GLOBAL AWARD FOR SUSTAINABLE ™ 2018

CITÉ DE L’ARCHITECTURE & DU PATRIMOINE Palais de Chaillot - 1, place du Trocadéro & du 11 novembre, Paris 16e The Global Award for Sustainable architecture, urban renewal and academic Architecture™ was founded in 2006 by social responsibility. It defines architecture the architect and professor Jana Revedin. as an agent of empowerment, self- The Global Award Community, which consists development and civic rights. of the 60 contemporary architects from around The Global Award is run by the Cité de the globe who have received the award, l’architecture & du patrimoine Paris and works towards a sustainable architectural is under the patronage of unesco. ethic and fosters research, experimentation and transmission in the fields of sustainable

CONTACTS CITÉ DE L’ARCHITECTURE & DU PATRIMOINE Cultural Development Marie-Hélène Contal, director [email protected]

Press contacts CITÉ Fabien Tison Le Roux 0033 1 58 51 52 85 0033 6 23 76 59 80 [email protected] Caroline Loizel 0033 1 58 51 52 82 0033 6 86 75 11 29 [email protected]

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2 summary

Architecture as an agent of civic empowerment by Marie-Hélène Contal P.4

Award-winners 2018 P.8 BOONSERM PREMTHADA P.8 interview by Marie-Hélène Contal FRÉDÉRIC DRUOT, ANNE LACATON & JEAN-PHILIPPE VASSAL P.16 by Marie-Hélène Contal MARTA MACCAGLIA P.22 by Al Borde NINA MARITZ P.28 by Carin Smuts RAUMLABOR P.34 by Jana Revedin Bibliography & publications P.40 & 41 Founders & patrons P.42 Scientific committee & cultural partners P.44

Cover : « Bathing Culture Project », sauna, Gothenburg, Suède, raumlabor © raumlabor

3 heterogeneity and change and allowing Global Award 2018 : people to re-appropriate spaces.”3 Architecture as an agent But questions are still raised by the international architectural debate: what of civic empowerment could be the relationship between the empowerment of citizens and peak oil par Marie-Hélène Contal or the adaptation to global warming? And what about the architects who are principally builders?

