle Gautrand, who won the competition, set herself two objectives in upper levels, including some interesting works by women designers. The transforming the building: to create a place to welcome all artistic forms following are the next four stops which highlight four important design and also a place for both artists and the public. A.B. 11 1

1 "Phantom" - L'Opéra Garnier Restaurant Palais Garnier, Place Jacques Rouché, 1

2 Tripodal Vase - Musée des Arts Décoratifs - Rue de Rivoli, 107 88

3 Sun Chair - Musée des Arts Décoratifs Rue de Rivoli, 107 2-52* 81 4 "Le Roi" and "La Reine" - Musée des Arts Décoratifs - Rue de Rivoli, 107 6 6

5 "Prince l'Impérial" Chair - Musée des Arts Décoratifs - Rue de Rivoli, 107

6 D'Orsay Museum ue de la Lgion donneur,

7 Nouvel Odéon Cinema Rue de l’Ecole de Médecine, 6

8 Gaîté Lyrique Theatre ue apin, bis 7 1 1. 1 Renovation, reuse and interior design interior and

armoniously integrated into the profusion and classical undertones Garnier, where she designed a the poles. It was while observing the Hhistorical building, the hantom of Garnier’s eclectic architecture. reversible interior that modied shape o the aade that I had the idea - L’Opéra Restaurant, opened in Odile Decq founded the agency Odile neither the structure nor the décor of this protean mezzanine with gentle 2011, consists of a mezzanine that Decq - Benoit Cornette - ODBC in of Garnier’s architecture in order to curves, threading its way throughout has been carefully designed so 1980, which was awarded the Leone meet the criteria of the Monuments the inside of the building without as to avoid leaning on the existing d'oro at the Venice Architecture Historiques: e had to shit. And actually touching it. When I presented architectural elements: the walls, iennial in , and the enedictus since they wanted transparency, the proect to Addy ahtiar [the columns and roof. The stylistic in 1999 from the International I used free-standing glass. You commissioner], he said it’s a ghost! treatment of the contemporary Union of Architects. In 2008, Odile cannot see it but it indicates different It loos lie the mas in Scream And architecture - undulating and Dec as commissioned to or spaces. On the mezzanine it is the that’s why the restaurant was renamed natural - plays with the ornamental on a restaurant inside the Opéra same story - you manoeuvre around the hantom Simonnet, . A.B. www.opera-restaurant.fr  1. 1 1. 2 Design

n , ater graduating rom the with Picasso for a long time in IÉcole des Beaux-Arts de Lyon and the production of his ceramics, oring as a tetile designer or the Suzanne Ramié never gave up her Lyon-based company Gillet, Suzanne on creation. er or stood apart ami and her husband rom that o icasso thans to her Georges Ramié founded the Madoura use of monochrome glazes. Picasso studio in Vallauris. The Tripodal Vase, decorated the Tripodal Vase by dated , represents a brea rom accentuating the anthropomorphic Vallauris’ production, which was aspect of the piece, thus turning it typically utilitarian and traditional in into the head of a woman leaning on

style, as well as having a particular her forearms. www.lesartsdecoratifs.fr

design and dimension. Although A.B.  the Madoura studio collaborated 1. 2 1. 3 Design

he Fauteuil Soleil, designed by something a little cray about this TJanine Abraham, was awarded enous, . the gold medal at the 1958 Janine Abraham, (1929–2005), Universal Exhibition of Brussels, graduated from the École where she was responsible for Camondo in Paris, the École des activities including a dimension Beaux-Arts and the École des Arts of fantasy. That is how Janine Décoratifs. She then trained with had the chance to mae icer René-Jean Caillette, Maxime Old urniture. Wicer implies crat and Jacques Dumond, where 84 production and therefore affords she met Dir-an ol, hom she more possibilities or invention, married. Together they displayed ol eplained. I lie organisation. furniture at the Salon des Artistes I dread nothing more than being Décorateurs in 1956 and in the obliged to adapt to a situation following year opened an agency. that I have not anticipated. The They participated in the Turin same applies in my or. I avoid International Labour Exhibition in improvisation. Except when I 1961 and in the Exposition Formes create icer urniture. It seems to Industrielles in aris in , at the me that, on the contrary, there is Pavillon de Marsan. A.B. www.lesartsdecoratifs.fr www.lesartsdecoratifs.fr

 1. 3 1. 4 Design

anine anet, born in on planted. Hitting a nail hard is a JRéunion Island, studied at the somewhat savage joy. Imagine École Supérieur des Beaux-Arts hat its lie i one has to, on the in Toulouse and Paris, and then contrary, place thousands of nails, at the École des Arts Décoratifs each one at a particular depth. It’s where she was a student of poster a remarable eercise o controlled 85 designer Cassandre. In 1952, after ill Anthenaise, . oring or various rms ierre Janet used her plastic vocabulary Frey, Arthus-Bertrand, Christofle), from the artistic tradition, she embared on a long period from Arcimboldo to Middle of collaboration with Balenciaga. Ages sculptors, mixed with In 1959 she created three busts contemporary influences of De sculpted in ood and spied ith Chirico’s or Ernst’s Surrealism. nails, for the shop windows of This taste for the fantastic and the Avenue George V, Le Roi he marvellous drew the attention of ing, La Reine he ueen and Jean Cocteau, who commissioned Le Valet he ac o ards. her to design the costumes and My personal techniue lies in the décor for Orpheus. www.lesartsdecoratifs.fr www.lesartsdecoratifs.fr fact that the nail is not completely A.B.  1. 4 1. 5 Design

lisabeth Garouste was born approach. Made of wood painted Éin aris in and married in vivid colours and enveloped the painter Gérard Garouste. She by a raa sirt, this uniue piece studied interior design at the reflects Garouste and Bonetti’s École Camondo in Paris. From playful and theatrical world, 1980, she collaborated with Mattia inspired by the Middle Ages, lac onetti, born in in Lugano Africa, Venetian Baroque and Arte (Switzerland), who had trained overa. his chair resembles a at a school of decorative arts. In totem and a sculpture. Around a the interior decorating rm table one needs at least eight light, 86 ansen ehibited the or o these practical and inexpensive chairs. In two designers who had veered this eld, e have never been able away from what were then the to or seriously ith the industrial fashionable industrial and high orld on a chair. ur chairs, lie tech trends. Instead, they proposed those created for the campaign a primitives style that earned them of Napoleon III’s son, against the the nicname nouveau barbares Zulus, remain nothing but nice ('new barbarians'), after a Barbare stories, neither very practical nor chair exhibited at Jansen. very decorative Staudenmeyer, The Prince Impérial chair was Croquet, Le Bon, 1998). characteristic o their crat-lie A.B. www.lesartsdecoratifs.fr www.lesartsdecoratifs.fr

 1. 5 1. 6 Museum set design

n 1980, the Musée d’Orsay rameor and the opulence o its opposition and not in naturalistic or longitudinal axis, she created an Icommissioned Gae Aulenti with eclectic décor, was a characteristic stylistic symbiosis, as if the buildings orthogonal rameor that alloed the set up and decoration of its new of the late 19th century Beaux-Arts within the building analysed the for particular movement between the premises. The mission of the Musée tradition in French architecture. process of this decomposition, this rooms. On each side of the central d’Orsay, established in a former To transform spaces that had fragmentation, to lend form to the path of the wings, she closed off the railway station built by Victor Laloux originally been intended for trains and elements constituting their own view by building two massive towers. in 1900, was to preserve and exhibit passengers, Aulenti broe aay rom language . Aulenti. She divided In previous years, Gae Aulenti acquired art ors and other obects rom the station’s structure and aesthetics: the majestic space of the hall by international recognition for both her www.musee-orsay.fr the second half of the 20th century. he main composition adopted as erecting massive partitions along architectural or and her interior  Laloux’s building, with its open iron deliberately and systematically in the axis of the former rails. On this decorating and designs. A.B. 1. 6 1. 7

n 2010, the Haut et Court agency

Ifor cinematographic production Renovation and distribution commissioned Matali Crasset to restructure the interior design of a cinema. and interior design interior and She proposed a space that was largely open to the road thans to a glass aade through hich the entrance hall and restaurant area ere visible. he let side o the entrance gave access to the 88 cinema. On the right, the restaurant area. Between them, you could organise your time both before and ater the lm. his cinema has only one hall. It is designed to experience cinema with other roots. The seats are numbered, as and has a lift leading up to the oring or Denis Santachiara people. The reception area is the at the theatre, and the cinema has restaurant area. It is one of the and then or hilippe Starc, she heart it is set in a uasi-netored an online booing system enabling only cinemas in the Latin uarter ounded her on rm in . metallic structure in which the audiences to choose their seat and that also has disabled access Some o her ors are ehibited at functions of the cinema appear to to print their ticet at home. inally, (Archilovers, 2011). the Musée des Arts Décoratifs de be articulated, tting together lie a the New Odeon is accessible on athalie rasset - non as Matali Paris and the Museum of Modern D pule hose elements are the the ground floor, from the street, Crasset - was born in 1965. After Art in e or. A.B. www.nouvelodeon.com  1. 7 1. 8 Renovation, reuse and interior design interior and

n , the ity o aris launched a a place that welcomed all artistic to new types of encounter between she maintained an emphasis on Icompetition for the transformation forms and which also welcomed both artists and the public ress elease, flexibility and plasticity characterized of the former Gaîté Lyrique Theatre, artists and the public: a permissive 2007). by the little guides, that are small which had been built under the place welcoming the random and To this end, the architect created modules containing techniues [that] Second Empire but had not been the unepected, dening ithout two distinct types of space: spaces are dedicated to the artists or to the used or maintained since 1967. predening anything, alloing a for presentation, consisting of public, to creation, or to presentation. The idea was to create a cultural fusional and non-compartmentalized three main halls - the auditorium, They enable one to create and un- centre for present-day music and encounter between the digital arts the multimedia theatre, and the create a multitude of scenes following contemporary arts. Manuelle and present-day music, between all conference hall - and areas for the pace o the place itsel ress www.gaite-lyrique.net Gautrand set herself two objectives the digital cultures irrespective of moving about and for documentation Release, 2007).  in transforming the building: to create hat they are and nally a place open and exhibition. At the same time, A.B. 1. 8 itinerary 2 n this second itinerary, we leave the prestigious national monuments and complex of Residential Buildings with 111 Apartments (3). This complex Ipalaces which we saw during our visit of the centre of Paris, and we offer overlooks the water basin and a beautiful residential area with parks for you a different perspective: a stroll through the residential buildings and children and a waterfront promenade. The 111 flats were built in 1985, at civil infrastructures which allow Paris to preserve a working population the corner of Quai de la Loire 66 and Rue Vincent Scotto 4-6 in the 19th and avoid being transformed into an open-air museum. These districts Arrondissement: they are divided up between two separate buildings at are a little away from the historical centre but, according to the current right angles to one another. division in which economic activity is reserved for the more western- Next, leave the water basin behind you and walk approximately 20 situated areas, these neighbourhoods in the north-eastern part of the city minutes towards your next stop, passing by the famous Buttes Chaumont are essentially home to residential properties. Park. Rue Lauzin is right next to the park. At number 22, you will find the Our first stop starts in the heart of the 18th Arrondissement, just a Lauzin Municipal Collective Nursery (4) built in 2004 by Shohreh Davar 15-minute stroll from the world-renowned church of Sacré Coeur: this Panah: situated on the ground floor of an ordinary 1970s Parisian building, Social Housing and Commercial Building (1) is a project by Shohreh it was initially concealed behind a blind wall. The 19th Arrondissement Davar Panah and dates to 2013. She designed this building as a sculpted municipality wanted to restructure the building and give it street access. compact volume. The two scales are decidedly marked and clear to see. Ten minutes away you can find the Belleville Residential Complex (5) 90 The entire building is enveloped in zinc, with a dark patina, and punctuated designed by Catherine Furet in 1995 and overlooking a set of low houses vertically by a geometric design based on the lines of the façades and the next to Belleville Park. Do not miss the Belleville Park and the lovely Saint rhythms and proportions of the openings around it. Martin Canal. We now leave the hip neighbourhood of Belleville and head The second work and stop on our itinerary is in Rue Ernestine, 10 towards Rue de Pyrénéees, in the 20th Arrondissement. minutes from Davar-Panah’s work. This is a Residential Building in Goutte The last stop of this itinerary is slightly further away, though easily d’Or (2) by Odile Decq, dating from 1995, and noteworthy for its industrial accessible both on foot (passing through the famous Père Lachaise style combining a metallic covering of the wired fences with plate-glass cemetery) or by public transport. This last project, located very close openings on the façade. Odile Decq was awarded the first Woman to the multicultural neighbourhood of Montreuil and its famous weekly Architect Prize by the Association pour la Recherche sur la Ville et l’Habitat Marché aux Puces (flea market), is a recent Social Housing Apartments (ARVHA) for five projects. This residential building is one of the winning and Nursery (6), built in by Ingrid Taillandier. It represents a harmonious works. From here, head east: a 30 minute walk will take you to our next adaptation of a building, consisting of social housing and a crèche stop, right in front of the Bassin de la Villette, where the famous Canal (nursery), in composite architectural surroundings. Saint Martin starts its journey through the city. Edith Girard’s work is a A.B. 2 11

33 1 Social Housing and Commercial Building - Rue Boinod, and ue du ord, Residential Building in Goutte d‘Or 2 91 ue Ernestine, 44 Residential Buildings with 111 3 Apartments - uai de la Loire, 5 ue incent Scotto, 5

4 Lauzin Municipal Collective Nursery Rue Lauzin, 22

5 Belleville Residential Complex ue iat,

6 Social Housing Apartments and ursery - ue des yrnes, 66 2 2. 1 Ex-novo

n 2008, Shohreh Davar Panah, Ifounder of the Atelier Architectes Davar & Associés, won a competition to transform an old building unt or habitation into social housing and shops. Based on her plan, she decided to demolish the old building and to replace it with a new one, for 92 she would otherwise have been able to retain only the aade. he architect nevertheless wished to maintain the layout the road, hich as situated in a oring- from the somewhat severe inside has a railing ith an by a geometric design based on class district that presented a character of the Rue Boinod, to openor design. It serves to the lines o the aades and the typological diversity of buildings then create a gradual transition flats per floor, along with a lift rhythms and proportions of the and scales. The volumes, rhythms towards the more domestic one of that opens onto landings from openings around it. We also chose and scales o her building tted the ue du ord orne, . which the outside can be seen a dar inc to assertively contain into the surroundings. She he to scales are maredly through glass panes. The entire the corner orne, , she designed it as a sculpted compact different. The staircase, placed building is covered in dar patina explained. volume or hich she borroed outside to leave more room zinc and vertically punctuated A.B. 2. 1 2. 2 Ex-novo his building, located in the TGoutte d’Or district of Paris, is signicant or its industrial style that combines a metallic railing with plate-glass openings on the aade. estricted by the narrowness of the stand, the building presents a small rectilinear 93 aade on the road and then extends inwards. dile Dec as aarded the rst Woman Architect Prize by the Association pour la Recherche sur la Ville et l’Habitat AA or ve proects: the hantom - Lpra Restaurant (described in this guide on our rst itinerary the Museum of Contemporary Art of Rome Populaire de Bretagne (the Co- – MACRO; the Fonds Régional operative an o rittany, and d’Art Contemporain of Brittany - the residential building in the Rue FRAC Rennes (Brittany Regional Ernestine. ontemporary Artund the Banque A.B. 2. 2 2. 3 Ex-novo

hese lats, built at uai Tde la Loire 66 and Rue incent Scotto in the th Arrondissement, are divided between two separate buildings at right angles to one another – a layout bordering an inner courtyard and which allows a road to pass through. The elevation 94 o the aades evoes the classical language of architectural Modernism between the two World Wars, with its treatment of surfaces, vertical openings, and in . In , she too up a Colombia, Lebanon and Japan. allowed to be expressed. This led the use of concrete, and recalls teaching post there and helped As a freelancer for an agency her naturally to ocus her or on the theories and practices of Aldo found the UNO group, along with established in 1977 with her housing, especially social housing. Rossi and Bernard Huet. enri iriani, ean-atric ortin husband Olivier Girard, Edith Girard In 1985, she was shortlisted for Edith irard as born in and and Claude Vié. She was also has always shown concern for a the Equerre d’Argent prize for a died in . She graduated rom a visiting professor in various city in which there is a spirit of residential building created in the the École Nationale Supérieure universities and institutes in solidarity and humanity, where same year. d’Architecture de Paris-Belleville the Netherlands, Canada, USA, the inhabitants’ emotions are A.B. 2. 3 2. 4 Renovation

he crèche, situated on the a discreet frame. The simplicity of Tground floor of an ordinary the square glass panels contrasts Parisian building from the 1970s, with the chromatic palette, playing was initially concealed behind a on blues and greens, pins and blind wall. The municipality of the greys. The panels are made of 19th Arrondissement wanted to laminated glass, ullling security restructure the building and open it requirements while following onto the street. aesthetic criteria, guaranteeing Shohreh Davar Panah remodelled light and transparency and allowing the alignment by surrounding it with plays of colour that change with repetitive modules consisting of climate, distance and angle. coloured glass scales mounted on A.B. 2. 4 2. 5 Ex-novo

his residential complex, located built-up sites and empty space, d’Architecture de Versailles (School a grant from the Académie de France Tin the higher-lying part of the reflection on domestic architecture of Architecture of Versailles). In in Rome, she established her own elleville neighbourhood, overloos and on its capacity to integrate the the following year she obtained a agency in 1985. She also carried on a series of low houses next to disorder caused by the occupation post-graduate degree in History teaching, rst in ersailles and then the par. As a hole, it epresses of buildings and the creation of from the École des Hautes in Clermont-Ferrand and at the École the architect’s convictions on the places for sociability. Études en Sciences Socials Spéciale d’Architecture de Paris. social function of construction: atherine uret, born in , heSchoolor AdvancedStudies A.B. fragmentation in sequences, graduated in architecture in 1980 in theSocialSciences. Ater a to- attention paid to the right ratio of from the École Nationale Supérieure year period at the Villa Médicis on 2. 5 2. 6 Renovation

he Rue des Pyrénées project Trepresents a harmonious adaptation of a building, consisting of social housing and a nursery, 97 in composite architectural surroundings. Taillandier proposes a homogenous style of architecture, with a play of recesses and projections on the aade, and comple articulation with surrounding buildings, as well as a subtle architecture, with her use of a variety of materials. The aade overlooing the road, divided d’Architecture de Paris-Belleville abroad (collaborating with Philippe of density and height of buildings. into three sections, ts into the (School of Architecture of Paris) Gazeau, Richard Meier, Behnish She as also the scientic organier restrictive rameor o arisian in 2000 and obtained a Master’s & Partners); teaching at the École for the exhibition L’Invention de la town planning. degree from Columbia University d’Architecture de Versailles (School Tour Européenne at the Pavillon de Ingrid Taillandier graduated in e or. She ors in three of Architecture of Paris); and the l’Arsenal in Paris, in 2009. in architecture from the École elds: architecture, in rance and theoretical reflection on questions A.B. 2. 6 itinerary 3 he western Parisian districts were marked off by the Royal Road, which received the Cogedim de la Première Œuvre award. As a whole, it attests Truns from the Palais du Louvre to the Défense via the Carousel and to the common language for residential buildings in the last decade of the the Arc de triomphe de l'Etoile and the Grande Arche, to continue beyond. century, which can also be found in many projects: modest and somewhat Districts were developed along this historical axis which were reserve for banal modernity that complies with the constraints of Parisian town upper class residences and economic activities; the main example of this is planning. The Front de Seine district is a short stroll from here, with lovely the Défense, an island of modernity and architectural innovation within the walks along the river and peculiar high-rise buildings still within the city classic Parisian urban fabric. The Champs-Élysées, the symbol of French centre. luxury, extends the royal prospect of the Tuileries, drawn up by the gardener Our next stop is located not far from the Paris EXPO. In 2003, Catherine André Le Nôtre and continued by Baron Hausmann. Furet designed a Residential Building (4) in Rue Leblanc, a very challenging The first visit of our third itinerary starts right in the heart of Champs- project as it was on the fringes of the demarcation line of the Petite Élysées Avenue. Manuelle Gautrand - graduated in architecture from the Ceinture, close to the former railway line that surrounded Paris within École Nationale Supérieure d'Architecture in Montpellier in 1985 - is the the Boulevards des Maréchaux. The north-facing plot for this buildingwas author of the Citroën Showroom (1). The main façade of this huge sculpture adjacent to the railway line and over a hundred metres long. displays the double chevron - the company’s symbol - over the entrance The last stop on our third itinerary is slightly detached from the 98 porch and then repeated higher up. The project was completed in 2007. Do previous ones and we will find it after crossing the southern part of the city, not miss the Grand Palais, which is only five minutes away from here. through Montparnasse, towards the southeast, in the 13th Arrondissement. Afterwards, head west to Avenue de Friedland, very close to Place de The Dunois Theatre, the last stop of the visit, is a renovation project by L’Etoile, where the “Origami” - Office Building (2) is located, a project by Edith Girard dating back to 1990 and a combination of residential buildings the same innovative author, Gautrand. The “Origami” project included two and the Dunois Theatre (5). The theatre was rebuilt on a triangular plot separate parts: a main building, twenty metres long, along the avenue, and in this part of the city that was both residential and industrial. With its an annex behind it, between two gardens. On the avenue, the architect complex composition and an accessible terrace, this building was intended designed a glass façade partially covered by a second layer of glass, which to be an homage to Le Corbusier’s architecture, while at the same time gave it a 'wrinkled marble' aspect, creating a coloured vibration. evoking a revisited Haussman tradition, owing to the rotunda on the corner We now leave the Etoile area and cross the Seine River. We proceed of the triangle. southwards, crossing the Champ de Mars opposite the Eiffel Tower and While here, do not miss the chance to visit the National Library, reaching Rue du Théâtre, in the busy 15th Arrondissement. In 1992, dedicated to former President François Mitterrand, only a stone’s throw Patricia Leboucq designed this Residential Building (3) or which she also away from the Dunois Theatre. A.B. 3