The polemic hypothesis of Bruno Latour The Global Award has been addressing this link between architecture and development Empowerment : the process whereby 1. The United Nations Human since the very start. Award winners from a group of citizens who face the Settlement Programme was created both the South (Carin Smuts, Francis Kéré) in 1978 to improve precarious habitat same development issues acquire the and the West (Patrick Bouchain, Santiago around the world. means to reinforce their ability to act. 2. Joan Clos, Richard Sennett, Ricky Cirugeda) have shown how, within their own Burdett, Saskia Sassen : “Towards an The theme of empowering citizens has theatres of activity, everything is connected: Open City : the Quito papers and become central to the debate about the the ecological crisis, the conditions of the new urban agenda”, UN Habitat 1 access to resources, the feasibility of III Forum, Quito 2016 sustainable city. The UN Habitat Summit solutions, the impact of deregulation on the 3. Ibid. in Quito in 2016 culminated in a written common ground, urban equity... 4.“Wet backs” is the name given manifesto, the Quito Papers, which owes to the Mexican migrants who Since then, the Global Award has observed cross the Rio Bravo in order to its importance as much to its clarity as enter and settle in the USA in a to the quality of its authors. Joan Clos, how architects draw up and share with each process described by Teddy Cruz as Richard Sennett, Ricky Burdett and Saskia other experiments and theories in the field encroachment. Sassen2 employed all of their authority of sustainable development. in asserting that fair and sustainable We have seen Teddy Cruz methodically development is only possible if we analyse the cross-border conurbation of abandon the functionalist urban model Tijuana-San Diego and draw up his theory and restore to citizens the control over of the Political Equator. This suggests that their own habitats and cities. global economic imbalance is creating an urban conflict between the wealthy cities UN Habitat started this shift at its of the North and the precarious cities of Istanbul summit in 1996 where sustainable the South while also connecting them development was recognised as an via the unequal exchange of resources objective and open processes were – the wet-backs4 of Tijuana, for example, favoured over large-scale planning as against the urban waste of San Diego. a means of achieving it. Twenty years We have seen Balkrishna Doshi restore a later the Quito Papers confirm the different paradigm between habitat and obsolescence of Late Functionalism development, anthropological nature, as an alternative to the industrialised housing – the idea that the Fordian standards imported from the West: “habitat isn’t a of industrial development of the 20th product but a process.” century remain valid and applicable to all corners of the globe: “More work is But a precise description of the links needed to complement the New Urban between the ecological crisis, democracy Agenda, helping to mark a paradigm and development is still lacking. We could search for support for this theory in other shift away from the rigidity of the fields: economics, social studies, etc. Or we technocratic, generic modernist model could overcome any difficulties by adopting we have inherited from the Charter of a little absurd reasoning: if it remains Athens towards a more open, malleable difficult to establish causal links we should and incremental urbanism. (…) The new simply note the intensity with which those paradigm requires the embracement of who deny these links do so. a broader time horizon, the concepts of flexibility and resilience, accommodating 4 It seems clear, for example, why the US oil Eco-architecture: a reserved 5. Où atterrir ? Comment s’orienter en politique, Bruno Latour, major Exxon Mobil financed the ACCF, privilege? a leading denier of global warming. And Ed. La Découverte, 2017, Other researchers note similar trans. by R.H. in the megalopolises of the South one developments. An investigation by 6. Laudato Si (Vatican, 2015), the can easily see how gated communities Evan Osnos11 in 2017 records how the encyclical written by an Argentinian are becoming closed, monitored green Pope who is very aware of urban geo-climatic research of Silicon Valley islands while urban deregulation and rising conditions in South America clearly identified New Zealand as apost traces the relationship between inequality are re-establishing the equation apocalypse refuge. Hi-tech tycoons are poverty and ecological disaster. precarious milieux = dangerous classes that following the lead of Reid Hoffman12 and 7. Où atterrir ? Comment s’orienter has been forgotten since the first industrial en politique, Bruno Latour, Peter Thiel13 by acquiring land there that revolution in England. Ed. La Découverte, 2017, they are transforming into self-sufficient trans. by R.H. Until recently, however, this negative ecological havens where they will be able 8. Ibid. analysis was only able to present an to live in the event of a planetary crash – a 9. ‘‘Our way of life is not negociable’’, George Bush Sr, Rio incomplete picture. But, as Bruno Latour crash that they envisage as being more 5 Summit, 1992 writes in an incisive essay , “we must likely to be human (riots, racial division and 10. Où atterrir ? Comment thank Trump for having greatly clarified other problems “created by the decline of s’orienter en politique, Bruno these matters by pushing for withdrawal the democratic system”14…) than ecological. Latour, Ed. La Découverte, 2017, from the Paris Climate Agreement on 1st trans. by R.H. This digression reinforces, albeit gloomily, June 2017. Trump has achieved something 11. Evan Osnos, ‘‘Doomsday prep the hypothesis of a structural link between that neither the militancy of millions of for the super rich’’, The New Yorker, ecological transition, democracy and 30th January 2017 ecologists nor the action of hundreds of development. It also explains certain gaps 12. Co-founder of LinkedIn industrialists achieved and drawn attention in the relationship between architecture, 13. Founder of PayPal to something to which even Pope Frances ecology and society. 14. Evan Osnos, ‘‘Doomsday prep couldn’t draw people’s attention6. Everyone for the super rich’’, The New Yorker, is now aware that the climate question is Latour’s hypothesis – a rapid erosion, 30th January 2017 the key geopolitical issue and that there is a driven from above, of regulations and 15. On Paolo Soleri : Arcosanti: An social relationships – partly explains why Urban Laboratory? Mayer, AZ.: The direct link between this and all injustice and Cosanti Press, 1993 inequality.”7 Europe is witnessing the emergence of excellent ecological architecture without Hence, Trumpism is providing a perfect this having any impact on the numbers countertype. By refusing to sign up to of those in poor housing. Experimental multi-lateral and equitable climate policies, eco-districts only spread their influence by closing frontiers and by fuelling horizontally within society. They are much deregulation, it is making it clear that, in the more successful in promoting ecological eyes of certain governing elites, “migration, change than in improving access to the explosion of inequality and the new habitat because the authorities don’t see climate regime,”8 are all connected and the link due to the fact that the world threatening a way of life that they don’t of self-building slips smoothly into the wish to change9. And that in the face of existing system without questioning its this threat these elites intend to no longer deficiencies. act in the public interest and promote solidarity and progress but, rather, to take This also explains our difficulties with shelter because “there won’t be a future for Masdar City in Abu Dhabi, a complete, everyone.”10 experimental eco-city. One would like to think that the term experimental means This evolution would mark the end of the that this project is the prototype of an (Rooseveltian, Gandhian, social-democratic eco-urbanism that will then be open to all; etc.) ideal of an enlightened elite that feels that the selection of an extreme location responsible for the common good. This (an eco-city in the desert) is picking up the century would be characterised by the lack thread of the research of Paolo Soleri15. of a common world that we can govern and But the truth is that Masdar is a model that share. will not spread far … Horizontally perhaps, across the oligarchic network of survivalist gated communities. Is it the members of these communities who are becoming eco- architecture’s best clients?

5 Latour’s provocative hypothesis clearly to make them happen. Others are 16. In order to discover this Latourian project – a refuge for billionaires demands that architects propose involved in innovation, introducing new created in a recycled missile silo – much more than well-designed eco- elements to old ways of thinking – such see survivalcondo.com. The project architecture. The erosion of the as Lacaton & Vassal and Frédéric Druot, was spearheaded by and common ideal of progress is broadening who seek to “remake society” in France software developer Larry Hall who said that his vision was to build one this mission. by transforming the blocks and towers of the strongest and most self- The architects of the South have already left behind by the state-sponsored sustainable manmade structures of understood this due to the fact that functionalism of the 1970's. Others are all time. they are witnessing this rapid rupture engaged in a self-development that between economic growth and society – is almost entirely sui generis – such a rupture that is principally taking place as Nina Maritz in Namibia and Marta in cities. (The same rupture is occurring Maccaglia in Peru, who work with rare in the North: aggressively in the USA, resources that we must learn to value more smoothly in Europe due to more with communities who know how to use robust urban policy.) But what is the role them. And the community of 2018 award of architecture today? To deliver the winners is completed by Boonserm full range of “green gated communities” Premthada, who works to re-establish, (from the European eco-district, still in the 21st century, a craft-based building mixed and open to exchange, to the economy as a means of ensuring that Survival Condo Project16)? Or to pursue his projects contribute to endogenous the Palladian project of designing development while their beauty revives shared space which Thai culture. is suitable for all? Finally, the jury of this Global Award 2018, placed under the theme of citizen Global Award 2018: architects emancipation through architecture, who have widened their role wanted to salute the work of great The 2018 session of the Global Award pioneers: Yona Friedman, Lucien and presents five teams who have clearly Simone Kroll. chosen their approach: to empower inhabitants as a means of defending or recreating the common ground. A public facility, a residential building, a place of work, a public garden… can build or rebuild this common ground if the process of creating them takes the closest possible account of the local inhabitants and the tangible and intangible resources of their surroundings. These approaches vary because the world itself is highly varied when architects no longer examine it from above but engage with it at the human level. But they all have one thing in common. In order to be able to empower the inhabitants these architects first had to empower themselves, as proposed in the Quito Papers, by rejecting, each in their own way, any notion of vertical and authoritarian design. Some deliver a severe critique of the modernist message – such as the activists of raumlabor who no longer design projects but work alongside citizens

6 The award-winners of the Global Award for Sustainable Architecture since 2007

2007 2013 Françoise-Hélène Jourda, Paris, France José Paulo Dos Santos, Porto, Portugal Wang Shu & Lu Wenyu, Hangzhou, China Ted Flato & David Lake, Lake-Flato, San Antonio, Hermann Kaufmann, Schwarzach, Austria Texas, USA Stefan Behnisch, Stuttgart, Germany Kevin Low, Kuala Lumpur, Malaisia Balkrishna Doshi, Ahmedabad, India Marie Moignot & Xavier De Wil, MDW, , 2008 Al Borde, Quito, Ecuador Alejandro Aravena, Santiago de Chile, Chile Fabrizio Carola, Napoli, Italia 2014 Andrew Freear, Rural Studio, Auburn, Alabama, USA Christopher Alexander, Arundel, United-Kingdom Philippe Samyn, Brussels, Belgium Tatiana Bilbao, Mexico City, Mexico Carin Smuts, Capetown, South Africa Adrian Geuze, West 8, Rotterdam, Nederlands Bernd Gundermann, Auckland, New-Zeland 2009 Martin Rajnis, Prague, Czech Republic Patrick Bouchain, Paris, France Thomas Herzog, München, Allemagne 2015 Bijoy Jain, Bombay, Inde Marco Casagrande, Helsinki, Diébédo Francis Kéré, Berlin, Germany Santiago Cirugeda, Sevilla, Sami Rintala, Bodo, Norway Jan Gehl, Copenhagen, Danmark Juan Roman, Talca, Chile 2010 Rotor, Brussels, Belgum Steve Baer, Albuquerque, New-Mexico, USA Phil Harris & Adrian Welke, Troppo, Darwin, Australia 2016 Junya Ishigami, Tokyo, Japan Patrice Doat, Grenoble, France Giancarlo Mazzanti, Bogota, Colombia Derek van Herden & Steve Kinsler, East Coast Kjetil Thorsen, Snohetta, Oslo, Norway architects, Durban, South Africa Kengo Kuma, Tokyo, Japan 2011 Gion Antoni Caminada, Vrin, Grisons, Switzerland Shlomo Aronson, Jérusalem, Israel Patama Roonrakwit, Case Studio, Bangkok, Thailand Carmen Arrospide Poblete, Patronate Machupicchu, Cuzco, Peru 2017 Teddy Cruz, San Diego, California, USA Takaharu Tezuka + Yui Tezuka, Tokyo, Japan Anna Heringer, Laufen, Switzerland Brian MacKay-Lyons & Talbot Sweetapple, Vatnavinir, Reykjavik, Island Halifax, Canada Assemble, London, United-Kingdom 2012 Sonam Wangchuk, Leh, Laddak, India Salma Samar Damluji, Beyrouth, Lebanon Paulo David, Funchal, Madeira, Portugal Anne Feenstra, Kaboul, Afghanistan, Dehli, India Andreas Gjersten & Yashar Hanstad, TYIN Tegnestue, Oslo, Norway Philippe Madec, Paris, France Suriya Umpansiriratana, Bangkok, Thailand

7 BOONSERM PREMTHADA Founder of Bangkok Project Studio, Bangkok, Thaïland

interview carried out by Marie-Hélène Contal, April 2018

Boonserm Premthada has already society; and they find rational answers to gained recognition in the West. the urgent questions of the climate and He is, for example, a past recipient energy in our built heritage – and this of the International Brick Architecture leads them to revaluate architecture that Prize1, which is highly regarded in was seen as passé in the 20th century. ecological circles. But to present him as So what, then, is the culture of an a young expert in using brick would be to architect? Boonserm Premthada offers underestimate his contribution. the beginning of an answer which One must first understand that, far combines a critical reappraisal of pre- from being a simple eco-material, brick modern architecture3 with the globalised is an age-old, universal architectural information that he receives via the matrix. To devalue brick was to destroy, internet and via interaction (with the even knowingly, a structuring chain of contemporary culture that he creates) production, knowledge and values. and that he sifts through for each project By building with bricks “locally produced as he seeks the right blend. In the and handmade materials which are cheap Global Award one says that the South 2 and strong” , Boonserm Premthada is innovates in technical, typological and seeking to restore an element of Thai urban matters... Another innovation could culture and the Thai economy as well perhaps be geo-cultural: the way in which as enter into dialogue with the beauty Premthada replaces the homogenisation of the sacred and rural architecture of of modernism with a world of archipelagos, his land. each rich in an architecture appropriate And his journey is unique amongst a to its history and geography and, hence, Global Award community very open to the universal. South because he only studied in Thailand – principally Thai architecture – and this is Your works articulate traditional significant. For a characteristic feature of Thai architecture and space with the major architects of the South to date, contemporary design. Did you learn about from Balkrishana Doshi to Francis Kéré, is traditional architecture through study or 1. International Brick Architecture Prize 2014, Vienna. that they have a double culture, original by yourself? 2. Interview of Boonserm and western. One had to visit the West, I learned the basics and the history of Premthada by Marie-Hélène in order to study a modern architecture traditional architecture at school. I was well Contal, April 2018. whose progressivism lent it authority. 3. Let us hope that this doesn’t aware of many rules and patterns and their exclude Wright, Aalto or Kahn They find themselves in sync with values but felt that this was not enough. from the universal librar … globalisation – sometimes more than I supplemented my classroom education But perhaps it’s time for each “mono-cultural” westerners... architect to liberate themself with self-learning to gain more experience. from a historical academic But we can see, through the telescope When I travel I stumble upon many narrative still shaped by the of the Global Award, that they must also modernist ideology and to things, especially the “atmosphere” that choose their own masters in liberate themselves from modernism if establishes the “mood” in each place. My order to open up their own, more it is to survive. For at least two reasons: job is to design the wind, the sound, the intimate, dialogue with their they recognise its obsolescence in the work, when the time is right. smell, the darkness, and the light and to face of the complexity of post-industrial merge these into the unique atmosphere