1 Citroën Showroom Avenue des hamps-lyses, 99 33 2 "Origami" - Office Building Avenue de Friedland, 26

44 3 Residential Building Rue du Théâtre, 67

4 Residential Building 55 Rue Leblanc, 70–78

Dunois Theatre 5 Rue Louise Weiss, 7; Rue de Chevaleret, 108–118 3 3. 1 Ex-novo

hen the car manufacturer WCitroën wished to convert a narro stand m ide and m long) that it owned on Paris’ most prestigious avenue, the Champs- Élysées, into a showroom it turned to Manuelle Gautrand’s agency. The architect chose to treat the project 100 as a transparent showcase allowing the centrally situated monumental sculpture to be visible from the road: his sculpture is a giant display around which visitors turn autrand, . he aade is Champs-Élysées the shell starts suffusing the inside with a soft white via a succession of landings and based on the double chevron, the with a simple, flat and regular light autrand, . Manuelle staircases that lead to the top of the rms symbol, over the entrance porch curtain-wall. The double chevron Gautrand, born in 1961, graduated building, from where the view onto and then repeated higher up: he then appears, and is developed more in architecture from the École the avenue belo is magnicent. outer shell, in a single swoop and and more freely and inventively, right Nationale Supérieure d'Architecture de The cars are displayed on revolving made completely in glass, reflects up to the top. he glass aade is Montpellier in 1985. In 1991, she set circular platforms covered in facetted the chevron: the company’s emblem. bent, a giant piece of origami, tinted up her own agency. mirrors that ragment their image n the aade that overloos the ith hite and red translucent lms A.B. 3. 1 3. 2 Ex-novo

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anuelle Gautrand called this the architect designed a glass aade formed from a serigraphy with a to protect the privacy of those within. Moce building on the Avenue partially covered by a second layer of marble motif, on a double layer of It also lters the daylight to create a Friedland, close to the Place de glass, which gave it the appearance laminated glass. The symmetrical soft atmosphere inside. Ltoile, the rigami. he proect of folded marble creating a coloured panels are creased and assembled A.B. included two separate parts: a twenty- vibration. in pairs, orming an open-boo metre long main building along he building as called rigami motive that exploits the graphic the avenue and an annex behind it, because of this second layer effect of marble veins. This second between two gardens. On the avenue, composed of 'creased' glass panels translucent and precious sin serves 3. 2 3. 3 Ex-novo

102 atricia Leboucq, who has been treatment through the use of noble Ppractising independently since materials such as Beauval or Cardoso 1986, received the Cogedim de stone, or white marble that partially la Première Œuvre award for this conceals the entrance of the building. residential building created in As a whole, it attests to the common . his or adopted the same language for residential buildings principle as on neighbouring plots: a constructed in the last decade of building on the road, a garden, and a the century, and which can be found building on the courtyard. he aade in many projects: a modest and overlooing the road blends ith the somewhat banal modernity that staggering of the semi-detached complies with the constraints of buildings and received special Parisian town planning. A.B. 3. 3 3. 4 Ex-novo

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ith this plan, Catherine Furet within the Boulevards des Maréchaux. and paring spaces as divided spaces and entrances. The cast Wwas confronted with a The plot for this north-facing building into four plots, each with flats on concrete was combined with white- complex situation. The project in Rue was next to the railway line and over six levels and four individual houses coated prefabricated elements on the Leblanc in the 15th Arrondissement a hundred metres long. The idea was on two levels at the end of the plot, aade. verall, this entity gives the of Paris was on the very edge of to create a long slab building - typical away from the road, with a private impression of being an architectural the demarcation line of the Petite of low-cost housing built in the 1950s garden. paradox: a large complex on a human Ceinture; that is, close to the former and 1960s - so the plan (consisting of The various buildings were set on a scale. railway line that surrounded Paris forty-two flats, four individual houses bric base that housed the paring A.B. 3. 4 3. 5 Ex-novo

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n 1979 a music hall, the Dunois residential and industrial. was residential, with the theatre on was intended to be an homage to ITheatre devoted primarily to jazz, The project, commissioned to two levels; and the artists’ studios Le Corbusier’s architecture, while at was set up in a former postal depot Edith Girard, consisted of eighty-six away from the road on a separate the same time evoing a revisited that had become a warehouse and dellings, ve artists orshops plot, on three levels topped with a Haussmann tradition, owing to the was to be demolished. The theatre and the new theatre. The architect gangway leading to four studios. rotunda on the corner of the triangle. was rebuilt in 1990 on a triangular designed two separate sets of With its complex composition and A.B. plot in a part of the city that was both buildings: one along the road that an accessible terrace, the building www.theatredunois.org  3. 5 pioneer

harlotte Perriand was one of the most by moving the body. This piece of furniture was produced by Thonet, Cinfluential designers of the Modern and Perriand posed for the advertisement photograph of the chaise- Movement. After graduating from the longue. She left Le Corbusier’s agency in 1937 to work with the painter Union Centrale des Arts Décoratifs in 1925, Fernand Léger. In 1940 the Japanese Ministry of Trade and Industry she participated in the same year in the entrusted her with an industrial design advisory mission. The outbreak International Exposition of Modern Industrial of Second World War forced her to seek refuge in Vietnam until 1946. and Decorative Arts and, the following year, in This long period in the Far East afforded her an opportunity to study the Salon des Artistes Décorateurs de Paris. In traditional woodwork techniques, in which she perceived an echo of Le 105 1927 she exhibited "Un Bar sous le toit" at the Corbusier’s architectural research. The "Sélection, Tradition, Création" Salon d’Automne and subsequently joined Le exhibition in Takashimaya department stores of Tokyo and Osaka enabled Corbusier’s agency. Perriand was put in charge her to show how traditional Japanese production could be adapted to of furnishings and fittings at the Villa La Roche Western uses. In 1929 she and the Villa Church, presented under the title exhibited a bamboo version Charlotte Perriand "Équipement intérieur d’une habitation" at of the chaise-longue, and in the Salon d’Automne in 1929. She applied Le 1936 another of her folding Corbusier’s functional principles developed in armchair. L’Art décoratif d’aujourd’hui (1929). Le Corbusier, Pierre Jeanneret and The B306 chaise-longue Charlotte Perriand drew three chairs on a chrome tube structure: the designed by Perriand, Le B301 chair for conversation, the LC2 “Grand Confort” for relaxation, and Corbusier and Jeanneret the B306 chaise-longue for rest. The latter, inspired by beds from Louis in the late Twenties rapidly XVI’s reign, consisted of a simple metallic frame over which steel wires became a prime example of were stretched, attached by springs. The base was built on aviation tubes to which four conical legs were attached. The chair had no mechanism Mexico's house and could be used as an armchair, a chair for resting or a rocking-chair, Library, Paris, 1952 Modernism, for its use of new materials and industrial production been made for the "Sélection, Tradition, Création" exhibition, and a book techniques, and for its ergonomic aspect. had been published in 1941 in Tokyo to set out the theoretical principles In local production she distinguished two types of objects of underpinning these prototypes (Perriand, Sakakura, 1941). After the war different quality: objects intended for export, that awkwardly imitated Japan adopted an industrial policy that, to a large extent, caused it to lose the formal characteristics of Western design; and objects intended for its traditional know-how. These skills were seen to belong to a bygone the local market, produced according to traditional techniques that age and to be of no use in the context of development of new production could also be used to produce modern objects. To demonstrate the technologies. New schools of industrial art were set up, and design, the efficiency of these traditional production techniques, she suggested term that gained currency in the Fifties, supplanted craftwork. The MITI, transposing into bamboo and wood a few of these creations the influential Ministry of International Trade and Industry, founded in 1949, envisaged not as models but as typical solutions. Perriand wanted to facilitated the standardized conception of design by opening agencies to propose a natural evolution from craftwork to design, based on the develop it, in 1957 and 1958. When Perriand organized an exhibition of art workers’ practical skills and on the designers’ cultural imprints. her recent works in 1955 in Tokyo, she wanted to highlight the necessity In this sense the chaise-longue exemplifies the intention to create to have in-depth knowledge of the new technologies and materials offered a gradual transition from conventional craftwork to modern design. by industrialization, as they were the only effective way of mass producing Although this particular form of seat was not part of the Japanese quality objects. Craft techniques could be used only for objects in limited 106 domestic tradition, it could, by its pure line, its local materials and series, for the luxury market: "The creators of models are in a dead-end its productive technique, evoke traditional furniture. While this street. Either one does craftwork, or one does mass production. In the proposition was well received by artisans, it triggered criticism among former case, one may as well veer towards pure craftwork, even if it is teachers of decorative arts (Renous 1969, 73–84; Benton 1998, vol.11, considered to be luxury production (…) At least we will preserve these 31–58). Perriand’s experiment was however discontinued when Japan beautiful craft techniques that unfortunately are tending to disappear and entered the war, even though a small number of prototypes had therefore to become increasingly expensive" (Benton 1998, 50). TURIN TURIN 2004 by the Order of Architects - OAT (Ordine degli Architetti Pianificatori, Paesaggisti e Conservatori della Provincia di Torino). The prize aims to raise his chapter presents three itineraries which comprise twenty-one works awareness and give visibility to those works that provide a better quality of T situated in the city of Turin and two works in its metropolitan area. built environment thanks to their careful architectural design and coherent The first itinerary focuses on the city centre, while the other two stretch realisation. It also aims to encourage observers to appreciate and enjoy north and south, outside Turin to Pino Torinese and Moncalieri where architecture, even though they are just visitors or passers-by. A plaque on two significant buildings are accessible to visitors. The chapter includes the wall of the prize winning building shows the ‘extraordinary quality of an article about ‘pioneer’ Ada Bursi (1906−96) who was the first female ordinary architecture’ to both local people as well as MoMoWo visitors. professional architect to work in the city and it suggests other works to be Among the women architects in Turin itineraries, Laura Petrazzini Levi visited beyond the ones included in the itineraries. (1931−86), author of Residence Du Parc (Itinerary 3), is included in the "Albo A brief introduction to each itinerary guides visitors along the routes d’Onore del Novecento. Architetti a Torino" (Honour Roll of the 20th century. which are rich in urban and architectural history. They can also experience Architects in Turin). Her work has been recognised for its originality and her the transformations which have significantly changed Turin’s vocation ability to give consistency to her architectural designs without losing sight of and identity since 1980s as it has developed alternatives to its industrial the numerous and varied distinctive traits. The Honour Roll was established 108 image. It used to be the epitome of a company town, but over the last few in 1980 by OAT to celebrate and preserve the memory of professionals decades it has become one of those medium sized European cities to who have brought honour to the category with the quality of their work, have significantly changed its urban landscape. The city centre is the first commitment to culture and education, dedication to work, and participation urban area to have progressively consolidated its cultural attractiveness in civic life. over time. The works in Itinerary 2 and Itinerary 3 are closely connected to Out of thirty-eight architects included in the Honour Roll, besides Petrazzini the crucial steps of Turin’s transformations including the reuse of the FIAT Levi, just two other women are mentioned. They are Vera Comoli (Fabbrica Italiana Automobili Torino) factory Lingotto (1982), the approval of Mandracci (1935−2006) and Mariella de Cristofaro Rovera (1931−2001). the Land Use Plan (Piano Regolatore Generale - PRG) in 1995, and the works Both women distinguished themselves with their exceptionally ethical, for the Winter Olympic Games in 2006. This is the why, women architects’ human and professional rigour which also greatly highlighted their intensive contribution is mainly seen in restorations, renovations, reuses, extensions, scientific and academic achievements at the Politecnico di Torino. As they interior and museum set design. were both professors, Comoli in the fields of Urban History and de Cristofaro Ten architectural works from the three itineraries received the in Construction and Structural Engineering, transferred their passion and Architetture Rivelate Prize. This local annual prize was established in knowledge to generations of students, that are now architects. itinerary 1 his itinerary takes Turin’s city centre starting from the 17th century district. maximus - the principal axis of the Roman settlement - and then widened in TThis area has been characterised by the presence of some important 1736−39 by Benedetto Alfieri. The second is Via Pietro Micca (1885), a diagonal theatres and cultural buildings since the 18th century. Among them is the street with arcades which bears witness to the intensive transformations begun Gobetti Theatre (1). Walking along Via Gioachino Rossini visitors will reach Via at the end of the 19th century. On the corner between Via dell’Arsenale and Po. This arcaded street was designed by architect Amedeo di Castellamonte in Via Benedetto Alfieri visitors will see Lascaris Palace (5). Going straight along 1673, who created a theatrical walkway to connect the city centre with the Po Via Alfieri they will reach Piazza San Carlo. The square with arcades, originally river. built as the Royal Square, was designed in 1637−44 by Carlo di Castellamonte At the end of Via Po visitors will arrive in the heart of the Baroque capital as part of the southward expansion plan of the Baroque city (1620). This city, Piazza Castello. The square was commissioned in 1584 to architect square was pedestrianised for the Olympic Winter Games (2006) under the Ascanio Vitozzi, who designed a wide square around the Medieval Acaia castle direction of architect Elena Bosio. Going straight along Via Giovanni Giolitti, (1317), now named Palazzo Madama (2, Civic Museum of Ancient Art). Chosen on the right is Valdo Fusi Square (6). This was built in an area which had been 109 by the Duchess Maria Cristina of France (1606−63) as her favourite residence, heavily damaged during the Second World War. The east side of the square is the building underwent its first renovation. However, it was the second 'Madama characterised by the Baroque San Giovanni Vecchio Hospital (7, "Infernotti" - Reale' (regent), Maria Giovanna Battista di Savoia Nemours (1644−1724), who Multifunctional Hall), designed by Amedeo di Castellamonte (1680). brought about a decisive transformation and turned the ancient castle into a Turning left into Via Camillo Benso di Cavour visitors will enter the city royal residence, assigning the new façade design to Filippo Juvarra (1718). Neoclassical district, called Borgo Nuovo which was built between 1825 and On the northern side of Piazza Castello stands the Royal Palace. It 1864. Here they can see the Aiuola Balbo and Giardino Cavour. The outline of was designed in 1584 by Ascanio Vitozzi in order to host the Savoy royal these two gardens shows the presence of the former city fortifications. From headquarters. Crossing the square, a passage on the left leads directly to the nearby Via della Rocca it is possible to see a view of Piazza Vittorio Veneto. Piazza San Giovanni, where the Renaissance San Giovanni Battista cathedral The Neoclassical square, designed by Giuseppe Frizzi (1825), is characterised houses the Holy Shroud. Reaching Largo IV Marzo, visitors will arrive in the by uniform arcades and sober architectural lines. On the opposite side of the centre of the Medieval city, where they can admire two renovated historical river is the imposing Gran Madre di Dio church. It was designed by Ferdinando buildings the "Casa del Senato" - Apartment Building (3) and the University Bonsignore and built in 1931, based on the model of the Pantheon in Rome. Residence (4). Crossing Corso Casale, visitors can go up the Monte dei Cappuccini as the last Walking along Via Porta Palatina visitors will cross two important streets. step of the first itinerary, the Mountain National Museum (8), and enjoy a great The first one is Via Giuseppe Garibaldi, designed by the Romans as decumanus view of the city and the surrounding Alps. C.S., A.S.C. itinerary 1

1 Gobetti Theatre Via Gioachino Rossini, 8

2 Palazzo Madama - Civic Museum of Ancient Art Piazza Castello

3 "Casa del Senato" - Apartment Building Largo IV Marzo, 17

4 University Residence Via Cappel Verde, 5 110

5 Lascaris Palace ia enedetto Aleri,

6 Valdo Fusi Square Piazzale Valdo Fusi

7 "Infernotti" - Multifunctional Hall of San Giovanni Battista Hospital ia San Massimo,

8 Mountain National Museum Piazzale Monte dei Cappuccini, 7 3 4

6 1 5 7

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7 8

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he Gobetti Theatre was built in the 1980s for safety reasons. historical core, where technical and designed to accommodate the Tto host the seat of the Turin The restoration project involved the facilities were enlarged and services area. Amateur Dramatic Society in . conservation of the foyer and the improved. Additional spaces have The connection between original It was designed by Giuseppe Leoni main hall, including the stuccoed been designed to host the ateliers, and new elements is the basic following the typical Italian theatre ionic parastas and frescoes. On the the oces and to enlarge the underlying concept of the project, plan scheme, with the exception of historical aade, acing ia ossini, stage. he aade combines ne which is typical of Italian restoration some variations. According to the a careful restoration of the plasters and ancient brics ith metallic style since the 1950s especially eoclassical more democratic idea and decorations was realized. yellow-painted windows frames. in buildings or culture. his or of art, in fact, the traditional tiers of he renovation or also involved The new construction consists in a received the Architetture Rivelate boxes were avoided. It was later used the spatial and functional semi-cylindrical building on pillars, prize from the OAT in 2005. as a prose theatre and nally closed organization of the building’s completely hidden to the theatre E.D. www.teatrostabiletorino.it/teatro-gobetti/  1. 1 1. 2

he ancient Acaja family castle, Twhich included one of the city

oman gates in the th century, and Restoration

is one of the most multi-layered museum set design buildings in Turin. Originally Roman, then Medieval, the building was later extended by Filippo Juvarra to give the royal Savoy family another 113 gorgeous residence during the late aroue period . It as restored in the last years of 19th century by Alfredo D’Andrade, who structured the project showing the different phases of the ancient building. Entrusted to the city administration 1988. Extensive restoration of almost included philological restoration of witnessing new solutions such at the beginning of the last a decade o ors as carried out the Juvarra's monumental staircase, as the steel staircases in the century, Palazzo Madama housed up to 1996 by a group of architects the anastylosis of the Medieval court tower facing the Po river and the the Civic Museum of Ancient Art and restorers, in order to show to the

and the positioning of glass over treasure-rooms in hich some o www.palazzomadamatorino.it since . he changes in public public the collection, the story of the the archaeological excavations. The the themes of the collection are  exhibition venue safety regulation building and its civic signicance over visitors to the museum can have a reunited and explained in detail. forced the museum to close in the centuries. he restoration or feel of the original interior, as well as E.D. 1. 2 1. 3

his building is probably one of Tthe most important testimonies of the Medieval period of the city. Originally built with Roman materials, it was supposedly the residence of the Due during the Langobardic domination (6th century). Afterwards Renovation and extension and Renovation it was rebuilt several times and consequently showing a 16th century aade, ith mullioned indos. It was then restored in the late 19th 114 century by Riccardo Brayda, one of the protagonists of the Gothic Revival in Turin. Heavily damaged by Second World War bombing, the building was completely rebuilt during the 1950s, ith only the aade still standing. the medieval parts and evoing the war construction. Five residential overlooing the old ton, ith its In 2011, in accordance with a wider former tower system still present units and two commercial ones Roman, Medieval and Renaissance programme of renovation of the in some of the remaining Medieval were created using only one-half sights. his or received the oman district, a proect overseen houses. The project involved the of the original building, while Architetture Rivelate prize from the by the ultural eritage ce as insertion o a ne, modern-looing the remaining part still awaits a A in . assigned to the De Ferrari’s studio. tower that connects the historic complete restoration. There are E.D. The project was aimed at preserving aade o the building to the post- also two terraces on different levels 1. 3 1. 4 and extension and Renovation, reuse

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he project involved the with four, made it easier to integrate There is an opening between the and above windows and shops. Trenovation and extension of a the renovation with nearby buildings two buildings which favours the Similarly the tubular inserts, the historic bloc in urin city centre. of different heights, giving a greater illumination and ventilation of arched openings, dormers of The University Residence houses uniormity to the aades. he the courtyard, helping to mae it various shapes and curved aades beds plus one or a disabled sequence of buildings in Via Cappel a pleasant public space, but the help to enliven this inclusion of the student and common areas for Verde repeats and reinforces the buildings are connected by two new in the stately context. Maria cooing, meeting, studying and historic layout of the street, which alays covered in metal, ith Teresa Massa (1960), collaborator recreation. The decision to create concludes with a slight retreat from a design that evoes the metal o ietro Derossi rom to , two separate buildings, one in Via the street line, communicating with inserts common in 19th century contributed signicantly to the appel erde ith ve storeys and the church of the Holy Spirit and the architecture. Similar metal details project both in the creative and the another one in Via Porta Palatina churchyard. are in the canopy of the entrance execution phases. G.M. 1. 4 1. 5 and interior design interior and Restoration, renovation, reuse reuse renovation, Restoration,

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alazzo Lascaris was originally Afterwards the property passed to the public and the ocials. floor below the courtyard, with an Pbuilt as an aristocratic home to the regional administration that Together with the restoration of elliptic plan and a conical roof. The probably by architect Amedeo di decided to settle its headquarters the surviving painted, carved and characteristic of the project is also astellamonte beteen and there. The project was entrusted in stuccoed decorations the renovation the accuracy in designing interiors, . It as reored in the late th to Albinis architectural rm, focused on closing the loggias at furniture, display and signposting in century following the neo-Baroque which was particularly involved in the main level with glass panels accordance with the architecture: a taste, then almost completely the concept o constructing ithin thereby allowing insulated access hallmar o Italian design o hich destroyed during Second World War. the construction. he rm as to the dierent oces almost Albini and Franca Helg are among the It was rebuilt during the 1950s to requested to design a new main without interfering with the previous most signicant architects. host the Commerce Chamber with assembly hall, a couple of minor interior layout. The renovated E.D. a reinforced concrete structure. ones and all the spaces designated Council conference room is on the 1. 5 1. 6 Urban design Urban