8 Kantana Film and Animation Institute, Bangkok Project Studio, Nakhon Pathom, Thaïlande, 2011 © dr

of a place. To help people realise the value You don’t claim that your works are 4. The monk and theologian of these things I always design buildings ecologically oriented – but surely they Prayudh Payutto is a leading whose connection with nature is inherent are? intellectual and writer. Part of his work addresses the ethical and not merely something that is displayed For architects, energy conservation, green connections between Buddhism externally. My Thainess is a result of building and environmental protection are and ecological science. experiences gained throughout my life. fundamental responsibilities – alongside Do you have a relationship with any 20th the aesthetic aspect. Nature has given century western masters - Louis Kahn, humans many lessons, warned us about Frank Lloyd Wright - or Laurie Baker? some of our actions. These lessons taught me to create buildings that can coexist I was born and raised in a slum. With with nature and they can teach people such limited means I could only pursue how to adjust to nature to achieve balance. my education in Thailand. At that time the country was going through a severe Did you study the texts of the Thai thinker economic crisis and I had to cancel all and ecologist Prayudh Payutto4 ? my overseas scholarships. But this didn’t Prayudh Payutto teaches us to be deter me and, as a result, my works are like “ascetic” and to “live in moderation” but distilled water: pure, free from the shadow also to welcome progress. This is simply of external influence. As I learn from many the doctrine of Buddhism: that which is architectural masters, through reading, already good is good, but we can develop observing, imagining, I understand the it to make it better. universality and the “paths of architecture.” My own work may be consistent with Many houses designed by anonymous those ideas but I keep adjusting it to suit architects in rural areas teach me about the modern lifestyle. I use construction the perfect coexistence between nature that make construction and buildings. They teach me that we easier and save costs. I use locally can put too much effort into design and produced and handmade materials that manipulation – and that a good result isn’t are cheap and strong. In this way, my guaranteed.

9 works – such as a brick building reinforced handmade bricks and showing young 5. Jareuk Kaljareuk, Chairman of the with steel – help to preserve the traditions architects how well these bricks also suit Kantana Group, and Professor Panadda Thanasathit, President of the Kantana of communities. I like to say that my works existing modern buildings. Institute. embody a sustainability that keeps moving Bricks can be used for much more than 6. The site of Ayutthaya, the ancient capital of Thailand, has Unesco World forward. just repairing historic buildings. The cost of Heritage status. Let’s talk about the Kantana Film Institute: handmade bricks is only slightly more than how did the clients5 select you? other materials. But they last much longer. Fortunately, the owners of Kantana were I was one of several architects invited to more influenced by the ancient wisdom of share their ideas, one of whom would their Thai ancestors rather than the fact Opposite: be selected. My proposal was to design Kantana Film that the cost of materials could be slightly and Animation Institute, Bangkok a place of inspiration and creativity for Project Studio, higher. Nakhon Pathom, Thaïlande, 2011 students. The main material of this calm, © dr one-storey building is handmade bricks, Was it an intellectual challenge for you to chosen to enable the structure to blend confront the materiality of architecture into the vast, flat landscape. This simplicity with the immateriality of teaching – in this contrasts sharply with the learning that case filmmaking? takes place in the Institute and the As a university teacher I understand advanced required in areas that school is a place where students – such as film production or animation. especially film students – spend at least This building represents a modern learning eight hours a day. School must be like their technology that can live with nature. second home, a place that inspires them What about your proposal to build with and reminds them of the place they come bricks produced on the site? from while also teaching them to think of less fortunate people. I designed this I didn’t specifically recommend any institute thinking of these principles, and factories but I did have an exact believe that the Kantana Institute is a fully- specification. The size of a brick had to be fledged filmmaking school. Some students 12x24x4 cm and it had to be handmade, noticed the fingerprints of the brickmakers shaped and compressed by human hands on the bricks which made them think of and feet. Machine-made bricks were not biographical movies. And the building acceptable. is also a refuge for small animals during This size of brick is rarely used today. As storms. expected, the selected brick factory was in Ayutthaya, a city where people have You conduct experiments, you demolish been making handmade bricks since on your sites. From the Western ancient times and where all the ancient perspective such freedom is incredible. ruins6 were made of bricks of this size. How is it possible in terms of “time and Many generations of brickmakers have money”? been born and raised in the brick factories Even though I work without many of the and passed down their knowledge of legal constraints found in more developed handmade bricks. In short, we chose and countries my responsibility for everything hired the factory that best suited the I do is no less than that of architects in project. In addition to this, the community Europe. If the building has problems I of brickmakers continues to get smaller can be legally punished like architects in and it was important to us that they should other countries. If the building is delayed receive a reasonable wage to support their because of my design, I can be sued by the families and livelihood. project owner. This wasn’t just an economic necessity… In Europe, architects face many construction restrictions. In my country, The Kantana Institute could have been I face the issue of low-skilled labour so I made out of other materials and still look have to think of simple ways to construct beautiful. However, I explained to the a building. I face economic constraints, owner the value of what would happen if like a low budget, so I have to turn to local we used brick as a material as well as what materials as a solution. We often can’t find would disappear if we didn’t start using 10 11 contractors and are short of people. designed develop problems, no matter 7. The professional organisation the Architects Regional Council Over the past five years young European how old they are, I am still here and ready Asia provides funds for architects to fix everything. And I will also pass on in Asian countries who propose architects have come to Southeast Asia, research topics that cover their in particular to Thailand, perhaps because my experience to the next generation of own interests. our country is developing. Possibly due to architects. Europe's economic problems these young You also work as an artist. What architects come here to find jobs or the relationship do you feel between those freedom to build architectural creations creative activities? using theories they learned in class. Then, I use innovation as a link between at some point, they can return home. architecture, art, engineering and the I, on the other hand, am a Thai architect environment. The Kantana Project, for Below and opposite: who will live in this country until the end Inside view of the bar The Wine example, is an innovative creation that uses Ayutthaya, Bangkok Project Studio, of my life and be responsible for all the Ayutthaya, Thaïlande, 2017 silence to stimulate creativity amongst © Spaceshift Studio buildings I design. If the buildings I have students. The Wine Ayutthaya Project turns staircases into an innovative art form, changing their recurrent spiral patterns into sculpture and structural engineering. The Elephant Stadium uses soil as the material for the indoor amphitheatre. I have given a name – “totality design” – to innovation that results from combining all these things for the greatest benefit. In which context do you pursue your research on the “Sound Brick”? Sound Brick is funded by ARCASIA7. This research, which is looking at brick architecture in Thailand and its sounds, aims to study the shape, space, dimensions and proportions of brick constructions that create sound in different ways. This has never been studied before. We have discovered that most brick buildings are closed and stuffy, forcing us to use less vision and more hearing. Once inside, however, we hear things differently according to the shape and size of the room, the height of the wall or ceiling and the openings in the roof. What kind of ethical rules do you hand on to your students? I always quote my professor, Silpa Bhirasri, who said that “you have to study human nature before studying art.” I always tell my students that an architect is an ordinary person who designs buildings for ordinary people to use. Always be realistic, be true and keep your feet on the ground. In my opinion good architecture doesn’t have to be greater than human beings, but it must be something that makes people learn, be aware of human nature and be generous to society and the environment.

12 13 14 Boonserm Premthada, born in Bangkok, Thailand, was awarded a first-class degree in beaux arts (interior design) in 1988 and a master’s in architecture from the University of Chulalongkorn in 2002. He established the office Bangkok Project Studio in 2003. An architect and artist, Boonserm Premthada is also an assistant professor in the Faculty of Architecture of the University of Chulalongkorn. Among his recent lectures: RIBA, London; École polytechnique fédérale de Lausanne; Indian Institute of Architects; University of Tokyo; University of Hong Kong; National University of Singapore ... Among his awards: 2011 ar + d Awards for Emerging Architecture, England ; nomination for the Aga Khan Opposite: Kantana Film Architecture Prize, 2013; International and Animation Institute, Bangkok Project Studio, Brick Architecture Prize, 2014, Vienna. Nakhon Pathom, Thaïlande, 2011 © dr Below: Vue extérieure The Wine Ayutthaya, Bangkok Project Studio, Ayutthaya, Thaïlande, 2017 © Spaceshift Studio

15 FRÉDÉRIC DRUOT, ANNE LACATON & JEAN-PHILIPPE VASSAL Paris, France

by Marie-Hélène Contal

“Large-scale collective housing” “I jumped in with an alternative, global, colonised the globe as one of the first diagnosis. Such a demolition means products of urban globalisation. hundreds of people leaving the district, Its remit was particularly progressive facilities and shops emptying overnight… I in France where housing was seen as a tried everyone, prefecture, town hall, but tool of social mobility. But this heavily no one reacted apart from Anne Lacaton industrialised and standardised model and Jean-Philippe Vassal.”3 The block is appears to have then failed - more than demolished but the architects continue to elsewhere - under its own weight and exchange ideas as each follows their own inflexibility. Today’s preference is to path. demolish wherever possible. Lacaton & Vassal reawaken the debate But Anne Lacaton, Jean-Philippe Vassal of the 1990’s with a series of low-budget and Frédéric Druot object, arguing that houses that abandon, among other things, this also destroys housing’s empowering the mantra of minimum habitat. Their role. Rather than yet another tabula project for the Cité-Manifeste in Mulhouse rasa they propose the twin approach of in 2004 makes the same statement about 1. Jacques Hondelatte (1942-2002), reawakening modernity and accepting social housing: “We must do it bigger, and French architect, professor at the École d'architecture et de paysage the city as it is. more economically.” de Bordeaux (1969- 2002), did much to awaken the conscience of architec- Anne Lacaton, Jean-Philippe Vassal and In the case of large-scale housing the ture in France through his pupils: Frédéric Druot studied together under widespread technique of dynamiting Lacaton & Vassal, Frédéric Druot, 1 Christophe Hutin, Duncan Lewis… Jacques Hondelatte . Lacaton and becomes public policy in 2003: démolition- and his friends: Jean Nouvel, Patrice Vassal’s approach is recognised globally. reconstruction5. Frédéric Druot warns Goulet, Rudy Riciotti. Shaped by their early years in Africa2, 2. “Dealing with situations, with few the Minister of Culture Jean-Jacques resources. What do you do? You take this is a process, based on an analysis of Aillagon: “So much demolition is an a look around…’’ A. Lacaton & J.P. Vassal interviewed by situations and resources. Frédéric Druot, aberration, there are alternatives...” He is M.H. Contal, March 2018. on the other hand, favours free figures commissioned for a study that he carries 3. Frédéric Druot interviewed by that transcend disciplines: design, music, M.H. Contal, March 2018. out with Anne and Jean-Philippe. Their 4. Id: “On our return we wanted to be urbanism, architecture and research – report, PLUS, is presented in 2004. architects for everyone, in a normal often taking the liberty of addressing economy and ecology.” contemporary urban situations ‘without 5. The “Law of Orientation and Programming for the City and Urban a commission’. Their reflection and Renovation” of 2003 created ANRU, experiments gradually reunite them the National Urban Renovation Agency, whose task was to destroy around the issue of habitat. 200,000 homes, “residentialise” 400,000, upgrade 200,000. Their dialogue begins in Bordeaux in 1995 when Druot learns of plans to demolish the Cité lumineuse, a block of 360 apartments.