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he urban project covers the leaving a wide outdoor public space. Roberto Gabetti and Aimaro Isola. centre, now hosting a pub. Near Tarea that previously hosted a The centre of the square is below o slopes lin the central space the pub another building has been 17th century convent and then the pavement level and can be reached with the surroundings streets, while designed to house the Jazz Club. headquarters of the Royal Industrial by four surrounding sloping surfaces. the other to orm ings covering The result is a wide urban public Museum (1862). The area was The resulting spatial organization the paring entrances and ramps. square, where youngsters can meet heavily damaged during Second creates a direct relationship between Furthermore, three of the slopes and sate on the slightly sloping World War, remaining an empty the square and the buildings contains green areas, whereas surfaces and people can sit on the space until 1997. The municipality around it: the San Giovanni Battista the fourth has stone paving. In the wood terraces and stone benches, then launched an international hospital, the Chamber of Commerce middle of the square a glass building surrounded by green areas and water design competition in order to create by arlo Mollino and the has been constructed, originally fountains. a to level underground car par, ormer Stoc Echange by designed to house an information E.G. 1. 6 1. 7 Reuse, renovation and interior design interior and

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losely related to the theme this way a particularly evocative space The design choice wanted to perception of the room, characterized Cof the humanisation of care, was revived - an underground room respect the original features with by unique aesthetic values, the the project represents one of the dominated by a semi-circular bric vault minimal intervention through the velarium was designed not as a rst eamples o sot ualities with nails - surrounded by a circular use of light and colour as qualifying traditional false ceiling, but as within the hospital heritage in passage through which the dead were elements. For economic reasons a light element independent of Turin. The space below the church, taen to the mortuary. it was decided not to replace the the structures from which it is previously used as a pharmaceutical Through a few careful interventions the existing light installations but suspended by means of slender steel warehouse, was transformed into space was returned to public use and simply to screen them from view by rods. The system creates a bright a multipurpose room dedicated set up as a meeting place between the introducing a bright velarium placed wraparound effect which highlights both to care and to art exhibitions, hospital and the city, turning a place of diagonally to the floor. the prole o the vault. conferences and performances. In death into a place of life. In order to allow the spatial E.G. 1. 7 1. 8 Restoration and and Restoration museum set design

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ased on an ancient complex, in , as improved and enlarged collections, aiming at connecting the octagonal drum. Even the natural Bchurch and monastery, designed - following war damage - till the spectacular syline o mountains light plays an important role entering in the late 16th century and the beginning of the 1990s, together outdoors to the collections indoor. into the four glass pyramids on beginning of 18th by Ascanio Vitozzi with the consolidation of the whole: To achieve this the project focused the roo and reaching the rst loor and Amedeo di Castellamonte, the church, street, monastery and hill on the layout of the original halls. The so-enlightened collection core of the museum was the product complex. At the turn of the century, museum rooms. Furthermore, it is is settled as a mix of documents of the collaboration between the the museum management together characterized by new connecting about the mountain modern

Club Alpino Italiano (CAI) and the with a team of architects began elements, such as the steel staircase lifestyle, the historical conquests www.museomontagna.org city administration in . he a new project of restoration and and glass elevator, a new vertical and the witnesses of mountain  museum, named Museo Nazionale museum set design to enhance axis to the Vedetta Alpina on the new environments. della Montagna Duca degli Abruzzi the quality of the building and the panoramic terrace placed on the E.D. 1. 8 itinerary 2 his itinerary stretches along Corso Regina Margherita and passes through the wooden covering of the Piedmont heritage in a modern way. Tthe town from west to east. This important road axis functions as a division The third stop of this itinerary ends in Piazza Borgo Dora. Facing there, the between the Roman town and the expansion of the city towards the north, Ex-Army Arsenal (3) hosts the Servizio Missionario Giovani (SERMIG) and the where the intensive industrial development transformed the area and gradually Holden school. removed the farming heritage. Now the itinerary goes along Corso Regina Margherita up to Piazza della The itinerary is organised in six stops coming in succession. Each of them Repubblica. There visitors will enjoy the wonderful exedra signed by Filippo is representative of districts having historical, social and architectural features Juvarra and then the Giardini Reali, going in the direction of the hill on the deeply different. right-hand side. Our tour starts from west going to east towards the hills. The starting point Past Corso San Maurizio this itinerary runs along the Vanchiglia district is near the San Donato district, in the commercial and lively Via Livorno, to on the right-hand side, called ‘the district of smoke’ due to the presence of a discover an abandoned industrial area, one of the most interesting of the town. lot of tanneries in the beginning of 20th century, and on the left-hand side of In the hub of that ever changing area - called Spina 3 by the Land Use Plan the Dora River which brushes up against Corso Regina Margherita but then (1987−95) - reach the Parco Dora - Multifunctional Centre (1), near the former suddenly leaves again for another important changing area: the former gas Michelin area. A new place to meet people facing the big two-level square with company Italgas area. 120 walkways winding through the green areas. Among the most remarkable buildings in this interesting urban The second stop is near Porta Palazzo, the biggest outdoor market in reconversion, it is worth pointing out the Borgo Dora University Residence Europe. An extraordinary place for goods exchange and a cultural melting pot. (Cristiana Bevilacqua - Agenzia Torino, 2006), former born to host the Heading due north, in the direction of Corso Giulio Cesare, on the left-hand side journalists arrived in Turin for the Olympic Games 2006 and the Luigi Einaudi the Centro Palatino designed by Massimiliano and Doriana Fuksas stands out. University Campus designed by Norman Foster - a building complex having Here, the clothing business is gathered and the iron and glass pavilions of the winding shapes, transparent facades and the site specific art work named covered market in the 1800s are reused in a contemporary way. “Principio - Cosmo, …lunare” (4) located in its inner courtyard. This itinerary reaches Via Borgo Dora. Along there and each Saturday The fifth stop of the itinerary then arrives at the Azimut Club (5) on the morning the Balŏn, a typical outdoor market winds through workshops, second- other side of the Dora River which is an ex industrial building changed into a hand shops, elegant antique stores or old taverns, where it is still possible to restaurant and club. taste the traditional Piedmont cuisine. Its hub is the Maglio Courtyard (2). It is The itinerary ends in the Turin metropolitan area reaching the Infin.to worth pointing out that building with its truncated pyramid covering made of Planetarium of Turin, Museum of Astronomy and Space (6), surrounded by the lamellar wood supported in its center by inclined steel struts, where it is used green hills. E.G., C.S. itinerary 2

Parco Dora - Multifunctional Centre 1 1 Via Livorno, Via Treviso, Via Antonello da Messina

2 Maglio Courtyard Via Vittorio Andreis, 18 3 2 3 Ex-Army Arsenal iaa orgo Dora, 121

"Principio - Cosmo, …lunare" - Site Specific Art Work - 4 5 Campus Luigi Einaudi Lungodora Siena, 100 4

5 Azimut Club Via Modena, 55 6

Infini.to - Planetarium of Turin, Museum 6 of Astronomy and Space ia sservatorio, - ino orinese (Torino) 2 2. 1 Urban renewal

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he destination of the large residential and tertiary activities. The on different levels connected by of the good quality design of the Tindustrial areas in the north multifunctional centre was designed suspended alays, elevators, public space, shows the effect of the of Turin, abandoned in the 1980s, to become the core of this new escalators and balconies. The culture of today that promotes the changed with the master plan of urbanisation and it includes a cinema, buildings, while adopting a uniform building of large shopping centres 1995, under the programme of urban a large shopping centre, oces, modern language, have autonomous as substitutes for traditional urban renewal called Spina 3. The former restaurants, bars, shops and paring. nishing and compositional social life. These spaces, although Michelin factory was completely Various buildings arranged around a choices: bric alls, steel and glass ell designed, are called non-places destroyed, preserving only the public/private space host the different transparent screens, alternating because of their anonymity and their cooling tower, while the surrounding functions of the complex. The core openings and closures. serial reproduction in the globalized areas were developed to house is something lie a suare laid out The multifunctional centre, in spite world. G.M. 2. 1 2. 2 Renovation and reuse

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he covering of the Maglio for local industry and then closed. fascinating wide space that recalls integrated with iron structures, TCourtyard was an opportunity to The new covered square houses its industrial past through the show a modern sensibility reuse one of the four courtyards of orshops, shops, bars and spaces presence o the original bric alls. that characterizes the urban the abandoned area of the ex-Military for graphic designers and artists In the centre of the square, the transformation of the former Arsenal Arsenal, in the context of a wider assigned by a call for tenders. iron trip hammer of the old military as one of the most interesting in reualication plan or orta alao The new roof covers the public factory stands as a testimony of the recent history of Turin’s passage maret. he aims o the proect, space with a truncated pyramid industrial archaeology and became from industrial to post-industrial city. headed by the City of Turin, was to in laminated timber supported by the fulcrum of the new space. The project won the Architetture http://cortiledelmaglio.it open a new passage following the four steel struts and a series of The respect of the historical and ivelate prie rom the A in .  course of the ancient Molassi canal, secondary elements that reinforce social context and the use of G.M. originally used as an energy resource the four surfaces. The result is a sustainable materials, such as wood, 2. 2 2. 3 Renovation and reuse

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he reuse of the former Military canal lining iaa orgo Dora the feasibility of the recovery of The spaces of the former Arsenal are TArsenal in Borgo Dora began with Via Cottolengo. The plan was the Arsenal according to the new now used for commercial activities ith a plan baced by the mayor not approved, but was the starting Master Plan of the City. Comoglio’s and orshops hile the main Diego Novelli and drawn up by point for subsequent action. With project team freed the canal route building has become the Holden architects Torretta and Brusasco the transition of the property from from incongruous buildings adding School headquarter. The project, in the early 1980s. The aims of the military use to the City, the buildings a number o ater tans to recall which is a positive example of urban plan ere to mae the comple ere earmared or the assistance its former use. The team also freed transformation in compliance with accessible, to maintain the historic activities of the Servizio Missionario the four courtyards to the south, heritage and the conservation of its parts and to demolish unnecessary Giovani SEMI. In the rst hal o connecting each other, while a memory, on the Architecture buildings, opening a new passage the 1990s Adriana Comoglio with th remained ith the internal Rivelate prize from the OAT. along the line of the old Molassi a large group of designers studied construction. G.M. 2. 3 2. 4 Ex-novo, garden design

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he original or by architect By reinventing the internal garden bac to a primordial place that surface that is reminiscent of a TTisi is in the courtyard of the o the building, this or o art ts aspires to counterbalance the moon crater. At the opposite side University Campus Luigi Einaudi into the context and moves away extremely contemporary building …lunare is less structured than . he university comple is from the traditional concept of structure. Principio consists of Cosmo, suggesting an idea of peace located in a former industrial area, art, becoming a space to be used two creations, Cosmo and …lunare, that seems to invite the spectator to next to the Dora River. Over the last during the students’ daily life. Both placed to delimit a path through reflect. This contemplative function years the district has undergone aesthetical and functional features vegetation. Cosmo consists of is underlined by Luigi Einaudi’s many transformations that are wisely combined. Art becomes two low hills made of organic famous aphorism, quoted near the persuaded architect Norman Foster living art. The innovative creation and articial material it presents end o the alay: conoscere per to introduce a brea point ith the tries to reproduce a harmonious a characteristic sculpted Nanto deliberare no to deliberate. surrounding context. landscape, bringing the spectator stone element settled in a concave C.S. 2. 4 2. 5 Renovation, reuse and interior design interior and

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he building is located in a building. inally, in a renovation to connect two dance floors. The connection between the various Tsemi-central area of the city project by Andrea Andrich and TRA To reach the second floor of the spaces and their functions, together near the Dora River. The former Architetti completely changed the building visitors go up an external with the relationship between the industrial building, after several spatial and functional organization of steel staircase located into the current and former building are the interventions over the years, was the club. courtyard. The upper hall is a long basic underlying concepts of the recovered and redesigned in On the ground floor a covered corridor and free open-space area. It is project. To this end, new components 1999 by UdA architectural studio connects the street to the internal characterized by reinforced concrete have been added and the careful use to accommodate a club and a courtyard, allowing the visitors to pillars and big windows. The second of contemporary materials - metal, restaurant. In 2007-08 a restyling reach the club entrance. There, the floor also opens onto an outdoor ceramic, glass - and lights play a or by architect Martina ab service spaces cloaroom, bar and terrace which faces the internal undamental role in the nal result. modied the interior design o the restrooms) have been located in order courtyard. A.S. 2. 5 2. 6 Ex-novo

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ocated on a steep slope, the or. It houses the three storey On the lowest floor, the audio-visual valley consists of a ventilated Lbuilding was designed to be museum and the big sphere of the library occupies the entire surface double glass wall supported by a partially underground in order to planetarium which is surrounded of the building, connecting the metal structure. Inside the building, minimize its visual impact and help by a suspended ramp that provides museum area to the planetarium in multiple points of views are offered it blend in with the beautiful hilly additional exhibit space. a large open-space. by transparencies and a concept landscape of the Turin Astronomical Evoing astronomical geometries, The interior space is brought to life of fluid functional distribution Observatory area. an elliptical terrace leads into by a spider glass cone that gives gives rise to an unexpected and

Inni.to as designed by architect the entrance hall from which a natural light across the storeys. unpredictable ambience. his or www.planetarioditorino.it Loredana Dionigio - in collaboration helicoidally stair taes visitors to Spider glasses ere used also to received the Architetture Rivelate  with engineer Giancarlo Gonnet - as the floors below, where the museum build the entrance aade, hile prize from the OAT in 2007. a dynamic and open architectural and the educational itinerary are. the loer aade toards to the C.F. 2. 6 itinerary 3 his itinerary stretches south of the city centre taking in areas that have renewal in the 1950s. At the time of its construction, the apartment hotel was Tundergone urban renovations. considered as the most suitable to host the cosmopolitan exhibitors of the The Land Use Plan (1987−95) foresaw the gradual covering up of the adjacent exhibition centre. railway lines that divided the city together with intensive renovation works in Reaching Via Nizza and crossing Piazza Giosuè Carducci, visitors will the surroundings ex-industrial areas. The resulting axis, also known as Spina enter the Lingotto neighbourhood. This area used to be a farming suburb of Centrale, includes four districts from south to north named Spina 1, 2, 3 and 4. the city that was significantly transformed from the end of the 19th century Starting from the Thermal Power District Heating Plant (1) visitors will enter onwards, during the increasing industrialisation process of the city. The the Spina 1 area, developed along Corso Mediterraneo. The former railway repair opening of the Lingotto FIAT car plant (1923) finally defined the spatial yards (Officine Grandi Riparazioni - OGR) are located along this wide boulevard, organisation of this industrial district. The compounds were located on the which is characterised by cycle paths, walkways and green areas. A Climbing west side of Via Nizza, and a large number of working-class houses were Sports Centre (2) (2008) was built in Via Paolo Braccini to accommodate the built on the east side. From the second half of the 1980s the area underwent indoor climbing-wall, previously located in the Palavela from the 1980s to the intensive renovation work due to the closure of the factories. FIAT Lingotto 2006 Olympic Winter Games. was turned into a multifunctional centre (1983), the former Pastificio Italiano Facing Corso Mediterraneo, Santa Teresa di Gesù Bambino Church and its became the AC Hotel (6) (2003−05) and the former Vermouth Carpano was 128 Parish Complex (3) is located on the edge of the residential Crocetta district. In reused to house the Eataly - Food and Wine Centre (7) (2004−07). front of the church, the Igloo created by Mario Merz in 2002 marks the boulevard’s Turning left into Corso Eusebio Giambone, visitors will reach the urban separation into two avenues. Taking the left-hand avenue, visitors will walk past a area selected in 1961 to host “Italia ‘61”, the exhibition complex to celebrate large residential and shopping block designed by Jean Nouvel (2001−09) on the the 100th anniversary of the unification of Italy. Among the buildings erected site that previously hosted the Materferro railway materials factory. for this event, the Palavela - Sports Centre for Figure-Skating and Short Track Across Largo Orbassano, the avenue turns and runs along Clessidra park to (8) stood out for its innovative design. The building was recently transformed Corso Filippo Turati. Here are some ex industrial buildings that were renovated in by Gae Aulenti and reused for the 2006 Winter Olympics. Shortly after 2010 to host the "Toolbox" - Torino Office Lab and Co-working Space (4). the Palavela, visitors will reach the Palazzo del Lavoro, a Pier Luigi Nervi’s Crossing the railway, visitors will reach the Torino Esposizioni exhibition masterwork that is currently abandoned. complex, built between 1936 and 1938 by Ettore Sottsass sr. and extended When visitors have crossed Corso Pietro Maroncelli, they will be in an two times by Pier Luigi Nervi (1968, 1950). Residence Du Parc (5, now Duparc ex-industrial were the Fonderie Limone - Centre of Research on Theatrical Arts Contemporary Suites) apartment hotel is located just alongside Torino (9) are. This complex is located in a pleasant leafy area on the banks of the Esposizioni in a stretch of Massimo d’Azeglio boulevard that sow its urban Sangone river, facing the hills of Turin. C.F., A.S. 1 3 2 3 1 Thermal Power District Heating Plant orso rancesco errucci, A 4 2 Climbing Sports Centre 5 Via Paolo Braccini, 18

3 Santa Teresa di Gesù Bambino Church and Parish Complex ia iovanni da eraano,

4 "Toolbox" - Torino Office Lab and Co-working Space 129 Via Agostino da Montefeltro, 2 6 7 5 Residence Du Parc, now Duparc Contemporary Suites Corso Massimo D’Azeglio, 21

6 AC Hotel Via Bisalta, 11 8 7 Eataly - Food and Wine Centre ia ia,

8 Palavela - Sports Centre for Figure-Skating and Short Track ia entimiglia,

9 Fonderie Limone - Centre of Research on Theatrical Arts Via Pastrengo, 88 - Moncalieri (Torino) 9 3 3. 1 Restyling

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s part of the transformation and to the Polytechnic, but built Ao bronelds in urin, the with no attention to the context. The Spina 2 sector is among the most masing as carried out ith metal successful urban sectors both screens and a grid for lining the lighting at night, dematerializing proects in the dicult attempt to for functional choices and for the chimneys. The shields, consisting the banal thermal power district improve the quality of urban public design of public spaces. Among of diagonal bands of stainless steel, heating building and creating an spaces. Attempt late started by the the elements of this quest for denser at the bottom and more attractive sight, which has become Administration trying to control the urban quality was the choice to spaced out further up, curved and a local landmar. too rapid transformation of derelict mas the cumbersome thermal partially overlapping, appear light and Marianne u ith her husband broneld sites. he proect on in power heating construction, mobile. The steel reflects the light Jean Pierre and their partner Hugh the 2010 the Architecture Rivelate functional to the neighbourhood o the sun by day and the articial Dutton helped with this and other prize from the OAT in 2010. G.M. 3. 1 3. 2 Reuse and extension

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he building is located near the all user and staff facilities. They tensioned beams in laminated wood features a bright orange colour. TSpina - north-south axis of the added two inter-connected new that is hinged to a single reinforced he or has been considered citys redevelopment . architectural bodies with different concrete pillar and braced by the outstanding architecture for its It was commissioned by the Sports heights in accordance with the metal cylinder of the lift shaft. advanced building and equipment Division of the City to house the height of the climbing-walls that The exterior side facing the street technologies such as ventilated largest indoor public climbing-walls had to be located indoors. The more is entirely glaed, thus maing the alls and roong, photovoltaic in Italy (1,000 m² with 5,000 holds) spectacular part of the building climbers visible day and night. The panels and low emission glass and it has become a local landmar. is 20 m high and houses the 18 roong and part o the aades curtain walls. In 2009 it won the The architects in chief - Erica Ribetti m climbing-wall for competitions. are coated with grey zinc-titanium Architetture Rivelate prize from the and Silvia Zanetti - reused a former It is shaped lie a edge ith a hich evoes the colours o the OAT. municipal power station to house structure made of a series of pre- mountains, while the interior space C.F. 3. 2 3. 3 Ex-novo

he new parish complex replaced Tan earlier one built in . he church - topped by a crystalline dome structure - and its high solitary bell tower were designed to become a local landmar in an The architects in chief from Studio 132 area that was situated between a Zuccotti (since 1951) - sister and residential zone and an industrial brother Giovanna Maria (1926 district. and ian io ith The church stands two and a half his wife Maria Carla Lenti (1929) - the main altar in the centre, thus lac o decoration, as ell as the meters from ground level, above succeeded in designing an innovative emphasising the communitarian dome’s exposed reinforced concrete a crypt that was built in order religious building thus anticipating importance of the mass. The roof’s structure and the use of sober to support the foundations of a the functional needs for the new triangular geometry reminds the materials such as acing brics and church. Access to parish annexes liturgical guidelines laid down by the visitor of the most spectacular Luserna stone. In , this or as ept at the same level as the Second atican ouncil Baroque churches in Turin. Its received the Architetture Rivelate crypt, under the parvis, in order immediately afterwards. The church formal appearance is both modern prize from the OAT. for the church to stand out more. has a polygonal central plan with and unconventional due to the C.F. 3. 3 3. 4 Renovation, reuse and interior design interior and

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oolbox is situated in a semi- space available for professionals socialization and relax with spaces climatic, visual and sound proong Tcentral area of the city next in dierent elds. here are for privacy and concentration. A requirements. The result is a very to the rapidly changing San orty-our individual orstations variety of the solutions is obtained flexible space allowing an almost Salvario neighborhood. It is a with additional facilities. The by using an adaptable component limitless number o conguration. co-oring space located in a main open-space area is divided model, a single system developing Through an automated system for former manufacturing building lengthwise by some technical and an innite range o possibilities the control of lighting, access and near the railway line. The project functional compartments. The and dierent congurations. Each use of facilities each professional is conceived as a professional main idea of the project was to compartment is identied by the can design his personal prole, incubator and it is designed to deal mediate between the plurality of use o dierent materials - cor, according to his needs. The project with the needs of a new generation users’ needs and the coherence of rubber, gloss paint - according to won the Architetture Rivelate prize of free-lancers. It consists in a the design, combining spaces for its specic unction as ell as its in 2012. C.S., A.S. 3. 4 3. 5 Ex-novo and interior design interior

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his tall modern building is combining the functionality of Italian ith light-lled rooms thans to the extraordinary collection of modern Tsituated near the Po river Rationalism with the expressiveness wall-windows giving exceptional and contemporary ors o art, and next to the mid-19th century of Brutalism in an original composition views of Turin’s hills. The hall and including masterpieces by Arte Povera alentino par. uilt in by the that is still unique today. original apartments were designed artists. architects Laura Petrazzini (Turin, he plan and aades ere designed to hold outstanding ors o art and In 2002 Laura Petrazzini was included in collaboration ith on an orthogonal grid based on a furniture design from the sixties and in the Albo d’Onore del Novecento her husband Corrado Levi (Turin, suare module o cm. he aade early 1970s. (Honour Roll of the 20th century) , the esidence Du arc has is dened as an overlap o layers In the apartment hotel as and in 2007 the Residence Du Parc always been considered prominent in which the primary elements are converted into a luxury apartment received the Architetture Rivelate prize contemporary architecture in Turin. exposed reinforced concrete panels. building, with a new restaurant from the OAT.