16 “It’s about never demolishing.” its residents! Our report altered the status 6. PLUS, F. Druot, A. Lacaton & of these apartments from that of heritage, J.P. Vassal, in French/Spanish/English, The report fell on deaf ears at the Ministry 40 Editions GG, 2006. of Urban Affairs but circulated amongst outdated or not, to that of a capable public 41 7. A. Lacaton & J.P. Vassal interviewed good.”8 by M.H. Contal, March 2018. public and civic authorities and the world 6 8. F. Druot interviewed by M.H. Contal, of housing . The proposition, cultural, social, urban … March 2018. It rejects demolition/reconstruction. is complex. Perhaps because its authors, 9. A. Lacaton & J.P. Vassal interviewed by M.H. Contal, March 2018. “The idea that refurbishment costs more is approaching fifty, span two generations not a truth but a dominant ideology. of thinking: they still have empathy for No social housing provider wants to a modern heritage that they criticise in demolish! In La Courneuve, for example, order to improve it and they are already refurbishing the tower Balzac instead practicing contemporary urban ecology. of demolishing it would have cost 50 or Empathy for the modern message that 60,000€/housing instead of 180,000 to these districts could embody: “They have Above: 7 9 The interior life in the renovated and demolish and rebuild.” great deficiencies but these aren’t fatal.” enlarged apartments of the Grand Parc in Bordeaux. Photographs and The text also criticises a ‘heritage cult’ that The main one is the small scale and rigidity composition Philippe Ruault. preserves a few fine specimens of modern of the modules. “The plan libre condensed © Philippe Ruault architecture and allows the remaining the functions in a minimal block in order districts to be demolished regardless of to surround this with space, light, fluidity. the fate of the residents: “We’re protecting We’re attached to this vision – that of this heritage as a public good, capable of Le Corbusier and the Immeuble-Villa. everything, for everyone. The criteria for preservation shouldn’t be the building but