Here the architects succeeded in Inside there are large open spaces, and an oriental spa. It hosts an C.F. www.duparcsuites.com  3. 5 3. 6 Renovation and reuse

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he AC Hotel is located in a became property of the adjacent to preserve the original features common areas - lounge, restaurant Tformer industrial district of Vermouth Carpano factory. In 1996 of the building by underlining its and relaxation areas - are located. the city. The original building was the company moved to Milan and clear lines. The building consists Here, the wide open-space area has designed in 1908 by engineer the factory complex was left vacant. o a our-storey bloc ith hite been divided with light partitioning Angelo Santonè to host a pasta A proposal for the reuse of the aades characteried by a series walls, in order to emphasize the actory. It as one o the rst building was approved according to of vaulted windows. A two-storey characteristic concrete structure. industrial building in Turin to be the urban plan. he renovation addition was designed in 1921 by The series of large windows create built with reinforced concrete pillars project was designed by Negozio engineer Pietro Gambetta and now a space full of light, that opens onto and beams. After the damages Blu Architetti Associati and the hosts the reception and the hall. an internal courtyard with a garden caused during the Second World AC Hotel was opened in 2005. These spaces lead to the main by the architect Francesca Bagliani. War, the building was restored and The architects’ main idea was building’s ground floor, where the E.G. 3. 6 3. 7 and interior design interior and Renovation, reuse, extension extension reuse, Renovation,

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he food and wine centre Eataly The FIAT Lingotto factory was turned interior, characterized by a series conference room and the Carpano Tis located in a peripheral area into a multifunctional centre (1982), o buildings lined by a system o Museum. An additional light steel characterized by a series of former the former pasta factory building internal courtyards, squares and and glass structure covers the central industrial buildings dating from the was transformed into the AC Hotel alays, has been preserved passage and underlines the original early 20th century: the FIAT Lingotto and the ormer Vermouth and emphasised. It recalls an buildings aades, characteried by car actory , a pasta Carpano complex was reused to urban space ith maret stalls red brics and yello-painted pillars actory and the Vermouth house the multifunctional centre of for food tasting and buying. There and beams. Carpano liqueur company complex Eataly . are different levels, with various The facing outdoor area is a large . rom the second hal The main entrance has been thematic areas. Further facilities public pedestrian square, designed of the 1980s the area underwent opened into the long red-painted have been added such as didactic by the landscape architect Francesca some important transformations. wall facing the Lingotto factory. The and exposition areas, a library, a Bagliani. E.G. www.eataly.net  3. 7 3. 8 Renovation and reuse

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he Exhibition Palace named Franco Levi, passing from a triangular and indoor sporting activities. is an ecient building or sports Talavela as built in plan to a hexagonal one, with three For the 2006 Winter Olympics ice characterized by a septum in and designed by Annibale and cantilever edges. The double shell, the ity ouncil decided to mae reinforced concrete, coloured red, Giorgio Rigotti as the Ente Moda connected by thin ribs and resting on it the hub of activities related to ith seats. headquarters. Incorporated in the three points, constitutes a covered indoor winter sports. The project, Gae Aulenti, an internationally plan o Italia ", it was designed to area of 15,000 m2, with a maximum awarded to Gae Aulenti through renoned architect non or her celebrate the 100th anniversary of the height of 29 m, held up by huge an international competition, or as a modern designer and

unication o Italy. It has the structure indos, a or o high engineering. involved the construction of a for major urban interventions and www.palavelatorino.it designed by Nicola Esquillan for the The building, whose ownership new entirely independent building, museum installations, here conrmed  pavilion of CNIT in Paris and further passed to the City of Turin, was which is underneath the preserved her free and independent spirit. developed with the collaboration of used over time for exhibitions and restored vault. The outcome G.M. 3. 8 3. 9 and interior design design interior and Renovation, reuse, extension extension reuse, Renovation,

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ocated in a former industrial The project was conceived by laid out following an almost uniformity, changing by day and Ldistrict in the Turin metropolitan Marina Gariboldi, who began the deconstructivist approach. The night, hen blue and pin lights area, the Limone foundries renovation and extension of the theatre fly tower outline follows an there are. The memory of the ored metals rom the s original building in 1996 with a axis which branches off from the building’s industrial past is shown to their closure in 1970. With the group of architects. The centre of original one, creating a focal point in a small galleria della memoria new approach to conserving old research on theatrical arts houses which is rotated with respect to the (memory gallery) which testimonies manufacturing buildings and the two theatres, laboratories, some whole building. The external wall the manufacturing period with the culture of industrial archaeology, oces and a school. oth the old is parallel to the street and there is restored chimney and the preserved the Moncalieri urban design plan and the new parts of the complex a section opened into an internal core of the former factory used as the earmared the comple as a cultural are characterised by corrugated courtyard. A light installation by starting point of a footpath through centre of metropolitan impact. aluminium panels and they are Marco astini breas the aade the garden. E.D. 3. 9 pioneer

soon well integrated in the artistic milieu of the time, although it was still almost exclusively male. In 1936, she took part in the VI Triennale di Milano exhibiting some carpets together with architect Ettore Sottsass sr. (1892−1953) and she won awards for the design of a tapestry and a set of coffee cups. ne of the first women to work as a professional Ada Bursi graduated in architecture in 1939 from the School of architect in Turin was Ada Bursi (Verona, 1906 - O Architecture of the Royal Turin Polytechnic, where she was the only woman Castiglione Torinese, 1996). When she was a girl, she in her class. She was the second woman to graduate in Architecture in Turin, moved from Verona to Turin with her family and attended the first was Giuseppa Audisio (graduated in 1930) although she never a girls’ only school. In the late 1920s she attended Felice practiced as an architect. After having passed the State exam to become 139 Casorati’s (1883−1963) school of painting and, influenced a professional architect, on 24 October 1940 Bursi was the first women to by her friendship with painter Mino Rosso (1904−63), she became a member of Order of Architects of Turin. Ada ursi around completed some graphic works in futurist style. The same year, she was a volunteer assistant at the Polytechnic for In 1929, Bursi’s tempera drawings of linoleum courses of Architectural floorings, that she had done for the Modernist architect Giuseppe Pagano Composition (1896−1945), were published in the specialised magazine La Casa bella (8: and Elements of 44−46). Artistic skills led her to finding work in advertising graphics, in fact she Architecture and Survey worked for Avigdor’s fabrics in 1929, Gancia’s spumante in 1930, and in 1946 she of Monuments. Not designed a poster for the Exhibition of Mechanics held in Turin the same year. For believing she could the City of Turin, she continued to work on graphic advertisements in Via Roma have a future academic (the high street in Turin) up to 1954, as well as Porta Nuova (the Central train career, which was still station). the privilege of men, she In 1933, Bursi became a member of the national Fascist party and looked for employment the same year exhibited her paintings with the group of Futurists at the in Turin’s public Amedeo Albertini, Ada ursi, ino ecer, ompetition or the 5th Regional Exhibition of the Fascist syndicate of fine arts. She was administration and Cemetery to the Fallen for the liberation of Turin, second prize in 1941 she was hired in the City’s technical office on the hill of Turin. In the late where she worked until 1971. 1940s, once again she showed At the end of 1945, Bursi was the only woman her artistic creativity by designing among the 26 founders of the Gruppo di Architetti some furniture reminiscent of Moderni Torinesi “Giuseppe Pagano” (Modern abstract painting and sculpture. architects group in Turin). One year later and together In the City Office, Bursi designed with her colleague architects, Amedeo Albertini social housing buildings and several (1916−82) and Gino Becker (1913−71), she worked school buildings. In 1954, she Ada Bursi, School complex in Via Duino, as a furniture designer making a series of modular contributed to the design of the Turin 1968−70 furniture for the Exhibition of furniture by architects “Piccolo Torino” nursery school. and craftsmen of Piedmont. This exhibition was held There she studied the terracotta decoration that surrounds the facades and Ada Bursi, Portmanteau in Turin at the Pro Cultura Femminile association decoration of the entrance hall, thus demonstrating her artistic sensitivity and skills of satin brass with securit (which was set up to promote women). The modular as chief architect on the building site of the entrance hall. glass top furniture was designed to be mass produced and It wasn’t until the end of the 1960s that Bursi was officially entrusted with contributed to new life styles; architects wanted to express a new freedom the planning of an entire school complex (1968−70) which was in a working 140 at home. Bursi later played a part in supporting women’s professional class suburb, between the FIAT factories of Lingotto and Mirafiori. There, emancipation by becoming one of the first members of the Italian Association the architect applied her experience to the building which is distinguished of Women Engineers and Architects (Associazione Italiana Donne Architetto e by the relationship between the indoor and outdoor spaces. She designed Ingegnere - AIDIA) founded in Turin, 26 January 1957. four main wings which she built parallel to each other on the access road. While working in the City’s technical office in 1946, Ada Bursi also They are interspersed with large green areas and a garden which are used for participated - together with architects outdoor activities and connected with other buildings at the back via covered Albertini and Becker - in a competition to walkways. New technologies characterised the design of the brick work design a cemetery for those fallen during facades: window frames were made out of aluminium. the liberation of Turin. The project, anti- Bursi worked as a professional architect during the reconstruction of post- monumental and metaphysic won second war Turin, when the number of architette (women architects) started to rise: prize. Shortly after, Bursi won first prize for there were 43 women architects in 1961 in Turin out of a total of 306. She was the design of the Cavoretto cemetery, located also involved in the urban growth of the 1970s with some projects of urban Ada Bursi, Nursery school “Piccolo Torino”, design and restoration, until she left the Order of Architects in 1975 and retired. Via Giacinto Collegno 73, Turin 1954 THE NETHERLANDS THE NETHERLANDS

he Netherlands is often regarded as a very Modernist country. 1947 and 1954 and constructed between 1954 and 1964. It is famous Although there is some truth in this, it is also an idealised view. T for its extremely Functionalist-Modernist layout and design, which can While there are many fine Modernist-Functionalist buildings throughout still be fully experienced today. It had pre-fab and flat-roofed houses for the country, there are just as many pre-1945 buildings in traditional land workers and shop owners. The layout of the houses, community vernacular and Gothic-related styles. Of the Modernist-Functionalist buildings such as churches and green areas were all planned as one buildings some are located in the big cities, and will be discussed integrated design, signifying the unity of equality through highly abstract hereafter, and some are in villages in the countryside. Many Modernist architecture without referring to any past devices or styles. There is a bungalows from the 1950s and 1960s were built in rural areas. Post- museum about the architecture in the former Catholic church; please 1945 architecture is generally Functionalist-Modernist with many local varieties. After the late 1970s, Expressionist and Postmodernist buildings 142 entered the architectural landscape and discussion. Dirk Roosendaal, Electrical pumping station for the In addition to those buildings designed by women architects which Wieringmermeerpolder, 1928−30 will be described below, it is worth mentioning two other stylistic landmarks which relate to the characteristic geography of the water management of the western part of this small country, but which are located further away from the main cities. Both examples have the status of national monuments. The first building is the electrical pumping station Lely at Medemblik, designed by architect Dirk Roosendaal of 1928−30 in a striking Art Deco style. It served in the draining of the new Wieringermeerpolder to below sea level. And, 75 km south-east across the IJsselmeer (former Zuider-Sea), is the striking modernist village of Nagele which was one of the first settlements in the newly drained polder called "Noordoostpolder". The village of Nagele was designed between check for opening hours. In Nagele, the burial ground with garden is one of Mien Ruys’s earliest designs. She became one of the most well-known Dutch landscape architects between 1930 and 1980 and often worked with functionalist architects. She was self-taught in garden design but did attend a School for Decorative Art in Amsterdam. She also contributed to some of the housing blocks in Nagele by Lotte Stam Beese. The number of practicing female architects grew after the late 1980s and today buildings found throughout the country were constructed by women architects. An important part of these buildings are commissions for schools, social housing, and buildings for care and well-being. Since the beginning of the 20th century, the Netherlands have had a powerful governmental policy on social housing in larger cities such as Amsterdam, Rotterdam, The Hague and more: this policy aimed to 143 improve the living conditions of lower classes in the expanding cities. Over time, the policy has become standard and until today has also permitted both the concept and realization of housing quarters and blocks in many smaller towns as well. The building demands are quite specific and must meet the needs of inhabitants who nearly always are Mien Ruys, Garden of the burial ground in Nagele, 1954 involved in the building process. itinerary 1

another example of new Urban Social Housing Block (6) from 1992. msterdam, the capital of the Netherlands, is famous for the layout To the north of Amsterdam is Zaandam, a town only 10 minutes by train Aof the 17th century canals, a UNESCO World Heritage: it also has a from Amsterdam. You will find recent postmodern eclectic architecture for rich heritage of 20th century buildings with fine examples of International which the town attracted a lot of attention. This architecture, part of which Modernism as well as important Amsterdam School Expressionist social offers Five Shops on Stadhuisplein above the Provincial Road (8) designed housing blocks. Amsterdam has an Academy of Construction (Academie by architects Mieke Bosse and Peter Drijver, is inspired by the architectural van Bouwkunst), founded in 1908 and one of the main centres of Amsterdam language of the town’s industrial and commercial past. The complex connects School architecture in the 1910s. This itinerary aims to showcase buildings the main train station of the town with the town centre. The architecture representing the various typologies and styles of architecture in and near features a palette of green colours used to paint old houses, together with the Amsterdam from between 1918 and today. white gable contours so typical of Dutch town houses of both Amsterdam and To the south of the city is Amsterdam Schiphol airport, an important transit the North-Holland province. It is worth a visit to just walk into the town hall, airport for intercontinental flights. It is celebrated as a fine example of layout which is part of the new complex. The town of Zaandam has been recognised and planning of the complicated routing that today’s airports need, and you as one of the first early industrial areas in Europe: the open-air museum, 144 may enjoy viewing the splendid new Hilton Amsterdam Airport Schiphol (1) Zaanse Schans, with picturesque 17th century Dutch trade houses and shops by Mecanoo. Another area at the city borders that you can easily reach from still demonstrates some of the town’s past activities. Situated in the polder there is the main Amsterdam Forest (2), for which Jakoba Mulder designed countryside, this scenic museum is certainly worth a visit. the layout. The “Red Potato” - as the impressive VU University (3) building by Continue your journey by train on the same track from Zaandam further Jeanne Dekkers is known - is located not far from the airport and very close north to Alkmaar (30 minutes); take bus no. 6 from the main train station to to Amsterdam Zuid train station in an emerging business district. In the south- the village of Bergen. This village has attracted writers, painters and architects eastern part of the city, Mulder designed a Swimming-Playing Pool (4) in 1938, since the early 1900s. It is located in the countryside near the North Sea and redesigned in 1960. has beautiful dunes as well as small forests for walking; in the summer, you Going into the town to the former old trade-port of Amsterdam you will can enjoy the beach of Bergen aan Zee. The village has Country Villas (9) and find a later example: a very fine renovation work of the Dutch National Shipping a bridge dating back to the first decades of the 20th century, in particular from Museum (5) from 2007−11 by Liesbeth Van der Pol. Not too far from there the Expressionist Amsterdam School-style; three of these are by Margaret is an impressive Urban Housing Block: Water Dwellings Steigereiland (7) Kropholler, the pioneer woman architect of the Netherlands. There is also a by Marlies Rohmer, developed on one of the newly developed islands as a nice old church and the Kranenburgh Museum with paintings of the so-called fashionable living area during the 1990s. It is interesting to compare this to Expressionist Bergen School. M.G. 1 9

1 Hilton Amsterdam Airport Schiphol Schiphol lv.: Evert van de eestraat , - Schiphol

2 Amsterdam Forest osbaan, oenenade - Amsterdam

3 VU University De Boelelaan, 1109 - Amsterdam 145 4 Swimming-Playing Pool eatripar - Diepenbrocstraat - Amsterdam

5 Dutch National Shipping Museum Kattenburgerplein, 1 - Amsterdam 8 6 Urban Social Housing Block Corner Pieter Vlamingstraat and Pontanusstraat - Amsterdam

7 Urban Housing Block: Water Dwellings Steigereiland Iburglaan corner ith aringbuisdi, Steigereiland - Amsterdam

8 Five Shops on Stadhuisplein above the Provincial Road 5 Stadhuisplein, 78-88 - Zaandam 6 7 4 9 Country Villas Meerilaan, and - ergen 2 3 1 1 1. 1 Ex-novo Ex-novo and interior design interior and

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he recent Hilton hotel complex on Boulevard due to its curved cubic daylight deep into the building through Netherlands, including the Royal Tthis huge airport complex stands structure and regular diagonal aade circular white balustrades. Concertgebouw, syboes in the out as one of the latest creations of pattern, formed by lozenge-shaped The hotel’s interior design was overseen Amsterdam Arena football stadium the rm Mecanoo directed by - among window panes and composite panels by interior architect Evelyne Mer and and Amsterdam Central Station. others - Francine Houben. This building in grey and white. This distinctive hospitality design company Hirsch In the Hilton main atrium hall, the was designed by Ellen van der Wal and exterior immediately catches the eye of edner Associates. Evelyne Mer characteristic round city center plan Francine Houben. flight passengers landing at Schiphol Amsterdam-based studio Mer has of Amsterdam and its main canals Mecanoo’s Hilton Hotel contrasts Airport. Guests are welcomed to the been responsible for interior design features as a decorative element above striingly ith the orthogonally hotel in a spacious atrium topped by concepts and renovations in many the reception des and as separation designed buildings on Schiphol a -metre-high glaed roo, relecting prominent buildings throughout the panels in the seating area. M.E. www3.hilton.com/en/hotels/netherlands/ www3.hilton.com/en/hotels/netherlands/ new-hilton-amsterdam-airport-schiphol  1. 1 1. 2 Landscape design

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n the s, the Amsterdam Covering 1000 hectares, which had left 55,000 citizens her career at the municipality of IForest was designed in the urban Amsterdam Forest is three times unemployed. The forestation of Amsterdam where she eventually development of the Amsterdam the sie o entral ar in e or. the Amsterdam Forest served as a became Head of City Planning. The suburb to the south and today it has Its oodland par as intended to or relie programme by providing Amsterdam Forest was one of her become a ull-gron orest par. It be used by all levels of Amsterdam employment for 20,000 people. rst assignments and is still her has many recreation sites, theatre society - not just for Sunday strolls, o Mulder belonged to the rst most ell-non contribution to spaces as well as the Bosbaan but also for sports, relaxation generation of urban architects in Amsterdam’s cityscape. A majestic and recreational activities. At Amsterdam. Graduating as a civil rowing canal. The forest is inspired tulip tree was planted at the edge www.amsterdamsebos.nl by English landscape designs, with the time of its construction, engineer from the Technical College of the forest in her honour, near the  rolling meadows, twisty forest trails Amsterdam was suffering the of Delft (now Delft University of entrance at the Nieuwe Kalfjeslaan. and streams. effects of the Great Depression, Technology), she spent most of M.E. 1. 2 1. 3 Ex-novo he building, nicnamed de rode University Eindhoven in 2010. In Tpieper' ('the red potato'), is the 2000, she designed the Historical Institute for Care and Wellbeing of Museum in Venlo, in the southern the VU University in Amsterdam. part of the Netherlands; other he aade is made out o bric and proects include a police oce in has round-shaped and curved walls, Nijmegen (South-Brabant), town reflecting the Amsterdam School hall and oces in everi orth- style of the 1920s. The many large Holland), and Deltares in Delft vertical windows in the building . allow a transparency and lightness This building for VU University to pass through to the interior which Amsterdam revives the bricor 148 as also designed by Deer, ith architecture and wavy lines which seven, different-coloured floors and characterised anti-rationalist and a special 'floating' lecture hall. expressionist Amsterdam School eanne Deers as educated architecture of the 1910s and at the Technical University in 1920s. Adding to the recent revival Eindhoven. She ored or EM of this style, the recent Sports-hall Architects and became a board bloc at iolenstraat in member in 1988 before establishing the northern town (and Province) of her on studio, eanne Deers Groningen by Marlies Rohmer is an Architecture. She was appointed the equally interesting example. role of professor at the Technical M.G. www.falw.vu.nl/en/

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ulder’s 'Pierebadje' - a shallow named after the new-born crown The current pool is one of Mulder’s ('playing ponds') most attractive Mpool for children who have princess Beatrix who would later later designs. and said What could be more not yet learned how to swim - is become ueen o the etherlands. Before the Second World War there pleasant for children, than sun, light hidden amongst the greenery of the he par as built in the late had been no public playground and ater Amsterdams citiens Beatrixpark. On warm summer days, s in a then recently developed areas for children in the city of today still share her vision. In 2006, it never fails to attract Amsterdam’s neighbourhood of Amsterdam Amsterdam. Although not a mother her playing pool in the Beatrixpark youngest residents and their to the south. Her original design herself, Mulder was concerned was chosen as Best 'Pierebadje' parents. he pool is lled hen included a idney-shaped pool ith with the welfare of children and in Amsterdam by newspaper Het www.vriendenbeatrixpark.nl www.vriendenbeatrixpark.nl outside temperatures reach 21°C. a concrete pergola, which was initiated the construction of several Parool.  Mulder had been chiefly responsible demolished in to mae room playground areas in the late s. M.E. for the design of the Beatrixpark, for the Amsterdam RAI complex. Mulder found swimming pools 1. 4 1. 5 Renovation and museum set design

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his monument in ne Dutch- renovate the building. The renovation sun sets at the end of the day. FIABCI Prix d’excellence in the Tclassicist style was built in 1656 included a new roof covering the Van der Pol also designed the category Public Infrastructure. Today, by Daniel Stalpaert as a warehouse courtyard of the 17th century interior and made adjustments the museum building honours the and munitions house for the munitions depot. This roof (designed in the floor plan in order to create or o Daniel Stalpaert, but also ts Amsterdam Admiralty. In , the by Laurent Ney) is made out of steel, larger exhibition spaces and a clear modern times. The Museum Library Dutch National Shipping Museum 1,200 pieces of glass and 868 lights orientation for visitors. In 2012, owns one of the most important settled here. In 2005, the organisation and is inspired by compass lines that the renovated museum building maritime history collections in the o the museum ased Liesbeth an are used in historical nautical maps. was awarded with the Amsterdam world. der ol to mae a masterplan to The lights change colour when the Architecture Prize and won the M.G.

www.hetscheepvaartmuseum.nl

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his urban social housing Ex-novo Tbloc in the eastern part o Amsterdam was one of Van der ol rst proects and is built on the corner of two existing streets. he bloc consists o to separate volumes, separated by a narrow opening containing staircases. The distinctive character of both 151 buildings is emphasized by their difference in height and the materials used or both aades. an der ol nds it important to give urban social housing a friendly atmosphere and individual character, hich this housing bloc reflects. The apartments in the housing bloc very leible. atelier merged with Blue Architects position in the Netherlands. When longer volume are designed with Liesbeth Van der Pol started Amsterdam, into the Amsterdam- Van der Pol won the Rotterdam- sliding walls and can be divided an architectural studio in 1989 based Do Architects. urrently, Maasant rie or oung into two, three or four rooms. Each after graduating from TU Delft. she is one of its directors. She Architects in , her or on new owner of these apartments In 1995, she launched the studio was also the Chief Government this housing bloc as particularly can choose how many rooms they Atelier Zeinstra Van der Pol with Architect between 2008 and praised. ould lie to have. his maes the Herman Zeinstra. In 2007, the , the rst oman to hold this M.E. 1. 6 1. 7 Ex-novo

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his is a compact urban district with platform homes in the inland his home, depending on whether pylons above the die on the edge o Ta density of 60 homes per hectare. waterways. The floating homes he wishes an open view or some the basin, to be developed in much The project was made up of 75 are accessed from the jetties. privacy. Other options include the the same way as the floating homes. loating and die houses or the social The allotment has a triangular addition of extensions (through The floating homes are supported rental sector, the low and high-end structure, while the basin is cut a pre-designed pacage, and by concrete 'tubs' submerged into private housing sector. It also shows diagonally by suspended power sunrooms, verandas, floating the water to a half-storey depth. how Dutch housing policies determine lines giving the jetties a seemingly terraces, awnings can also be A lightweight supporting steel the architecture of city areas. detached informal layout with attached to this seleton rame. construction on top can be lled ith Water, bans and etties orm the varying distances between the water The architecture and construction glazing and brightly coloured plastic rameor o this Island o to dwellings and their orientation. systems are dierent or the die panelling. neighbourhoods with floating and The occupant can alter the view of homes, which are suspended on M.G. 1. 7 1. 8 Ex-novo

iee osse and eter Driver Mof SCALA architects designed ve shops on a bridge above the Provincial road in the city of Zaandam. These shops, co-designed by Barbara 153 Wieland and Jean-Paul van Alten, were built as part of the large urban redevelopment proect Indervan, in which architect Sjoerd Soeters intended to connect both sides of the old canal. To achieve this, Soeters designed two bridges above the Provincial roadway and the Railway by local traditional wooden houses Known for their critical attitude rather than function as individual Station. in various shades of green and towards Modernism, Bosse and entities that stand out drastically Miee osse and eter Driver white paint, typical in the 17th Driver strive or a seamless t from their context. This often designed the shop buildings on one century but here given a Postmodern between architectural design and leads SALA architects bac to old of these bridges and used the same conguration. he houses are in existing cultural identity. Renovations techniques and architectural styles. style that Sjoerd Soeters used for different shapes and sizes assembled and new buildings should, per their A love for classical proportions and the new Town Hall and surrounding as building blocs, all together approach, resonate organically within traditional craftsmanship is given streets. These buildings are inspired creating an attractive aade. their architectural environment, space in the Zaandam project. M.E. 1. 8 1. 9 Ex-novo

hese three villas are part of a Tresidential par designed by Amsterdam School architects, ar Meeri. his par in the village o Bergen was developed during First World War by Arnold Heystee, who commissioned ve architect riends from Amsterdam to design a total of seventeen villas. Margaret Kropholler, the only practicing female architect 154 of the time, designed three: the mirrored double villa Meeennest which focusses on the expression it nest and Meerlhuis lacbird of emotion in form, in which they house) (number 5 and 7); and a oppose a masculine rationalism of single villa named De euenhoe abstraction, which would become (The Beech Corner). She also normal practice after c. 1925. and chutes were similarly intended Even the alcoves in the corner of the designed a bricor bridge near As Kropholler meant for architecture to spare women unnecessary effort. aades can be stoced ith bird seed the villapar. rophollers villas are a to optimie the eciency o omens Modern appliances such as gas from inside the house. After all, who testimony to the Amsterdam School’s domestic or, indos are stoves replaced the less hygienic ould ant omen to degenerate expressionism in their plasticity undivided by cross bars so as to and user-friendly coal furnaces to overored, irritable household and characteristic masonry or, reduce tiring house-cleaning. Hatches common in contemporary itchens. drudges M.E. 1. 9 itinerary 2

the Pendrecht Urban Social Housing Area (1) and Ommoord Urban Social Housing he two cities of Rotterdam and The Hague, situated in the mid-west of the Complex (4), which were built in the 1950s. Although these quarters have been in TNetherlands in the province of South-Holland, are only 20 minutes apart. The the process of re-structuring and re-designing since the early 2000s because they cities are very different from each other. Before touring around, buy the Rotterdam no longer meet the needs of today’s inhabitants and city population, some parts day transport card+Museum at the Central Station Tourist Information: vouchers are still as they were originally designed. You can compare the changes in style include a discount to the Boijmans Van Beuningen Museum in Rotterdam. of social housing architecture for which the Netherlands are renowned by visiting Rotterdam-Delft and The Hague are also connected by Randstadrail-trams; you a series of houses – “Periscope" Houses (5) designed by Joke Vos. Closer to the may include Delft in this trip as well. city centre, you’ll find the design of a clothes rack: the "Merry-Go-Round" Wardrobe Rotterdam is one of the largest seaports in the world and a city for commerce (2) for Museum Boijmans van Beuningen as well as the spectacular Market Hall and businesses. It has an important reputation for Modernist and contemporary Ceiling Painting (3), a much reclaimed building. 155 architecture. Around 1930, Modernist-Functionalist buildings marked the industrial The Hague is the city where the Dutch government resides and is known and business sphere of the city, and the Van Nelle factory at the outskirts of for its diplomatic and governmental services. One of the oldest buildings of the city has been internationally recognised as one of the key monuments of governmental nature is the 14th century Knights Hall. This was initially restored Functionalism today, built in 1933 for a tobacco, tea and coffee factory. Other key around 1900 in a neo-Gothic style, and then in 2005–06 when the interior was monuments for modernist housing are some villas for the factory directors. A few embellished with a carpet and wall tapestries by designers Marya Gasille and are located at Kralingse Plas and one has been reconstructed to its original state Liesbeth Stinissen (Ridderzaal complex Grafelijke zalen Binnenhof, Den Haag). of 1933, with its original interior, and turned into a museum-villa near the Museum The Hall serves as ceremonial place for the Dutch parliament and the Royals. Boymans van Beuningen. It is open to the public and it is surprising to see how The Hague also has some remarkable early buildings by male architects. Two of colourful the interiors of some modernist buildings were. The building of Museum these are the housing quarter Papaverhof by Jan Wils from 1922 inspired by De Boymans van Beuningen shows a return to traditional architectural styles in the Stijl, and the so-called Nirvana flat building from 1929 (Benoordenhoutseweg/ 1930s. The city centre of Rotterdam was heavily bombed in the Second World War; Willem Witsenplein/Van Alkemadelaan, by Jan Duiker and Jan Gerko Wiebenga), another of its very fine pre-war modernist buildings - the department store of the which was an early experiment in cooperative living following the communist Bijenkorf by Willem Dudok - was lost. ideal. There are some fine examples of schools by female architects in The After 1945, the city had to reconstruct many houses and public buildings. In Hague, and you can view two of them: "Het Spectrum" Primary School (6) and this so-called ‘reconstruction’ (re-building), a huge contribution was made by one Wateringse Veld College (7). More prestigious contemporary architecture can be female architect in particular: Lotte Stam Beese. She was largely responsible for found in the area around Central Station. M. G. itinerary 2

1 Pendrecht Urban Social Housing Area 4 Ommoord Urban Social Housing Complex Pendrecht - Rotterdam ernieplaats, mmoord - otterdam

"Periscope" Houses 2 "Merry-Go-Round" Wardrobe - Museum Boijmans 5 Van Beuningen - Museumpar, - - otterdam Marinus van Elsiade, - otterdam

6 "Het Spectrum" Primary School 3 Market Hall Ceiling Painting Terwestenstraat, 105 - Den Haag Ds. an Scharpstraat - otterdam 156 7 Wateringse Veld College Missouri, 1 - Den Haag

Den Haag

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he social housing area of areas are complemented by a Each cluster consists of a four- buildings, where residents would TPendrecht, built on Rotterdam’s main shopping centre, as well as storied bloc, a three-storied meet throughout the course of southern rim during the post- several smaller retail areas, schools bloc and to lo-rise blocs their daily routines. Stam Beese’s reconstruction, is considered Lotte and green ones. here are , surrounding a communal garden. programme of clustered living units Stam eeses most signicant dwellings, organised over four The architectural design of each was unprecedented and influential in architectural contribution. neighbourhoods concentrated bloc as tailor-made or the needs post-war urban design programmes. onstructed to house orers around a trac-ree suare. of a particular group of residents More than sixty years after its at the nearby docs, Pendrecht’s Central to each neighbourhood are - families, single dwellers and completion, Pendrecht is undergoing geometrical woven grid consists the so-called wooneenheden (living seniors. Interaction between this drastic redevelopments to outgrow its o unctionalist living units lined clusters), influenced by the planning demographic mix was encouraged reputation as an impoverished low- in a mirroring design. Residential ideologies of the CIAM association. by the open social spaces between income area. M.G. 2. 1 2. 2

otterdam’s art Museum, Boijmans

Rvan Beuningen, invited a group design Interior of local designers to redesign its entrance hall in 2007. As part of the collective Haunting Dogs Full of Grace that was formed for the occasion, designer Wiei Somers and her 159 partner Dylan van den Berg created an arresting ne coatrac installation. Their creation won the award for Best Dutch Design in 2009. he Merry-o-ound ardrobe as A carrousel-lie coatrac rotating on designed according to the principles its on ais, the Merry-o-ound o old miners coatracs. eore wardrobe operates in a similar way. descending into the mines, orers Coats are stalled on clothes hangers would change into their uniforms on and pulled up by a cable system, and artistic installation. Bags can be of the directors of the Van Nelle site and use a chain system to store maing or a lively scene among stowed away in the adjoining, semi- Company, which has been restored their clean clothes close to the ceiling. visitors. The airborne coats serve as a transparent ire locers, hich create and reurnished into its state Coats, hats and shoes would dangle visual representation of the museum’s a similar experience. and cannot be missed. icets at the from the ceiling until their owners audience, maing the Merry-o- Close by the museum is the Villa Nieuwe Instituut. M.G. www.boijmans.nl/en/ returned at the end o a long orday. ound both a unctional design Sonneveld, a Modernist villa for one  2. 2 2. 3 Interior design Interior

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he recently completed Maret aluminium interior roof has a 11,000 m2 and is very colourful. use and experience of a particular Tall in otterdam ith oces striing printed painting by the It shows huge fruits, groceries, space by visitors. In this respect, and apartments is designed by artists-duo Arno Coenen and Iris flowers and insects, celebrating the or o an architect needs art. MVRDV architects, one of the osam. nature and the universe. The he Maret all and its ceiling leading architectural rms in the It represents the Horn of Plenty, artists Arno Coenen and Iris are a modern capitalist Sistine Netherlands with the architect referring to the many groceries osam anted their or to Chapel and have given enthusiastic Nathalie de Vries as one of its and goods that are for sale in the bewilder the visitors. They also Rotterdam inhabitants something to ounders in . oever, the maret. he artor measures believe that art can empower the be proud of. M.G. www.markthal.nl/ www.markthal.nl/  2. 3 2. 4 Ex-novo

erman architect and urban Gplanner Lotte Stam Beese’s contributions to redeveloping Rotterdam after its demolition in 161 Second World War were extensive. Stam Beese was one of the rst omen to oin the auhaus Department of Architecture in 1927. Continuing her career in the Soviet Union shaped her idealist approach to urban planning, leaving visible mars throughout her Rotterdam oeuvre. residential district Ommoord, situated own right, her high-rise architecture situated in par-lie surroundings, Relocating to the Netherlands in the eastern part of Rotterdam. serves to connect the neighbourhood featuring playgrounds for children in , Stam eese eventually Construction was completed in 1977. with both the city and its surrounding and limited access to motorized became Chief Architect at the Urban High-rise apartment buildings are landscapes. trac. Most lo-rise neighbourhoods, Development and Reconstruction a ey eature in mmoord, maing Habitat was another point of focus in including the Buitenlust area that Agency in Rotterdam. Approaching up the central part of the district. Ommoords design. oo and dis- Stam Beese designed herself, were her retirement, Lotte Stam Beese Characterised by Stam-Beese as shaped flats as well as woontorens added at a later stage. created several designs for the 'vertical residential districts' in their (high-rise apartment buildings) are M.E. 2. 4 2. 5 Ex-novo

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elve laeside residences Originally named 'The Fourth loor and rst loor both eature a and energy-saving mechanisms were Tby architect oe os have Dimension, the eriscope ouses spacious wooden balcony terrace installed, aiming for a 'low energy, become the eye-catching features are designed as drive-in homes. Vos facing the waterfront. On the high comfort' living experience. of Rotterdam’s Waterwijk (Water encased her triplex structures in wooden platform adjoining the A survey in 2007 revealed district). These four sets of a robust dar bric ith a metallic lower terrace, residents can moor high satisfaction rates among triplex houses are clustered on loo, hereas the periscope volumes small boats. Special attention was homeowners; the same year the little peninsulas. Each waterfront on the upper floors are enclosed given to sustainability, using durable Periscope Houses were nominated aade aces a dierent direction, in aluminium panels. Facing the and low-maintenance natural as uilding o the ear by the Dutch suggesting an archipelago of waterfront, these volumes reveal a materials, including hard wood architectural association BNA. periscopes looing out over the wooden loggia accessible through and ire netting, lled ith natural M.G. water. the main living area. The ground stone lumps. Thermal insulation 2. 5 2. 6 Ex-novo

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et Spectrum is a primary school 1980s and 1990s. There was a small an assembly hall/theatre, a media such as individual freedom and Hin the multicultural district parcel of land available next to two library, a caretaers oce and a sta personal development. of Schilderswijk, in The Hague. It school playgrounds adjoining the room. The central core of the school A separate meeting space for provides teaching over classes street: a third one came to be located answers the need for both socialising parents has been included with the to children o over nationalities. on the roof. In this way, children of and surveillance. It offers children aim of involving them in the school’s The new school now forms part of different age groups can have their rom ethnic minority bacgrounds activities. The column structure of the the district’s fragmented urban fabric breas ith others o their same age. a supervising ather gure the building gives the school the flexibility in which 19th century perimeter The classrooms occupy two L-shaped caretaer, teachers, parents, hile to respond to new developments in blocs alternate ith large housing ings laning a central core ith giving them an opportunity to learn educational practice. redevelopment projects from the areas dedicated to sports and games, about Western educational values, M.G. 2. 6 2. 7 Ex-novo

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his secondary school is built on is easily recognizable by its orange architectural design that reflects students may or individually. Tthe so-called 'Missouri Island', walls that form a semi-spherical modern visions on education. As Each domain has a distinctive colour an articial hill in the ater. It is built volume with round windows. Wateringse Veld College opposes palette, allowing students to identify together ith a sports hall, paring It is nicnamed the ladybird. traditional teacher-centred learning, with the habitat allocated to their spaces and bicycle storage facilities. The distinctive glass rooftops the silver-toned 'floating boxes' year. anovshtchinsys designs The school is connected to the city are evocative of greenhouse surrounding the communal hall are resulted in an innovative, non- by a special pedestrian or cycle horticulture, an important industry divided into ten 'domains'. These hierarchical building that facilitates route leading through the buildings for the Westland region in which the consist of one instruction room Wateringse Veld College’s ambitions and by a communal hall that also school is situated. and several supporting rooms for of becoming a frontrunner in modern serves as a district centre for the era anovshtchinsy as classroom teaching, as well as a education. neighbourhood. The communal hall commissioned to deliver an large oring space here up to M.E. 2. 7 itinerary 3 his itinerary focusses on fine examples of architecture and design in three Leiden is about 30 minutes by train from Delft to the north and has around Told cities, all of which are also home to scenic canals: Utrecht, Leiden, 122,000 inhabitants (2015, 200,000 including neighbouring villages). Leiden and Delft. They are easily reached by public transport. In each city, you can is known for its general University, which was founded in 1535 and is the experience a combination of contemporary design and architecture with the oldest University in the Netherlands. For a modernist reference, Leiden is the more traditional sightseeing of canals and interesting museums. Start from town where the avant-garde De Stijl group actually began, developing on from Utrecht and then proceed to the south-west. the local group The Sphinx around 1916 (Groot, Gaillard 1999). Currently, two Utrecht is situated in the middle of the Netherlands (c. 335,000 inhabitants women are involved in the renovation of two buildings. Katja Hoogenboom, in 2015). It is known for its Medieval past with its largely Catholic culture and its living in Sweden, in currently contributing to the renovation of the interior of the general University. In terms of architecture, Utrecht is internationally renowned Library of University of Leiden (4). Leiden’s Municipal Museum De Lakenhal is for its avant-garde Rietveld Schröder House (1) designed by Gerrit Rietveld currently restoring and expanding its building of the Laecken-Halle, a guildhall for in collaboration with Mrs. Truus Schröder-Schräder in 1924. After the 1990s, woollen cloth built in 1640−41. The renovation is a joint project between Julian 165 Marlies Rohmer designed a colourful complex, the "Casa Confetti" Student Harrap Architects (JHA, London) and a new extension by Happel Verhoeven Housing (2) and Liesbeth Van der Pol created a rather functionally exceptional BV architects represented by Ninke Happel. The museum combines old and building: the "WKK Centrale" - Power Plant and Energy Generator (3). You may contemporary collections and exhibitions, and has early artefacts from the De additionally take a look at the interior of the new University Library in the same Stijl-group. The new wing is expected to be ready by 2018. quarter of De Uithof, a building of 2008 by Wiel Arets referencing Functionalist Delft is about 30 minutes by intercity train from Leiden to the south and Modernism in a dramatic black, red and white colour palette. If you choose close to Rotterdam. It is one of the most pristine and scenic 17th century town to stay longer in Utrecht you may visit highlights such as the Central Museum centres with a wonderful Gothic New Church. In 2014, it was home to around (with many fine pieces of furniture by De Stijl) and the Gothic Cathedral. Try to 100,000 inhabitants. Delft is also renowned for its University of Technology, complete this itinerary by foot from the Central Station and walking through where many Dutch architects were and are educated, including more and more all the points of interest. At the end of the tour, you can take a bus from the women architects from the end of the 1970s. The Mecanoo architect firm has University Campus back to the Central Station or any other places in the city completed a number of very interesting works in Delft: the interior design of centre. You can also experience this tour in real Dutch style by renting a bicycle the Train Station and Municipal Offices (5) and Library of Delft University of on one of the main rent-a-bike points in the city. Afterwards, you can proceed Technology (6); another building in Delft is the Deltares Office Building (7) by from the Central Station by train to Leiden and Delft. Jeanne Dekkers, by whom we already viewed a university building in Itinerary 1. M.G. itinerary 3

1 Rietveld Schröder House rins endrilaan, - trecht

2 "Casa Confetti" Student Housing ("Smarties") Leuvenplein - Utrecht

3 "WKK Centrale" - Power Plant and Energy Generator Limalaan - Utrecht

4 Library of the University of Leiden Witte Singel, 27 - Leiden 166

5 Train Station and Municipial Offices Stationsplein - Delft

6 Library of Delft University of Technology Prometheusplein, 11 - Delft

7 Deltares Office Building Rotterdamseweg, 185 - Delft 4 Leiden

Utrecht 2 167 1 3

5 6 Delft 7

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ommissioned by Mrs. Truus side by side with Rietveld on the immediately stands out for its stimulate active living. CSchröder-Schräder, the eccentric design o the house. er outspoen planar modernist qualities, designed Truus Schröder-Schräder inhabited widow of a lawyer with three young ideas on organising a home are according to the principles of the the house until her death in 1985, children, this as ietvelds rst deeply reflected in its architecture. De Stijl movement. The interior and after which it was restored to its house to show his vision on interior Schröder-Schräder envisioned a house furniture, created by both Rietveld original condition by a former architecture, furniture and free that declared how an independent and Schröder-Schräder, are an equally associate of Rietveld. The house flowing space. It has since become modern woman lived. Sobriety was integral part of its design. Movable is a national and UNESCO World an international benchmar and icon to characterise its design and all wall partitions created a dynamic Heritage Site and can be visited by for avant-garde Modernism of the principal living facilities were to be open zone rather than a hierarchical appointment. 20th century. situated on the upper level. arrangement of rooms, which M.E. ruus Schrder-Schrder ored The exterior of the Schröder House Rietveld and Schröder believed would entraalmuseum.nl/en/visit/locations/ c rietveld-schroder-house/  3. 1 3. 2 Ex-novo

his building has living units Tor students. he aade consists of aluminium panels in different colours, which gave the complex its name. The windows have become 169 part of this grid and are therefore less recognizable. The multi-coloured walls reflect to the diversity of the students, who come from all over the world. At the entrance there is a large swing bench underneath a large overhang, creating a dramatic effect where students meet and socialise. he rst our green loors are open architects have since given the area asa onetti, ohmer aimed to onetti on both the etonpris to the public and include different its colourful architectural character. emphasize the contrast between her and the Rietveld Award’s Audience facilities and companies, such as a Marlies Rohmer has designed building and its surroundings, while Aard in . he nicname hairdresser and a Medical Centre. student housing complexes and adding character to the Uithof campus. Smarties humorously connects the Since the 1980s, in the Uithof university buildings throughout the The building was designed to facilitate smart inhabitants ith the ell- www.casa-confetti.nl campus, a number of unusual, Netherlands as well as in Barcelona. interaction and exchange between non colourul childrens chocolate  award-winning complexes by notable With her eye-catching design for its inhabitants on every level. asa weets. M.E. 3. 2 3. 3 Ex-novo