17 In large-scale housing schemes we have sharing their principles, they adapt the 10. F. Druot interviewed by built the block and forgot the space…” strategy to the situation – three banal M.H. Contal, March 2018. 11. Created in 1920 Aquitanis is the They see other flaws or problems as concrete blocks. The south-oriented public housing office of metropolitan advantages. This system-built architecture interiors are enlarged by extensions of Bordeaux. offers solid structures and constructional floors in front of the facades, gaining 12. “The residents put up very well with the intervention. This has a lot to systems that can be exploited as one light, a breathtaking view of the city and do with the commitment of the teams, the workers who entered their homes. improves them. space to use. The creation of these winter I remember Mrs Ramos, an extraordi- This empathy is backed up by the vision gardens, climatic zones, makes it possible nary woman who said: “The time is my friend. It follows me everywhere.” of architects who recognised earlier to achieve, by space, optimal energy than others that the 21st century city performances. The stack of enclosed is no longer the Fordian new rational terraces is backed to the façade like a city but an existing inhabited milieu, a concrete meccano. Thanks to meticulous palimpsest, each element of which is to organisation the residents remain in be weighed up and used. “Large-scale their homes because the final internal housing schemes are there, they’re part intervention (cutting open the old façade, of the situation. When we look around in fixing the new large glazed bay) only takes search of resources we see them, available, three days.12 recyclable. Our approach is to extract the “Let’s release the space of the apartment, qualities of the existing, free of ideology, give it back its fluidity, light, habitability: in order to create more comfort, light, the the public space will benefit.” broader view.” This approach represents a critical Two manifesto projects continuity with a modernist generosity The manifesto PLUS makes waves. In 2006, that was betrayed by the world of social Opposite: The restructuring and extension the social housing provider Paris Habitat housing. It also breaks with inherited process of the Bois le Prêtre tower, methods that, given their rigidity, frustrate Paris, Lacaton&Vassal, Frédéric Druot. launches a competition with a surprising © Photographies Frédéric Druot title: Metamorphosis of the Bois-Le- innovation. Prêtre tower. Thermal refurbishment as a This refusal to demolish is the greatest cover for the search for an alternative to break with the past. The architects demolition. attribute this to their adoption of “We won the competition with a proposal situations, of resources. It also reveals to insulate and refurbish the tower by a change in the relationship with adding a space to each apartment.”10 time. “Bernard Blanc consulted us in The remodelled interiors extend onto 2004 about Petit Maroc, a poor and loggias; “virgin spaces” that act as thermal somewhat heterogeneous district that buffers. Each apartment is studied was earmarked for demolition. But one together with its residents. They express would need 40 years to recreate such their wishes, the architects their objectives urban fabric! We proposed to preserve it, (light, more space), a worksheet combines enlarge it by adding apartments.” the two. “A huge board covered with these The fact that the architects are worksheets managed the entire process, abandoning the belief, 100 years after the from the programming to the work.” The plan Voisin, that the immediacy of the commitment of the residents and teams tabula rasa can replace time is a positive makes it possible to work while the tower theoretical break. remains occupied. Upon completion The idea of an extra space rejects the the refurbishment reopens the debate, myth of minimum habitat. “No one dreams proving that refurbishment costs less and of living in a minimum! We increase areas adds more. in order to recreate habitability. To achieve In 2011 the director of Aquitanis11, Bernard this at any budget one has to leave the Blanc, asks the architects to refurbish totally imprecise logic of the price per m2 3 housings in la Cité du Grand-Parc in and stop thinking that space=function.” Bordeaux, they have won the competition The architects replace this equation with of, using the same principle. Joined by the notion of appropriability. “Presented Christophe Hutin, a young architect with large-scale housing, free spaces, 18 19 transparent façades, the residents occupy Anne Lacaton and Jean-Philippe Vassal 13. Joan Clos, Richard Sennett, Ricky Burdett, Saskia Sassen: “Towards an it, obscure the façade as they wish: They graduated from the École d'architecture Open City: the Quito papers and the don’t need us any longer. In a functional de Bordeaux in 1980 and established the new urban agenda”, UN Habitat III Forum, Quito 2016. space they can’t do anything.” office Lacaton & Vassal in 1987 after their 14. F. Druot interviewed by This equation of empowerment=free first experience in Niger and in Bordeaux M.H. Contal, March 2018. with Jacques Hondelatte. Principal 15. A. Lacaton & J.Ph. Vassal space represents a deep break with the interviewed by M.H. Contal, modernist project that associated progress projects: Maisons Latapie, Cap-Ferret, March 2018. with standardised habitat. The irony of Coutras, 1993-2000; transformation 16. 2016 PLUS + PARIS, F. Druot, A. Lacaton & J.Ph. Vassal, 2016. history is that the break was demonstrated of the Palais de Tokyo in Paris, 2001; in large-scale housing schemes in Paris and Cité Manifeste, Mulhouse, 2005; École Bordeaux that had been designed with d'architecture de Nantes, 2009; FRAC all “the rigidity of the generic modernist Nord-Pas-de-Calais, 2013. Amongst their technocratic model.”13 awards: Albums de la jeune architecture, 1991; Prize for Innovation, Habitat and The Grand-Parc approach has still Sustainable Development of the City spread very little in France. This could be of Madrid, 2006, Grand prix national de down to the otherness of the process: l'architecture, 2008. “Refurbishment requires a different time Frédéric Druot, graduated from the management.”14 But at least a little less is being demolished. “One demolishes a École d'architecture de Bordeaux in 1984 and is an architect, designer and painter. Opposite: half to in order to free up, open a door. Social housing, Mulhouse, An associate at Épinard Bleu, 1987-1990, Lacaton&Vassal, 2005. We address districts thinking more about © Photographs Philippe Ruault urbanism than habitability. The world of and award-winner, Albums de la jeune housing would benefit from understanding Architecture, 1990, he established the that it has created a huge, available office Frédéric Druot Architecture in 1991. heritage that could be developed in a Principal projects: offices of the Ministry realistic manner.”15 of Culture, Paris, with Francis Soler, 2006; public reception areas, Château Lacaton and Vassal are using new projects de Versailles, 2010; restaurant of the to pursue their research on building the Philarmonie de Paris, 2015; transformation Immeuble-Villa, “in a normal economy and of the Hôpital Laennec for the ecology.” Completed in 2015 the Neppert headquarters of Kering and Balenciaga, apartment building in Mulhouse, together Paris, 2016. with its gardens, is getting close. The three architects were jointly In 2008, the competition for a Greater responsible for the transformation of Paris launched by Nicolas Sarkozy gives Bois-le-Prêtre Tower, Equerre d’argent Frédéric Druot the idea of drawing up a 2011, and the regeneration of the Grand detailed inventory of large-scale housing Parc district in Bordeaux, 2016. in and around Paris16. Carried out with his research partners, the study delivers Lacaton and Druot teach at EPFL, precise figures “on 1648 urban situations Lausanne and Vassal at Berlin University and their ability to refurbishment and of Technology. densifications: those publicly owned lands already have an infrastructure and contains 430,000 apartments. We could add 135,000 newly built apartments without demolishing anything, simply by using what’s already there.”

20

MARTA MACCAGLIA Founder of Association Semillas, Perene, Peru

by Al Borde, architects, Quito, Ecuador, Award-winner of the Global Award for Sustainable Architecture 2013