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he WKK - Warmtekrachtkoppeling oxidizes and turns the steel into a Delft, and later to Barcelona where eplore the gap beteen itsch and TCentrale was designed in 2002 for brown colour. The form of the building she combined her study ith oring affectation because she believes the University of Utrecht to increase becomes a sculpture within the in a studio for urban architecture. To that everything else has already the capacity of two power stations landscape. earn some money, she translated been done. According to her, the that already existed in the Uithof In an interview for the Dutch daily boos and did other obs but also Warmtekrachtkoppeling Centrale is neighbourhood in Utrecht. Van der Trouw dated th May by discovered that there is a limit to such a building: it is simultaneously Pol designed this building in order to Henny de Lange, Van der Pol said what you can do on your own. cool enough to express the power of protect the machines and soundproof she believed it to be important to live In her or she also searches or the machinery it conceals behind rust- the building. It is made of weathering dangerously’. She went to Mexico City the dangerous and extreme when coloured steel, while its surface has a steel (Corten steel), which naturally on her own after studying one year in designing a building, not afraid to warm velvety appearance. M.G. 3. 3 3. 4 Interior design Interior

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ata ogenboom has ored now experience a more stately Charles and Ray Eames and Arne architecture is respected throughout Kon the renovation of Leiden spatiality of Bart van Kasteel’s original Jacobsen, and reorganized library the library. University Library since 2007. In her design rom . ogenboom service points in a visual scheme Hogenboom was recently appointed initial commission to redesign the subsequently redesigned the Huygens inspired by El Lissitsys roun chief architect for the redesign of Special Collections Reading Room, Centre and Leiden University Library’s studies. Her interior designs approach the pen Stacs as ell as the Hogenboom sought to remove its rst loor. Although budgetary the library as a 'counter public space': construction of the Asian Library and staid and musty ambiance. limitations did not allow for structural a non-commercial public environment the Van Steenis Building in Leiden’s libraries.leiden.edu/ y breaing through the old ceiling, renovations, Hogenboom designed a facilitating encounters between ioscience ar, on hich she is stronger emphasis was placed on the reading lounge furnished with modern people, noledge and ideas. art currently oring in collaboration  robust columnar structure. Visitors classic furniture pieces designed by van Kasteel’s Dutch Structuralist with Jasper Felsch. M.G. 3. 4 3. 5 Interior design Interior

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rancine Houben is founder and ceiling of the central hall is made of system in the roof provides energy o architecture. Architecture must Farchitect-director of Mecanoo long white strips with an historical for the railway station. The wall of appeal to all the senses, ouben Architects. One of their latest projects large-scale printed map of Delft. It is glass at the ground floor creates states. What counts in the end is the is the railway station in Delft, which designed in white and blue colours openness and brings light into the arrangement o orm and emotion. also houses the city’s municipal reflecting Delft’s famous pottery. building. Her architectural vision convinced both oces. The building plan of the municipal One of the strengths to which the a municipal committee and a panel Houben intended the railway station oce as based on a historic map success o oubens high-prole of Delft inhabitants to commission to have a truly Delftian character and of Delft’s city centre, elevating the city designs is attributed, is her ability to Mecanoo with the project for the new visually integrated the city’s identity government to the level of miniature combine unique design statements railay station and municipal oces. into her architectural design. The city in itself. An integrated solar panel with a focus on human experience M.E. 3. 5 H The slantedroof iscovered withgrass designing alibrary. director Francine Houbenthejobof o therstto commissionarchitect- University ofTechnology wasone designandrenovations.library Delft leading architectural companiesin Norway, or, aian, irminghamand aving ored onlibrariesine Mecanoo isamongtheworld’s and study rooms. The central part and studyrooms. Thecentralpart students andvarious meetingrooms boos. here is acomputerroom or and asemi-sunen loororolder for runningeditionsandperiodicals, spaces. Thecentralhallhasroom housesvarious roomsthe library and ofDelft’sheart university campuses, be accessedby pedestrians.Asthe and sometiledpathways, whichcan The university library and the andthe The university library use ofsteelinitsconstruction. Prize in1998becauseofthespecial received the DutchNationalSteel side there are oces.helibrary wall forlettingindaylight; in thesouth sidethere isaglass side; onthenorth it. Themainentranceisonthewest above withfourfloorsrunningaround isawideconeopening of thelibrary M.E. international prizes andhonours. years, shehasbeenawarded many she graduatedin.ver the was alsoeducatedinDelftwhere of thefoundersanddirectors. She Francine Houben(b.1955) isone by Central Stationwere bothdesigned recently-opened newhallofDelft architects of whom Mecanoo architects ofwhom

3. 6 3. 6  www.library.tudelft.nl/ 173 Ex-novo 3. 7 Renovation and expansion

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eltares, an independent institute ree letter delta . Its orms create also chosen for the Pavilion, which natural surroundings. Dfor applied research in water an organic loo, uniying the ne nevertheless contrasts with the Tetra Sustainability plays a ey role in management, sought to unite all of structure with the robust architecture oces. Its eterior is covered in Deers architectural design. er to its Delt-based oces under one roo. of the original 1970s complex through wooden slats, as opposed to Tetra’s additions to the Deltares complex Architect eanne Deers epanded a loing ribbon aade. riangular concrete and glass aade. he are lo-carbon, energy ecient their existing headquarters with a new shapes echo in Tetra’s interior design. interiors of both buildings are furnished buildings. The progressive depth of oce building - Tetra - and visitors’ An open floor plan was chosen to in light colours and natural materials, etras relective ribbon aade, or centre, the Pavilion. encourage communication and the especially wood. Minor redesigns of instance, functions as natural shading, The tripod plan of the Tetra (meaning echange o noledge among the surrounding landscape further whereas the Pavilion features recycled our in ree building reers to the employees. Flowing forms were integrate the Deltares complex with its carpeting. M.G. 3. 7 pioneer

1920, two women were registered as following courses in construction at the School of Decorative Art and Building in Haarlem but nothing else is etween 1910 and 1945 there was only one woman known about them. This leaves Margaret Kropholler as the only woman Barchitect in the Netherlands whose designs who visibly associated with architecture. When her work was discussed were actually built. Her name is Margaret Kropholler in 1929 in the women’s magazine De vrouw en haar huis (Loeff Bokma, (1891−1966). Her work has been discussed in a A.H. 1929), Kropholler also addressed architectural education in the Dutch monograph from 1991 (Van Kessel, E. Kuperus, Netherlands: she found the architectural training in Delft Polytechnic too M. 1991; also Groot, M. 2007). Then there was Mrs. theoretical. Vocational schools were not focussed enough on aesthetics, the Truus Schröder-Schräder (1889−1985) who in the architectural design department of the School of Decorative Art and Building Margaret Kropholler, 1920s worked with the avant-garde designer and in Haarlem was closed down, and architects’ offices were not keen on hiring 175 c. 1910 architect Gerrit Rietveld in Utrecht. Three more women women interns because were active between 1930 and 1940; they were Jacoba Mulder (1900−88), they supposedly Ida Falkenberg-Liefrinck (1901−2006) and Lotte Stam-Beese (1903−88). demanded too much Jacoba Mulder has been left largely unnoticed. She was active in her role attention. Towards as landscape and city architect in the 1930s and designed a forest area the end of the 1930s, and recreation swimming pool area in Amsterdam. Both Ida Falkenberg and Kropholler advocated Lotte Stam-Beese designed furniture and interiors, and both have been the the importance of subject of monographs. women in architecture In general, the profession of architect was not accessible to women and encouraged young in the Netherlands before the first decades of the 20th century and women to choose the those women who were allowed to work with architecture firms were profession of architect. only allowed to design the decorative parts of a building. Women could She is reported to have only attend lessons related to architecture at decorative art schools and said: “When it comes these concerned mainly interior design. For example, between 1915 and to intuition – as well as Villa Meerlhuis, Bergen North-Holland, 1918 modern furnishings with central heating, warm water, daylight and windows for letting in fresh air. Greta/Margaret designed the floor plan, light fittings and furniture for the dining room, living room, bedroom and study, all in a rationalist Arts and Crafts derived style, which at the time was still highly valued in the Netherlands. Moreover, she designed stencil decorations for the walls and ceilings (Exh. cat. Amsterdam 1913: 271−272). While Kropholler benefitted from working in her brother’s bureau, it seems no coincidence that her real architectural career began immediately after the Great War. Her first buildings were country villas: one for a painter friend located in a popular rural area in the east of the Netherlands and two more in a villa park in the area of north Holland.

Louise Went-House, Wibautstraat, Amsterdam, 1963 176 Social Housing Block, Holendrechtstraat 1−47, Amsterdam, 1921−22 the other skills necessary in practicing the profession of the architect, I believe that a collaboration between female and male architects can only serve to enrich architecture.” (Van Kessel, E. Kuperus, M. 1991: 84). Margaret began her career around 1908 at the architect studio of her brother Ko and his partner J.F. (Frits) Staal who later would become her husband. First, she mainly designed ceiling and wall stencil decorations for refurbishing clients’ houses and her first architectural work was the interior of a ‘House 1913’ at the women’s exhibition "De Vrouw 1813-1913" (Woman 1813-1913) in Amsterdam. She submitted her design under the pseudonym of Greta Derlinge. ‘House 1913’ had SLOVENIA SLOVENIA Grasseli, Marija Grafenauer Vogelnik and Majda Neřima), who received their first independent small-scale commissions only after the Second World s Slovenia occupies a relatively small geographical territory this part War, when building activity increased significantly to repair war damage and Aof the publication presents women architects’ work as it is dispersed support the expansion of the new state. Socialist Federative Republic of across three of the country’s regions defined by different geography, Yugoslavia viewed women’s equality as an important political topic, officially climate, cultural and historical contexts instead of proposing three separate proclaiming equal opportunities for both genders. Despite these formal itineraries for one city only. In this manner women’s architectural creativity changes female architects remained active mostly as the anonymous co- is presented most thoroughly and in a way most fit for the format of authors of projects realized for large state-owned construction companies, publication. public offices or architectural studios owned by their male colleagues, Diverse projects by women architects of various generations were teachers or partners. The first post-war generation (Marta Ravnikar Ivanšek, included to demonstrate the wide span of their activity covering all fields Magda Fornazarič Kocmut, Nataša Štupar Šumi, Mira Ružič Kraigher, Lidija of architecture: from landscaping and interior design projects, schools, Podbregar and Erna Tomšič et al.) also worked in similar circumstances kindergartens and children’s playgrounds, which made up the majority with only a select few getting opportunity to develop larger independent of architectural oeuvres by the older generations of architects, to social projects. Their creative efforts were directed mostly towards urban planning, 178 housing, hotels, museums and sport facilities built mostly by the younger interior and industrial design, monument protection, developing projects for generations. Several interesting cases - particularly projects for private housing, teaching, etc. Some of them, including Vladimira Bratož and Alenka housing - were inevitably left out, as preference was given to projects Kham Pičman, were also active in the field of the visual arts. In 1970s and opened to public and located near other points of cultural and architectural 1980s female graduates who studied with Professor Edvard Ravnikar came interest, which are also easily accessed by (public) transport. to the forefront of the local architectural scene, either with projects of The role of women in the development of Slovenian architecture has their own or by working in their (former) professor’s studio. These include not yet been adequately researched or properly assessed. Those belonging Majda Dobravec Lajovic, Majda Kregar, Barbara Rot et al. Their work gained to the oldest generation of women active in the field of architecture (such wide recognition and was awarded the highest national and architectural as Helena Vurnik) were educated as visual artists. The first female to prizes. Only after Slovenia’s gaining of independence in 1991 did the female graduate from the University of Ljubljana’s department of architecture architects start to be more equally represented with respect to their male was Dušana Šantel, who completed her studies under the supervision of colleagues and became more widely known to the broader public, both Professor Ivan Vurnik in 1932. She was part of the pre-war generation home and abroad. The projects included in the itineraries attest to their of Slovenian women architects (Gizela Šuklje, Marjanca Kanc, Katarina creativity and success. itinerary 1 he itinerary starts in the city’s historical centre where a short climb on the city’s largest square, a short walking distance from the Zvezda Park, is Tthe Cable Railway will take you to the restored Ljubljana Castle (1) on top flanked by imposing skyscrapers, a modernist retail store and the Parliament of a hill offering views over the whole city. After a short and easy descent, building. The Early Christianity Centre Archaeological Park (4) is located right either via the cable car or on foot, you will reach the bustling Central Market, next to the square (the Emonian House Archaeological Park - 4) is located famous for its market halls and colonnades designed by Jože Plečnik on the other side of the city centre, running along the preserved Roman walls (1940) and renovated by architect Barbara Rot in 1994−95. Stroll around the close to the historic Krakovo suburb). Complete your visit after a good look surrounding squares, making your way through the Flower Market, past the around the park, by taking a walk around the late 19th century palace of the 18th century Baroque Cathedral (Andrea Pozzo) and Archbishop’s Palace National Museum, the neo-Baroque Opera House, and then continue towards towards the Town Hall. From the Baroque Robba Fountain (1751), continue the vast Tivoli Park, past Ravnikar’s Gallery of Modern Art, the National towards the river and across the Triple Bridge to the centrally located Gallery and the Orthodox Church. Prešeren Square, dominated by the Franciscan Church of Annunciation Once you find yourself on the leafy Jakopič Promenade keep to your right 179 (1660s), and take the sloping Miklošičeva Street to the Cooperative Business and walk towards the edges of the park and the Hala Tivoli Sports Complex Bank (2). This area is distinguished by some of the best examples of with the "Fish" Playground Equipment (5) located on the children’s playground Ljubljana’s Secessionist architecture, mostly built after the devastating in front of it. Nearby is a bus stop where you can take a bus journey earthquake of 1895 following the civil engineering master plan by architect along the busy Celovška Street into Ljubljana’s Šiška municipality, driving Maks Fabiani. Turn right on the corner of the Bamberg Palace and continue to past the Medieval Old Church (Stara cerkev) and a number of residential the Turist Hotel; from here, take the narrow street on your right to the former neighbourhoods. After two stops you will reach the central administrative public baths, converted into the "Mala ulica" Family Centre (3). and cultural square of the predominantly residential area, surrounded by From here take Trubarjeva, one of Ljubljana’s oldest and most authentic Modernist architecture, including the Kino Šiška Centre for Urban Culture (6). streets and then stroll along the riverbank until you walk up the gently Heading back towards the centre, stroll along the quieter residential streets cascading Dvorni trg designed by Vesna and Matej Vozlič to Congress Square towards the Parish Church of Saint Francis of Assisi (7) and the official and the adjacent Zvezda (Star) Park. The area, designed in the early 19th end of the itinerary - should you have enough energy left, you might fancy century, has been the stage to many important political and social events a walk along the Drenikova Street to visit the famous Stadium designed by throughout history. It is enclosed by a number of notable historical buildings: Jože Plečnik and his student Gizela Šuklje. A pioneer in the field of women’s the Slovenian Philharmonics, the Baroque church of the Ursuline order and architecture, Šuklje devised the Celebratory Stands along the shorter, western the University Palace. Ljubljana’s other, more recent, ceremonial centre was side of the Stadium. K.M. highlighted in Edvard Ravnikar’s plans for the Republic Square (Trg republike); itinerary 1

6 7 180 Ljubljana Castle with Cable Railway 1 rasa planota, 5 Cooperative Business Bank 2 Miloieva cesta,

"Mala ulica" Family Centre 3 rena ulica,

Early Christianity Centre 181 4 Archeological Park, Emonian House Archeological Park Eraveva cesta, Mire 2 "Fish" Playground Equipment 3 5 layground net to Sports ar in ivoli ar

Kino Šiška Centre for Urban Culture 6 rg preomorsih brigad, 4 Parish Church of Saint Francis of 7 Assisi: Winter Chapel and Main Altar 1 erovova ulica 1 1. 1 Restoration and reuse

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jubljana Castle is located on by oe leni, although only his smallest detail. The original idea, aards or architecture -leni LCastle Hill above Ljubljana’s plans for the surrounding area were selected in a public tender in the Aard and the olden encil historical centre. It was built as a realized. Renovations of the eastern 1970s, has successfully passed Award 2005. In 2006, Majda Kregar Medieval ortress - most liely dated part o the castle too place the test of time and remains and Miha Kerin devised the concept to 11th century - and frequently beteen and , according unaffected by the changes for the funicular railway to Ljubljana rebuilt together with most of the to the plans made by architect in ownership and political Castle, for which they were given buildings that surround the vast Boris Kobe. The current restoration developments. However, it reflects the leni Aard , the olden courtyard. he latter, dates bac to of the Castle has been underway the changes in architectural values Pencil Award 2007 and the Gold the 16th and 17th centuries. since 1968. The ambitious plans and styles that occurred in the Medal at the 21st Ljubljana Biennial he rst proect or the astles by the above-mentioned architects past decades. he architects or Industrial Design (BIO) in 2008. www.ljubljanskigrad.si restoration as prepared in have been thought out to the was awarded with two national H.S.  1. 1 1. 2

elena urnis share o the more modest design used to cover design interior Decoration and Hformer Cooperative Business the northern aade, although it is ans design currently the currently hidden from view by a new headquarters Ljubljana’s Regional building, has been constructed next Court Land Registry) includes the to it. The painterly decoration of the original decoration o the aade central hall on the ground floor is even 183 and the central hall on the ground richer, both in the elaborate designs floor. and in colour schemes: it depicts he our-storey building is laned women in typical costumes from by a couple of bay-windows on the Gorenjska region in addition to each side, spanning over all floors geometrical patterns. The decorative and similar, except only one floor patterns represent one of the attempts high bay-windows on the remaining of conceiving a Slovenian national window axes of the fourth floor. style in architecture (some authors The rich, mostly geometric interpret them as stylised carnation ornament in bright colours of the flowers of Gorenjska). Such efforts Slovenian tricolour (white, blue, were quite common from the early red) and gold, covers the entire 20th century onwards and reached one surface of bay-windows and of their pinnacles in the early 1920s surrounds the windows, the ground oeuvre by the urni spouses. floor openings and the cornice. A F.L. 1. 2 1. 3

ala ulica or Little Street, located just off the popular Trubarjeva M Renovation, reuse

Street in Ljubljana’s historical centre, design interior and is a public day-care and activity centre for preschool children. It occupies the premises of a former City Public Bathhouse built in 1899–1901 after plans of Wilhelm rcner, hich as repurposed as 184 a restaurant in the second half of the 20th century. After several years of neglect, a team of architects devised a plan for its conversion into the Family Centre. he neo-omanesue aade as outside city on a child’s scale with model apartment, a play-house, a irregular shapes with a stress on reconstructed respecting cultural the various play areas mimicing shpond, a library etc. he design safety. To further reference and heritage protection guidelines with its constituent parts. One enters encourages imaginative play and honour the building’s original purpose, the interior olloing and maing the through the city gates and continues helps children to get to no artists Moca Smerdu and Alena most of the former ground plan, while along a city street lined with playful Ljubljana; the innovative equipment Videgar created a fountain for the adapting it to its users - the children. imitations of Ljubljana’s famous was conceived with soft, tactile and basement lavatory area, appropriately

It was created as a reflection of the aades into the city par, a cae, a washable materials in dynamic, named the 'City Public Bath'. K.M. www.malaulica.si  1. 3 1. 4 Renovation

t the Early Christianity Centre Roman family. Aarchaeological site excavations Presentations of both archaeological unearthed a Roman residential excavation sites allow the visitor to building built at the beginning of the eperience oman ruins by aling 185 1st century A.D. and rebuilt in the early on elevated paths leading from the th century. A section o the house entrance plateau over the ruins, was found to have been subsequently laned ith inormation boards and converted into an early Christian surmounted with a non-invasive chapel second hal o the th supporting construction, covered century) with a rectangular baptistery, by a linen roof. At the side of Early enclosing a small pool in the centre, hristianity entre, a orshop which was also built nearby, along the corner for schools was arranged. central courtyard (early 5th century). The presentation of excavated The Emonian House site displays material through layers enables a remains of a building dating from more thorough understanding of the the late th and early th century. archaeological heritage. With the www.mestnimuzej.si www.mestnimuzej.si The building with top quality floors, reneal, the archaeological pars  mosaics and heating as most liely became a part of the wider urban owned by a wealthy and respectable context. H.S. 1. 4 1. 5 Design

he rst layout o the ivoli ar Twas designed by engineer Jean lanchard in and underent extensive renovations between 1921 and by architectoe leni, whose most notable contribution to the original plans is the aopi romenade traversing the par. he sh-shaped piece o playground equipment was created upon request 186 by Maran oi - the architect in charge for building the sports comple in Lublanas ivoli ar in 1950s - and was placed onto the children’s playground in front of it. The durable concrete construction made up of organic shapes reminiscent o a sh presents an and creativity while elevating its to include a horizontal and vertical with generations of Ljubljana’s alternative to the prevalent mass surroundings through its sculptural bar made of bronze with a large, inhabitants, subsequently became the produced playground equipment; quality. The author, architect and varicoloured glass eye, which ocial logo o the nearby simming- enables a tactile experience of its sculptor ladimira ratu Laa - could not be realied due to lac o pool complex. surfaces and encourages imagination lenis student - initially proposed unding. he popular sh, amous K.M. 1. 5 1. 6

he spaces of a former cinema in Tthe central square of Ljubljana’s ia municipality, built in ater plans by oidar vardani, Renovation, reuse were left to ruin after its closure design interior and in 2000. After almost a decade of neglect and a number of initiatives for renovation, the modernist architecture was revived as a centre 187 for urban culture. The architects in charge decided to respect the original plans made to harmonize with the buildings surrounding the square and closely followed monument protection guidelines. Alterations ere ept to a minimum and incorporated in a way that mosaic tiles, the 'terrazzo' flooring and converted into a second, smaller Kralj. The project was awarded the does not interfere with or distract the dominant spiral staircase, were multi-purpose hall, hile eeping the Golden Pencil Prize for best public from the older architecture, but carefully preserved; the upper large original ground plan throughout the architecture by the Chamber of rather puts it in focus. The main hall was technologically improved and building. The restored building also Architecture and Spatial Planning of elements, including the exterior refurbished, in order to suit its new use includes an exhibition space and Slovenia in 2010. www.kinosiska.si glazed surfaces and plasters, the as the main concert/theatre venue. a popular cafe, furbished with the K.M.  (reinforced) pillars covered in green The storage space on ground level was famous Rex chairs by designer io 1. 6 1. 7 Interior design Interior

rchitect oe lenis student wooden oval with an inscription is AErna omi as challenged placed onto four slim pillars, with a ith the dicult tas o nishing the second, slightly narrower oval on the interior o lenis church o Saint four vase-shaped pillars, topped by rancis o Assisi in ia. he church, an angel musician. 188 built between 1925 and 1927 belongs Due to the liturgical reforms to the most important examples following the Second Vatican of Slovenian Modern architecture. Council, the architect redesigned eteen and omi the presbytery in . he was in charge of overseeing the altar ollos lenis original layout construction of the so-called Winter for the presbytery in the materials, Chapel on the north-eastern side of colour schemes and orms. In , the church, based on her teacher’s omi supervised the additions plans from 1950. The interior to the main altar: a large, pyramid Even though she was faced with high level o sill, hile succeeding to is dominated by an altar at the structure made of wood and carrying the dicult tas o nishing master not overshado her teachers ors. northern all . he ciborium the patron saint was superimposed lenis ors, omi managed to F.L. is especially of particular interest – a onto the tabernacle. complete the job demonstrating a [email protected]  1. 7 itinerary 2 his itinerary follows the women architects’ work from Slovenia’s Alpine noted for its Medieval mercury mine and lace. Climb the castle overlooking Tregion to the Coast, taking you on a journey through some of the country’s the old town, visit the late 18th century Miners’ theatre building (the oldest in most important natural and cultural heritage. It starts in the picturesque heart the country) and the Idrija Primary School (5). From here you can take a short of the Alps (the Upper Carniola Valley) just a few kilometres from the border detour to Žiri and stop at the Kržišnik Family Garden (open to the public), with Italy and Austria, in the Planica Nordic Ski Centre (1) on the outskirts of which was designed by its previous owner Juta Krulc, a landscaping pioneer. the Triglav National Park. The area is popular with lovers of both winter and Continuing along the main road towards Koper you will reach the TIC - Tourist summer sports. Information Centre (6) in Postojna, located close to the famous Postojna The next stop on the itinerary is only a couple of minutes’ drive away - the Cave and the spectacular Predjama Castle. Špik Hotel (2) is located in the small village of Gozd Martuljek, surrounded Next, driving up the Karst plateau, you will pass the fertile Vipava Valley by ski slopes and close to the beautiful Martuljek waterfalls. Enjoy a leisurely with its numerous renaissance and Baroque villas. Stop in Divača, a well drive through the Sava river valley towards the idyllic town of Bled, one of the preserved nucleated village typical of the region, which is located on the 189 country’s most important landmarks. Here, take a walk around the lake to visit crossroads of the historical border between the Habsburg Empire and the the Referee Tower and Spectator Stand (3) and appreciate the late 19th and Republic of Venice. Wander around the Museum of Slovenian Film Actors (7) 20th century Villas scattered along the banks (including Josip Broz - Tito’s located in a perfectly preserved example of Karst vernacular architecture. former summer residence, Vila Bled). Take a boat ride to the small island The Škocjan Caves, a UNESCO World Heritage Site, and the village of Lipica which is home to the Church of the Assumption, and climb the Medieval from where the white Lipizzaner Horses originate, are both nearby and worth castle on the tall rock overlooking the lake to enjoy the beautiful views over a short trip. the area. You could also drive to the nearby Bohinj Lake in the protected Finally, leaving the Karst region with its fortified Medieval churches Triglav National Park area and stop in the village of Bohinjska Bistrica to and villages behind, you will reach Istria and arrive on the Adriatic coast. admire the recently constructed and architecturally praised wooden bridge Here you may decide first to take a walk around the seaside town of Koper across the Sava Bohinjka River (Dans Arhitekti team) in Camp Savica. with its typical Venetian main square with the Praetorian palace, the loggia, Leaving Bled, continue past the Medieval town of Radovljica with its well- and the cathedral. Drive to the nearby "Honeycomb" Housing Blocks (8) preserved historical centre and architectural works by Ivan and Helena Vurnik, overlooking the Izola Bay and the old town, pass the cliffs to arrive in the and arrive in the Square and Exterior Altar (4) in Brezje. This is the last stop charming Medieval Piran and then continue - either on foot or by car- along in the Alpine Carniola region - after passing Ljubljana in the direction of Koper the beaches of the Portorož Riviera. Enter the Salina Nature Park in Sečovlje you will reach the Karst landscape renowned for its caves, disappearing lakes and relax at the Lepa Vida Thalasso Spa (9), found amidst the abandoned and forests. Take a short excursion to Idrija, a UNESCO World Heritage Site saltpans. K.M., H.S. itinerary 2

Planica Nordic Ski Centre 1 lanica - atee

Špik Hotel 2 eerci - od Martule 1 2 Referee Tower and Spectator Stand 3 elia aa - led Jesenice Square and Exterior Altar 4 Brezje 72 - Brezje 190

Kranj

Ljubljana Idrija Primary School 5 Idrija 5 Lapajnetova ulica, 5 - Idrija

Nova Gorica TIC - Tourist Information Centre 6 raa cesta - ostona

Museum of Slovenian Film Actors 7 raa cesta - Divaa

"Honeycomb" Housing Blocks 191 8 lica vonimira Miloa, 6 Postojna 25 and 27 - Izola

"Lepa Vida" Thalasso Spa 7 9 Seovle Salina ature ar, Sea - Seovle Trieste

Koper 8

Piran 9 2 2. 1

lanica is one of the most exciting Pentry points to the Triglav National ar and the largest protected natural environment in Slovenia. As the lanica ordic Si entre is also protected as national technical heritage, the renovation of the old Renovation and ex-novo si-ump acilities in had to be planned and carried out respecting the eisting landscape: the s iant si umping hill by Stano loude and 192 the si lying acility designed by the orie brothers. Apart rom the renovation o the historic si-umping centre, the new project also included the construction of a new cross- country siing acility. The main aspect of landscape design was based on the profound forms are aligned and in tune with cold and the warm, the monumental geometry of the concrete structures, relation between the construction, the the silhouette of the mountains and and the intimate. Attention is given to to the warm colours of late summer, constructed site and the natural site. the calmness of the pine and beech the way the landscape interacts with bringing attention to the wooden The careful planning of topography, orest. he proect ors on many architecture through different seasons, details. he lanica ordic Si entre the systematic selection and reduction levels combining the solid and the soft, from the winter cold and sharp renovation project won the Architizer www.nc-planica.si of materials, the bold shapes and the resistant and the ephemeral, the mountains reflected in the simple Award for 2015. H.S.  2. 1 2. 2 Renovation and ex-novo

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he building was conceived as an mimics the surrounding mountainous the aade visually interact ith glazed surfaces in wooden frames Textension of the older hotel in landscape with its massive, slanting the rocy shapes and orms o the in combination with wooden wall order to increase its capacities with concrete roof, the annexed wing is more Alpine surroundings. he aade is panelling, and furnishings made a spa and ellness centre. In open due to the large glazed surfaces, composed of vertical boards made of natural materials in simple a part of the old hotel building was but still in tune with both the nature and of larch wood, alternating with shapes. These features serve a dual demolished to mae room or the the existing architecture. perforated balcony partitions and function: they effectively connect new additions, which respect the The architecture is designed as a horizontal metal fences, creating the hotel interior with its exterior form and the scale of the preserved unied monolithic volume ith tilted a visually rhythmic and airy outer and offer beautiful panoramic views. structure. The interior comprises S.K., H.S. wing. While the older structure surfaces; the colour and structure of 2. 2 2. 3 Ex-novo

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wo notable new projects, both providing its users with unobstructed clearly visible through the remaining steep slope on the other side of the Tsensitively in tune with the sur- vies o the nish line. he simple glass construction. The elevation of nish line. Devised as a sloping gallery rounding landscape, were built in the construction seemingly hovering the building enables direct access to made of concrete tiers its lower, nish arena o the redesigned oing above the water level was conceived the shore. The authors were awarded open parts function as seating for and Regatta Centre before the 2011 as an 'invisible tower' made from the leni medal or the architecture spectators, while the upper covered Rowing World Championship in Bled. three horizontal concrete plates of the tower and landscape design parts are intended for commentators he eeree oer in elia aa intersected by the dominant, for 2012 (awarded by the Society of and I lounges. he alable roo blends in seamlessly with the irregularly positioned steel pillars Architects of Ljubljana). above the latter offers panoramic tree-lined bans o the lae, hile reminiscent o tree truns, hich are he Spectator Stand is built on a vies over the lae. K.M. 2. 3 2. 4 and ex-novo Urban renewal renewal Urban

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he steady influx of pilgrims Instead of the former, longitudinal wall on the north side of the wood without ornamentation. Tvisiting the Slovenian national orientation of the square following the square. The altar itself is placed According to the architect’s vision shrine and famous pilgrim centre in church axis the square is presently into a rectangular solid object with the square appears to be oriented Brezje in the north of Slovenia led to accented on both the longitudinal large double door. Its dar eterior longitudinally when the exterior altar a need for a redesign of the square and the transverse axis, preserving contrasts with the light birch wood is closed, leaving the pilgrim church in front of the Saint Vitus church all elements o lenis design the interior, which 'radiates' whenever with its richly ornamented neo- also non as the asilica o Mary exterior wall, staircases, niches). A the doors are opened. The altar enaissance aade to dominate the www.marija.si www.marija.si Help of Christians), conceived by simple construction enclosing the furnishings (altar, two ambones, space, and transversally, towards  architect oe leni in the late altar, designed with clear lines without seats for priests and servers) are the new altar, when closed. s. ornament, is located net to lenis minimalist in design, made of birch F.L. 2. 4 2. 5 Ex-novo

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he building with the dynamic obstruct views due to the attentive are laned by yello tin plates staircase leads through a rectangular Tlayout is located at the Lentat design of the elevations and the with horizontal gutters. With the frame covered with decorative ceramic plain above the river Idrijca. It is transparency of the front parts. The eception o the main aade, the tiles and a multi-part concave passage characteried by clearly dened main aade, composed o three to- building is surrounded by a wide, with a door into the school’s interior. architectural elements and careful storey sloping volumes, is supported concrete cornice, and covered by The project was awarded the highest design of the visual connections by square concrete pillars. With a flat roof. The entrance portal national award for culture, the France between the interior and exterior. baldachins above the two rows of is sculpturally decorated (Tomo reeren aard or architecture in Despite the fact that it is one of the window openings harsh rectangular rini and partners and consists 1982. largest buildings in town it does not shapes are softened. The exterior walls o visually rened details - the conve S.K. 2. 5 2. 6 Ex-novo

he Tourist Information Centre Tin Postojna is located close to the town bus station and the main intersection with roads, leading toward the town center, Postojna cave and the highway. It includes a small resting area with 197 paring spaces and urban urniture. The building was designed as a modern, attractive and easily visible multi-functional pavilion. The front comprises an information center and a gallery, with public toilets or visitors in the bac. he uniorm eterior aade morphs into a roof reminiscent of cave formations; its design, form and the building tradition of the Notranjska to the fact that authors Polona Designer’s Association Iconic Award orientation follow the principles of and Karst regions. The multifunctional ilipi and eter en both attended 2015 for Architecture and Slovene sustainable construction in using pavilion is a perfect example of its postgraduate Laboratory of award Wood in Town 2015. renewable materials (i.e. wood). The Rotterdam’s Berlage Institute Architecture graduating in . H.S. autochthonous materials also reflect teachings, which can be attributed The project received German 2. 6 2. 7 Renovation. reuse and interior design interior and

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he Museum of Slovenian Film quality of the village surroundings, While the house was completely interesting and playful illumination of TActors is housed in the restored as well as focused on the smallest restored and has remained the the interior. Škratelj homestead, a monument details of the building interiors. dominant feature of the complex, The Museum is a model example of ethnological, architectural and Careful attention was given to the desolated barns were rebuilt of successful restoration and regional cultural heritage, which preservation, revitalization and in a modern interpretation of the repurposing of a monument of is also the birthplace o the rst repurposing of the homestead's local traditional architecture. The cultural heritage, encouraging Slovene European lm star o silent eatures, such as the typical bora roof construction is carefully laid revitalization of local community and movies Ida Kravanja (1907–79), with courtyard with an original fountain over the old walls, which enclose was awarded the Slovenian National stage name Ita Rina. Its restoration in the center, occasionally serving a gallery, with a narrow line of lenis Aard or architecture in greatly contributed to the overall as a venue for open-air events. windows below it, providing an 2011. H.S. www.muzejdivaca.si www.muzejdivaca.si

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he to housing blocs are set flexibility and space for reorganization. Textile shades provide privacy while air behind the shades is naturally Ton a hill with a view of Izola Bay Since they are subject to Mediterranean still allowing open views over the ventilated through perforated side on one side and the surrounding climate, shade and outdoor spaces bay; their strong colours create partitions of the balconies. In the hills on the other. They comprise were given careful consideration. Each different atmospheres within the winter, the warm air is trapped dierently sied apartments apartment has a loggia-lie balcony, apartments, bloc direct sunlight inside and provides additional of various layouts: all are small, providing the inhabitants with an and create an 'air buffer' zone. The heating to the apartments. with rooms sized according to the outdoor space that is intimate, partly balcony modules are designed as an The project was nominated in 2006 minimum allowed by Slovenian connected with the interior, shaded and ecient system, providing shading for the EU Prize Mies van der Rohe standards and do not include any naturally ventilated the main aade and ventilation for the apartments. Aard, or ousing on the oast interior structural elements, enabling gives an impression of a honeycomb. In the summer, the accumulated hot Category. H.S. 2. 8 2. 9 Ex-novo

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he open-air wellness is situated the th century. tool sheds commonly used in paths, seamlessly complementing the Tamidst the abandoned saltpans of The spatial concept of the spa saltpans. They house a reception, craced salt pond loors surrounding Seovle in Salina ature ar located follows the traditional features of changing rooms, doctors oces, the emerald pools, creates a perfect in the area called Lera here the salt saltpans landscape. The centre of toilets, a bar, the pool machine room, bacground or the pavilions and dec production is still alive. he Seovle the complex consists of a swimming and other service facilities. chairs in contrasting warm, golden saltpans are the northernmost pool with seawater, pools for Kneipp Wood was chosen as the primary tones. Despite being enclosed by a Mediterranean saltpans in use and therapy and small pools for brine building material for its ecological fence of hundreds of wooden pillars among the very few where salt is still therapy. Wooden paths connect the and sustainable value, as well as to separate the complex from the sea, produced respecting the centuries-old surrounding simple cottages and for its aesthetics and tradition; the the spa remains sensitively in-tune processes originating from at least pavilions reminiscent of traditional washed-out grey of the wooden with the surrounding landscape. H.S. www.thalasso-lepavida.si  2. 9 itinerary 3

his itinerary starts on the outskirts of Ljubljana and leads you into the vrh hill and enjoy the beautiful open views across the southern part of the Thilly landscape of Štajerska, the north-eastern part of Slovenia. The first valley from the popular "Celje" Hut (3) mountain cottage. stop is located on the outskirts of Ljubljana, in the so-called "BTC City". The Next, drive northwards until you reach the small village of Vitanje, the transformation of former public warehouses into one of the largest centres birthplace of cosmonaut pioneer Herman Potočnik Noordung (1892–1929). of business, shopping, recreation and entertainment in Europe began in the Visit the KSEVT - Cultural Centre of European Space Technologies (4) which 1990’s when they were converted in shopping malls. Several new buildings was built in his honour and as a home to his legacy. From here you can have since been constructed, including the austere and minimalist Radisson take a detour to nearby Velenje, a modern industrial town founded after the Blue Plaza Hotel (1), the Crystal Palace (the tallest high-rise office building in Second World War near the older town centre below Velenje Castle, as well Slovenia, designed by Atelje S), the Multiplex Cinema and the Atlantis Water as Ravne na Koroškem and its architecturally interesting low-energy Punkl Park. From here, start your trip heading towards the east. Leaving the city Youth Hostel designed by architects Maruša Zorec, Martina Tepina and Uroš 201 behind, drive to Krašnja, one of Slovenia’s oldest parishes and visit the Farewell Rustja. Alternatively, leave Vitanje and head for Kidričevo, the next stop on Chapel (2) on the village cemetery. You might also stop at the nearby remnants the itinerary and drive through Zreče (the spa and Rogla ski resort are of of one of the oldest Renaissance castles of the region in Brdo pri Lukovici. particular interest). You will first reach Slovenska Bistrica, a town founded Driving under (if you take the highway) or over the Trojane Pass you leave in the 13th century which is full of interesting architectural sites, and then Kranjska and enter the Štajerska region. This fertile wine region is scattered arrive in Kidričevo. The entire industrial town was built after the Second World with spas - you can take a detour and relax in the old Roman baths of Rimske War. The more recently-founded "Kidričevo" Kindergarten (5) is located on its toplice, visit Rogaška, a popular health resort since the times of the Austrian northern outskirts. Empire, or the more modern Terme Olimia in Podčetrtek, noted also for its The final leg of the itinerary will take you past Slovenia’s oldest town, Ortenia Apartments, designed by architects Petra Ostanek and Tinka Beltram Ptuj, which is well worth a visit for its hilltop castle and the old historic centre Prekovič. that lies underneath. Follow the Drava River to Maribor, the last stop on the After driving through narrow valleys overlooked by steep hills, you will see tour. Slovenia’s second largest city is renowned for its old town which is of the landscape open up into the vast Savinja Valley plain. Passing the fields architectural interest, particularly along the riverfront, where you can also of hops and the Roman necropolis in Šempeter you will arrive in Medieval enjoy a glass of one of the great local wines in the shade of the world’s oldest Celje, the third largest city in Slovenia. The former seat of the powerful Counts vine. Finally, stroll through the town’s winding streets towards the historical of Celje (1341−1456), the area is home to an abundance of architectural villas on its western outskirts, and your journey’s end at the "Ljudski Vrt" remnants which still attest to their historical influence. Climb the nearby Tolsti Stadium (6). H.S. itinerary 3

1 Radisson Blu Plaza Hotel ratislavsa cesta - Lublana

2 Farewell Chapel emetery o rana - rana

3 "Celje" Hut eovni - ele

202 4 KSEVT - Cultural Centre of European Space Technologies Na vasi, 18 - Vitanje

5 "Kidričevo" Kindergarten auhova ulica, a - idrievo

6 "Ljudski Vrt" Stadium Mladinsa ulica - Maribor 6 Maribor

5 4

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Celje

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he Radisson Blu Plaza Hotel is floor restaurant and the adjacent spaces. The perforated window- atua rancs speciality. All o the Tlocated next to Ljubljana bypass staircase invites the visitor with screens and specially designed elements included were designed by road, at the edge of BTC shopping its rich and varied materials, the lamps casting the walls with the aeta Studio team and made centre. Its architecture, designed structured ceiling and wall covers; graphic patterns further prove in Slovenia to promote the local by the architect Sandi raov, is the different reflections of light that lighting was among the no-ho and tradition. austere and minimalistic, while the against the structured surfaces top considerations in designing H.S.

interior design o the lobby, the rst create secluded and intimate the interior; graphic design is www.radissonblu.com/en/hotel-ljubljana  3. 1 3. 2 Ex-novo

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he Farewell Chapel on Krašnja entrance way into the supporting wall, source of natural sunlight in daytime studio ounded in by o TCemetery was built according concealing the service spaces (storage and illuminates its surroundings at man and pela ideni, both to plans selected in a competition room, lavatories, itchenette. A glaed night through integrated lamps. The graduates o theLublana School in 2005. It was constructed at the partition wall enables communication main materials used are polished o Architectureand theLondon foot of a slope and is partly cut into between the interior and the outside concrete, larch wood, and glass. The Architectural Association. They the terrain. The ground plan and courtyard entrance. A cross-shaped project won ArchDaily Building of are based inLublana, but or the curved walls echo the contours opening in the centre of the grass the year 2009 Award for Religious internationally (Venice, Graz, Paris, of the surroundings. The interior covered alable roo, etended over Buildings and was nominated for the Borisov) and exhibit worldwide, curved wall encloses the central the exterior walls to provide a canopy Mies van der Rohe Award in 2010. most notably at theenice iennale space and continues towards the over a part of the courtyard, provides a IS Arhitetiis an architectural o Architecture in . S.K., H.S. 3. 2 3. 3 Ex-novo

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he Celjska koča Alpine Hotel meters, is a unique dominant in the Grmada. Preserving the view villages, eaturing a double aade Tstands beside a small Slovene mountain landscape. The shape guided the design of the interior with an outer transparent layer of si slope under olsti vrh, in the of the building with a sun terrace spaces. horizontal laths made of untreated middle of a forested hilly landscape on one side taes into account the he design o the aade ollos larch wood. In 2007, the project on the southern part of the Celje steep slope that allows unhindered the principles of construction for Celjska koča Alpine Hotel won valley. The Hotel, set on an exposed panoramic view over the valley, applied in building Slovene barns the lenis Aard and the olden natural plateau at altitude 652 especially toard the rocy hill and hayracs, still in use in local Pencil Award. S.K. www.celjska-koca.si www.celjska-koca.si  3. 3 3. 4 Ex-novo

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SEVT is the headquarters of an station described in otonis boo The in the middle. The inclined flooring A part of the rooftop is planted Keponymous institute, promoting Problem of Space Travel - The Rocket creates a sensation o aling in a with grass, visually connecting the research in the elds o space Motor from 1929. space station situated in the outer architecture with the village and the culturalization. It is located in the The building is a concrete monolith space and echoes a similar solution surrounding landscape. The four centre of the village Vitanje, the consisting of two low cylinders. The in the Town Museum of Ljubljana, leading studios involved received a birthplace of the spaceflight pioneer dynamic relation of the two creates an designed by pela ideni and o number of Slovenian national awards erman otoni oordung impression of levitation and rotation. Oman. The smaller cylinder of the for their collaboration. They were also

1929). The design derives from the The central hall and the surrounding building with the study and research among the nominees for the Mies www.ksevt.eu plans for a habitable wheel, one of the main corridor-lie ehibition area are area can be reached from the highest van der Rohe Award, the EU Prize for  three parts of a geostationary space both connected through a round opening point of the circular exhibition space. Contemporary Architecture. H.S. 3. 4 3. 5 Ex-novo

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he Kindergarten, located in a geometrically and functionally tied solutions of spatial design. The layout is designed to allow further Tgreen area close to the modernist to the neighbouring building, the playrooms are connected to a partitioning of the spaces, allowing industrial settlement idrievo oris idri rammar School the light-flooded corridor through an additional increase of the number (founded in the late 1950s) is made architects regorsi and ogelni wide, double doors and slides, of units. up of three architectural wings Saje also designed the school gym transforming it into additional play or her proects in idrievo Moca enclosing green, tree-lined surfaces. and playground in 2011). area; a spray-fountain located in the regorsi as declared as one o The two ground-floor wings intended The Kindergarten interior reveals toilet area also provides possibility Europe’s most important emerging for children of different age groups are large glazed surfaces enabling visual for play. The whole complex is built young architects and designers connected by a multi-purpose space. interaction between the interior of different materials, with their Europe under in by the The third wing, housing management and exterior spaces, as well as variety particularly evident in the Chicago Aethenaeum Museum of oces, itchen and a caeteria, is diverse light effects and imaginative bright and colourful interior. The Architecture and Design. F.L., H.S. 3. 5 3. 6 Renovation and ex-novo

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he Ludsi rt Stadium in submitted under the roect ing the old and the new elements. being planned, focusing particularly TMaribor was built in 1952 title. The latter is a good description The renovation not only increased on designing gyms, club oces, ater plans by Milan ernigo, ith of the architecture. The modern, the capacities of the Maribor's conerence halls and oces or spectator stands added by Boris double-glazed stand is shaped as a central stadium (it can now host rent in the area below the stands, Pipan in 1961. curve encircling the grass from three up to , spectators, but also as well as restoring the old stands The extensive renovation of the sides. A concrete arch connects it with enriched the cityscape with a new, by Pipan.

complex is noted particularly for the the older stands (on the western part, well-designed contemporary sports H.S. www.nkmaribor.com/klub/stadion new spectator stands, built after next to Kajuhova ulica) covered by the complex.  the winning competition proposal same wavy roof, visually connecting Further renovations are currently 3. 6 pioneer

orn to a middle class family, Gizela Šuklje started at the Mirje Roman Wall, the Šentjakob/Levstik Square, the Baraga Seminary Bher studies in architecture at the Faculty of and the town Stadium. Technology in Ljubljana in 1927−28 and graduated Plečnik was commissioned to build the Stadium by the Orel Catholic in 1932 in a seminar by Professor Jože Plečnik, who Sport Association and was initially assisted by student Ivan Pengov. considered the profession of architecture to be similar Construction started as early as 1925, but soon came to a halt due to to that of a priest - reserved for men only. Šuklje was insufficient funding and political circumstances, which led to the dissolution his first female student and the second female to of Orel in the period of the 6th January Dictatorship. Several years later, graduate at Ljubljana University. She won the French Gizela Šuklje devised a new project for the Stadium in her bachelor thesis. national scholarship to study at the Institut d’Art et When Plečnik returned to the project, which was now to be used as the venue Gizela Šuklje d’Archèologie at the Sorbonne. While continuing her for the Eucharist Congress of 1935, he created the project for the Celebratory studies in Paris (1933−34), she worked in the atelier Stands together with his former student Šuklje. The stands were constructed 210 of architect Auguste Perret (1874−1954), drawing plans for his house on along the shorter, western side of the Stadium and composed of a massive, the outskirts of Paris. Other Slovenians who studied architecture in Paris rusticated ground floor made of stone and a contrasting open first floor, did so in Le Corbusier’s studio - Šuklje was the only one to study with Perret divided by four Doric columns on each side. and was recommended to him by Plečnik. Šuklje was a highly skilled and Plans for the Town Hall in Metlika, 1944−45 talented draftswoman. Upon her return to Ljubljana she became an assistant volunteer at the University of King Alexander I and also worked in Plečnik’s studio (Prelovšek 1994: 8). She passed her professional architectural exam in Belgrade in 1938 and later obtained a permanent position at the Ljubljana Magistrate building department, again with Plečnik’s recommendation (Plečnik was known to help advance his most talented students’ careers in this way). The post enabled her to collaborate with her former teacher on some of Ljubljana’s most important projects of the 1930s and 1940s: the National and University Library, the Central Market, the Archaeological Park Šuklje also developed projects for the Tivoli Park children’s playground drawing, design and the history of decorative arts at the present-day High and the canopy over the entrance to the open air sports grounds; she also School for Design and Photography in Ljubljana, later becoming headmistress drafted drew the first plans for Žale Central Cemetery, renowned for its (1969–73). She designed several books, proving herself as an excellent monumental arched entrance, several small chapels and other constructions, graphic designer, and was also interested in vernacular architecture, a subject including the tomb of Archbishop Anton Bonaventura Jeglič. She also worked on which she elaborated in her article on the impact of weather conditions on on Plečnik’s other projects throughout the Kingdom of Yugoslavia: she drafted the design of houses and villages in Slovenian Istria (1952). plans for Villa Epos at Bled Lake, the Church of the Holy Mother of Lourdes in The first urban design for the town of Metlika (1945) stands out among Zagreb (only the crypt was built), the Jesuit monastery and church in Osijek her independent architectural projects. The architect proposed elaborate (demolished in 1948), and the church of Saint Antony of Padua in Belgrade, plans for the Town Hall, the public baths and the town’s public school, for which she developed plans for the entire interior decoration including the although only the project for the park in front of Metlika Castle (home to the Holy Tomb and the altar of the Annunciation (Zupančič 2009: 15). Museum of Bela Krajina) was carried out (Zupančič 2013: 70−75). Located The drawings she made of Plečnik’s projects were published in on a hill and divided into a series of cascading terraces it was created in collections of the architectural master’s essays, Architectura Perennis (1941) the early 1950s. The trees and shrubbery provide a leafy background for the 211 and Napori (1955), and represent an outstanding contribution to Slovenian portrait sculptures of prominent citizens of Metlika, such as the sculptor Alojz architectural drawing (Prelovšek 1994: 8). Gangl and poet Oton Župančič. The low stone walls surrounding the park are In 1946, Šuklje became particularly fitting with the surrounding architecture of the main town square. a professor at the State The plants vary in size and height and were arranged in such a way as to bring School for Handicrafts attention to the main entrance of the museum, creating a visual connection in Ljubljana. A year between the square and the castle. Šuklje used a similar approach in her later she was sent to plans for the town park in Krško, where she divided the area into smaller Sarajevo in Bosnia and entities using minimal architectural language, public monuments and plants. Hercegovina to work The documents making up Šuklje’s professional legacy, and which are on the city’s urban kept at the Museum of Architecture in Ljubljana, attest to her broad creativity, planning. She returned which spanned a variety of fields such as architecture, interior design, book to Ljubljana in 1948 design, urban planning, landscaping, writing, teaching and the conceiving of and started teaching tombstones and public monuments, firmly placing her amongst the foremost typography, construction female pioneers in Slovenian architecture. Celebratory Stands at Bežigrad Stadium, Ljubljana, 1935, Bibliography Index of Women Architects and Designers Acknowledgements Photos & Maps Credits Symbols Barcelona Espegel Alonso, Carmen. 2006. 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A osse, Miee , Deers, eanne , , , Abraham, anine , Brachet, Louise 79 Dionigio, Loredana 127 Afonso, Sara 71 ratu, ladimira Laa Dobravec Lajovic, Majda 178 Ala, ata render ubira, Margarita Domnech, Lola , Almada Negreiros, Catarina 55 rito Alves, Margarida Almada Negreiros, Rita 55 u, Marianne E Amad, oser , , Bursi, Ada 108, 139−140 Eames, Ray 171 Antunes, Snia Audisio, iuseppa C F Aulenti, ae , , , ampos de Michelena, ascuala alenberg Lierinc, Ida 219 Carvalho, Carmo 52 aria, elia B atino, ristiana , Faria, Estrela 71 agliani, rancesca , omoglio, Adriana , Felip, Olga 17, 25 alcells, onita Comoli Mandracci, Vera 108 igueras, et , Bandeira, Marta 52 orteso, Ins ilipi, olona an, Sandra Coscia, Alessandra 122 ornaari ocmut, Mada Baptista, Marisa 199 Cottinelli Telmo Monteiro da Costa, Ana 50 Forsans, Marie-Pierre 117 arbas, atrcia , , Crasset, Matali 80, 88 usas, Doriana eltram reovi, ina Cristofaro Rovera, Marietta de 108 uret, atherine , , , Benamo, Georgia 79 ennasar, Isabel , D G erengu, Merc , Davar Panah, Shohreh 90, 92, 95 Gabrovec, Nena (Andreja) 187 Bodecher, Renée 79 Deabate, Marina 112 al, eth , oll, Anna , , De Lima, iana al, eresa Bosio, Elena 122 Dec, dile , , , Garda, Emilia 118 ariboldi, Marina K Mathé, Juliette 79 Garouste, Elisabeth 80, 86 Kanc, Marjanca 178 Mer, Eveline Gasille, Marya 155 eil, Maria , , , 75−76 Morgan, Julia 78 atti, laudia ham iman, Alena Mulder, aoba elena o , , atti, aola , oren, rula , Gautrand, Manuelle 80, 89, 98, 100, 101 oina, ina Mui, aida irard, Edith , , , ranc, atua Grácio Nunes, Margarida 65 Kregar, Majda 178, 182 N raenauer ogelni, Maria ropholler, Margaret , , 175−176 Negreiros, Almada 71 Grasseli, Katarina 178 Krulc, Juta 189 eima, Mada regori, ina ruec, Lena oguera, Anna regorsi, Moca uan, Ana Nunes da Ponte, Teresa 55, 57, 62, 72 rioni, aola uhar, pela Grillone, Elena 119 O ui rplan, Moca L man, ea 220 Laca, Magdalena stane, etra H Lanzavecchia, Carla 119 Helg, Franca 116 Laveo, Emanuela , P igino, era Leboucq, Patricia 98, 102 anter, Matea Hogenboom, Katja 171 Lenti, Maria arla eris, Marta , ouben, rancine , , Líbano, Pilar 17, 22 Perriand, Charlotte 78, 105−106 Lipicer, Martina 199, 205 erugini, Alessandra J Lle, lanca , etraini Levi, Laura , Janet, Janine 80, 85 ins, arme , eyll, ertrude M irih, arbara João, Rita 56, 66 MacDonald Macintosch, Margaret lanie, Ana João Eloy, Maria 61, 67, 70 Marues da Silva, Maria os Podbregar, Lidija 178 Maseras ibera, Maria Elena rochio, Elena Massa, Maria Teresa 115 ustosleme, Stanislava Q Smerdu, Moca V uintanilha, lga , , Snel, elga , an der ol, Liesbeth , , , , Somers, Wiei Venda, Cátia 52 R Stam eese, Lotte , , , , ideni, pela , , , ami, Suanne , Steinbac, Sabine von idergar, Alena avniar Ivane, Marta Stinissen, Liesbeth 155 Vilhena, Joana 51, 57, 60 ebelo into, Maria Stura, Rosalba 119 ogelni Sae, Ada Reich, Lilly 78 olpi, ristina ibas, armen , Š os, oe , ibetti, Erica antel, Duana oli, esna Rocio, Sílvia 55 tupar umi, ataa urni, elena , , ohmer, Marlies , , , , , ule, iela , , 210−211 osam, Iris W 221 Rosso, Natalia 122 T Wal, Ellen van der Rot, Barbara 178, 179, 196 Tabò, Martina 126 Wieland, arbara uys, Mien Tagliabue, Benedetta 17, 21 ui raigher, Mira Taillandier, Ingrid 90, 97 Y arras, lga , anovshtchinsy, era S iaoldi, aterina Sabino, Marina Tisi, Marcella 125 Z Santos Silva, Vanessa 52 omi, Erna , anetti, Silvia Sarti, iulia Toussaint, Isabelle 126 Zazurca y Codolà, Mercè 17, 20 Savelli, Teja 198 orec, Marua , Schröder Schräder, Truus 165, 168, 175 U uccotti, iovanna Maria Schul Dornburg, ulia , celay Maorta, Matilde Zupan, Eva 192 Scott ron, Denise Urbano, Paola 118 Serra arenys, Mercedes ruiola, atricia , Ž Silva, Snia lapah, ata , WOMEN PROFESSIONALS (Architect/Engineers/Designers) Barcelona Lola Domènech

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Slovenia entre o Architecture Lublana elsa oa, ele enter urbane ulture ino ia, Lublana Druinsi center Mala ulica, Lublana otel pi, od Martule avni avod Lublansi grad, Lublana: ulturno sredie evropsih vesolsih tehnologi SE, itane Mestni mue Lublana Mue slovensih lmsih igralcev, Divaa Mue a arhiteturo in obliovane MA, Lublana snovna ola Idria, Idria enion aa. eslai center led, led adisson lu laa otel, Lublana Slovenso Mariino narodno svetie, ree Stadion Ludsi vrt, Maribor halasso Spa Lepa ida, Seovle I ostona, ostona rtec idrievo, idrievo avod a port epublie Slovenie lanica, Lublana upnia rana, rana upnia Lublana ia, Ljubljana. Barcelona 1.1 ©SiTI, Mariacristina Forcisi 1.2 ©SiTI, Mariacristina Forcisi . ordi errer and . Libano Studio . L: Source: Estudio arme ins, eanne de ussac : 225 ©SiTI, Mariacristina Forcisi 1.5 ©Josep Losada 1.6 ©SiTI, Mariacristina Forcisi 1.7 ©SiTI, Mariacristina Forcisi

. Espins i arras 2.2 ©Roger Casas . lanca Lle . Adri oula . L: alrie et Agnes Wiipedia : eli nig Wiimedia ommons . SiI, Mariacristina orcisi . ordi ernard . L: source: erisoral.Arcuitectes : os evia . ere Lpe Wiimedia ommons 2.6 source: http://es.letsbonus.com/barcelona/l-observatori- abra-sopars-amb-estrelles----letsbonus- . SiI, Mariacristina orcisi daily- . icardo oll Studio Lisbon 1.1 source: Ana Costa 1.2 L: ©Luisa Ferreira; R: ©Fernando Guerra . source: Embaiada oncept Store . Srgio atumba 1.5 ©Inês Cortesão 226226 1.6 source: CAN RAN 1.7 ©Francisco Nogueira

2.1 ©Fernando Guerra . source: Sistema de Inormao para o atrimnio Aruitetnico . ernando uerra . ernando uerra . oo ardal Monteiro . Marta Almeida Santos . source: eresa unes da onte, aruitectura 2.5 ©Fernando Guerra . aulo Mendona onceio 2.6 ©Fernando Guerra . Daniel Malho 2.7 source: Mário Almeida Pioneer source: ©Keil do Amaral Family Archive; ©Márcia Gomes Paris 1.1 source: Opéra Garnier Restaurant, ©Roland Halbe 1.2 ©Photothèque des Arts Décoratifs, Jean Tholance . hotothue des Arts Dcoratis, ean holance . hotothue des Arts Dcoratis, ean holance 227 1.5 ©Photothèque des Arts Décoratifs, Jean Tholance 1.6 ©SiTI, Marco Cavallero 1.7 source: Matali Crasset; ©SiTI, Marco Cavallero, © JasonW 1.8 L: source: Manuelle Gautrand; R: ©SiTI, Marco Cavallero

2.1 L: ©Ducros- LBDMimages, M. Patacchini; R: ©SiTI, Marco Cavallero 2.2 ©SiTI, Marco Cavallero . SiI, Marco avallero . SiI, Marco avallero . L: source: Manuelle autrand : incent illon . L: SiI, Marco avallero : source: reche Lauin, . L: source: atricia Le ouc : SiI, Marco avallero ©Studio Davar Panah-Sarre Paris . L: SiI, Marco avallero : ean-Marie Monthiers 2.5 ©SiTI, Marco Cavallero . SiI, Marco avallero 2.6 source: Public domain Pioneer source: Public domain Turin 1.1 L: ©POLITO, Annalisa Stella; R: ©Studio Architetti Deabate 1.2 L: ©UIFS ZRC SAZU, Andrea Furlan; R: ©Archivio otograco ondaione orino Musei . Studio Deerrari Architetti . LI, aterina ranchini . L: LI, Annalisa Stella : Studio Derossi Associati . LI, aterina ranchini 1.5 ©POLITO, Annalisa Stella 228228 . LI, aterina ranchini 1.6 ©POLITO, Annalisa Stella . LI, Annalisa Stella 1.7 ©Roberto Tealdi . LI, aterina ranchini 1.8 L: ©Museo Nazionale delle Montagne – CAI Torino; R: ©Emanuela Lavezzo . LI, Annalisa Stella . LI, Annalisa Stella

2.1 ©POLITO, Annalisa Stella . LI, Annalisa Stella 2.2 ©POLITO, Annalisa Stella . L: LI, Annalisa Stella : LI, aterina ranchini . LI, Annalisa Stella Pioneer source: ©Archivio Storico del Politecnico di Torino - ASPoliTo, Fascicoli personali studenti; ©Gino Levi . Marcella isi Montalcini, Memoria di artigiani, Agorà 2.5 Source: Azimut Club Astrattismo in asa, Domus, aterina 2.6 ©POLITO, Caterina Franchini Franchini The Netherlands 1.1 ©Marjan Groot 1.2 ©Marjan Groot . Maran root . SiI, Sabrina Espeleta 1.5 ©SiTI, Sabrina Espeleta 229 1.6 L: ©Marjan Groot; R: ©SiTI, Sabrina Espeleta 1.7 ©SiTI, Sabrina Espeleta 1.8 ©Marjan Groot . L: Martin van ee : ietvelt Schrderarchie, 1.9 ©Marjan Groot Centraal Museum, Utrecht/pictoright . SiI, Sabrina Espeleta . annee osterho . Liesbeth van der ol 2.2 ©SiTI, Sabrina Espeleta . ata ogenboom . oe os . osa te elde . osa te elde . Mecanoo 2.5 ©Rosa te Velde . eanne Deers 2.6 ©Sanderijn Baanders Pioneer source: 2.7 ©A. Baanders ©Het Nieuwe Instituut, Rotterdam; ©Marjan Groot . source: adisson lu laa otel Slovenia . IS SA, elena Serain 1.1 ©UIFS ZRC SAZU, Andrea Furlan . IS SA, elena Serain 1.2 ©UIFS ZRC SAZU, Andrea Furlan . IS SA, elena Serain . Source: pela uhar, la uda . IS SA, elena Serain . IS SA, Andrea urlan . IS SA, elena Serain 1.5 ©UIFS ZRC SAZU, Andrea Furlan Pioneer source: ©MAO; ©UIFS ZRC SAZU, Andrea Furlan; 1.6 ©UIFS ZRC SAZU, Andrea Furlan Daman relove 230230 1.7 ©UIFS ZRC SAZU, Andrea Furlan

. Miran ambi . Miran ambi . IS SA, Andrea urlan Credits for maps . Miran ambi Andrea Furlan and Enrico Eynard 2.5 ©UIFS ZRC SAZU, Simona Kermavnar Sources: Esri, HERE, DeLorme, TomTom, Intermap, increment 2.6 ©UIFS ZRC SAZU, Andrea Furlan P Corp., GEBCO, USGS, FAO, NPS, NRCAN, GeoBase, IGN, 2.7 ©UIFS ZRC SAZU, Andrea Furlan Kadaster NL, Ordnance Survey, Esri Japan, METI, Esri China 2.8 ©UIFS ZRC SAZU, Andrea Furlan (Hong Kong), swisstopo, MapmyIndia, © OpenStreetMap . IS SA, elena Serain contributors, and the GIS User Community 231

CIP - Kataložni zapis o publikaciji Narodna in univerzitetna knjižnica, Ljubljana

72(4) 72-051-055.2

MoMoWo: Women: Architecture & Design Itineraries across Europe / [edited by Sara Levi Sacerdotti, et al.]. - 1st ed. - Ljubljana : Založba ZRC, 2016

ISBN 978-961-254-906-0 1. Levi Sacerdotti, Sara 284877568

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