Journeying on the bus for more than Be happy in the attempt twelve hours to reach the jungle, Marta was to travel to Huaycán, in the continuing with a 4x4 on rough roads for district of Ate in Lima, far from the centre three more hours in order to get to the of the capital, to collaborate with a school. site… It can’t be easy to advance projects But when she arrived she discovered in adverse conditions, work in territories that there was no school! The people in nobody knows, arrive in an unfamiliar charge of the project were very happy country and – at the same time – about her presence because having establish what is now one of most famous an architect in the team would make it cooperative and social development possible to construct the long-awaited organisations in Peru. building. This was a huge shock to her, Marta Maccaglia (1983) is Italian and as it would have been to anyone in her graduated in architecture from position, but such is life and she arrived La Sapienza University in Rome before in a place where her knowledge could specialising in museology. She spent the lead to great change. Regardless of first years of her professional life in a how helpless Marta could have felt in a 1. CPS: Comunità Promozione Sviluppo traditional way in architectural offices in situation like this, the important thing for (Community Promotion Development) and Spain before travelling to Peru in her was to move forward and feel her way 2. In spanish: ‘‘meter las manos al fuego’’ (to put your hands to the fire) 2011 as a civil representative of the Italian towards a solution on a day-to-day basis. Foreign Affairs Ministry. Her mission was Finding such a path wouldn’t be easy for to work for one year as a volunteer with any architecture graduate anywhere in the the NGO CPS1. All of this sounds like the world because traditional schools don’t typical journey of a young person who prepare them to face reality. wants to discover the ´third world´ and The big lesson that Marta teaches us and thereby discover themselves. Usually, which she had to learn herself in this year this is a period when someone gets to is that you can’t be indifferent towards know a different reality and receives a the reality surrounding you. Whether bit of a shock therapy due to the poverty you are local or foreign, you have to put and inequality before returning to their your hands to the wheel2 and make things ‘normal’ life. But this was a different happen. It’s both intense and fascinating to experience, characterised by a level of hear her stories of how she had to prepare responsibility and exigency that, in every herself to take responsibility for the design way, surpasses the expected and the and construction of the school. In her established. descriptions one can sense the stress and anxiety she experienced in those moments but also the sense of freedom that she gained from giving her all, doing what she could, doing her best. The exchange lasted one year. At the time she was obviously focussed on the immense challenge facing her. It wasn’t part of her plan that

22 Above and below: the Escuela Infantil “Wawa Wasi” would love with Peru and this love was a mix Multifunctional classroom, Marta Maccaglia and Paulo Afonso, become an icon of community unity or that between the first love and an impossible Mazaronkiari, Satipo, Peru, 2014 © dr it would establish an association working in love. The first love is innocent and naive, cooperative projects. it accepts and forgives everything. Peru is a tough country, extremely polarised An experience like this would change and this social divide is increasing as its anyone’s life and in the case of Marta it also economy grows; the centralisation of the changed the lives of others. Her personal capital exacerbating the poverty in the and professional growth was exponential suburbs, not to mention the abandonment and she met people with whom she of the countryside by the state. Without a continued to look for collaborative doubt it is a region that requires projects pathways along which her work could focussed on local development and social multiply. Without realising it, she fell in innovation. This is where the impossible love begins: understanding where to begin when everything is an urgent priority. And the path continues Marta’s story is a tale about how to live from day to day, slowly establish the reality, understand how to operate, create a work methodology and do so in an economically sustainable way. To get to what we know today as Semillas, Marta began in 2013 to plan the ambitious project which is now known as Escuela de Chuquibambilla, a school for 200 children from an indigenous community in the Peruvian jungle. As well as the impact that a facility of this quality

23 has had on the community, the project which, in its most functional sense, doesn’t has also led to a small revolution in the constitute anything extraordinary, leads perception of materials due to the fact to an extraordinary result which is not that the school is built from local materials pretentious because it is born of a true which are perceived as the materials of need and because it is honest. the poor. This common sense solution of For any non-Peruvian as well as for many using what was at hand led the community locals, the work of Semillas represents and all the people involved to realise that a discovery of the jungle, putting on the materials are not bad or good per se but map a region that is usually forgotten or that it depends on the manner in which solely seen as a source of minerals and oil. they are used. It opens the debate about the importance Such work by Semillas as the Escuela of both high-quality educational facilities Primaria en Jerusalén de Miñaro, in all regions and cultural values in the Escuela Secundaria en Santa Elena, and development of a project. For Marta, Aula Multifuncional en Mazaronkiari is talking about the jungle is like talking about notable for its constant high quality and her home. She describes it as ‘many worlds sense of space. Another constant is the in one, full of friendly people from whom recognition of the value of local resources I’ve learned a lot,’ and this connection with and the knowledge that comes from the people there has consolidated and common sense and participation. This grown with every passing year. One stays is not science but intuition mixed with where one wants and is wanted and one intelligence and a desire to understand stays where one listens and is listened to. the materials and human resources that At the moment Semillas primarily operates are available and to bring everything in the jungle but their work could easily together with the required sensitivity to be transferred to all corners of Peru and,

Below: the context in which the project operates. indeed, to any part of the world, because School, Marta Maccaglia, Paulo Afonso, It is wonderful to see how, in the work of it consists of uniting strengths and Bosch Arquitectos, Chuquibambilla, Peru, 2013 © dr Semillas, a primary need such as education constructing common dreams.

24 Adjacent: School, Marta Maccaglia, Paulo Afonso, Bosch Arquitectos, Chuquibambilla, Peru, 2013 © dr Below: École, Marta Maccaglia, Santa Elena, schéma d'adaptation du programme au site.

A question of DNA In order to work with anyone we consider Based not on a scientific foundation but it essential to be able to tune in with rather an emotional viewpoint, we believe them, and it appears that we share the that there is something in every person, same gene with Marta. This might sound an internal spark, which is always there. superficial, but it refers to a digression that Of course, sometimes the place or the we have taken for a number of years. What people around you contribute to making would have happened if we hadn’t studied processes dynamic but without that DNA architecture? What would have happened nothing can happen. How many volunteers if we had been born in a different city or travel every year to the ‘third world’ and a different country? If, instead of landing then, at the end of their journey, return to in Lima, Marta had landed in Stockholm swell the ranks of the traditional market or Johannesburg? In the end her desire system? to do things for the common good in the profession or the region would have We can identify with the path that Marta touched her or chosen her. has followed in her professional life in Peru. At the beginning we didn’t focus on In the past year we had the opportunity thinking where we were going, we just to meet Marta in the context of the kept doing things and by doing we learned complex world of academia as we looked the market and got to know each other. to work in real environments which We move forward through motivation and resolve true needs. UCAL*3 invited us to common sense, understanding whom we Lima to lead a Studio about Participative feel comfortable working with, the circles Design and Construction in Marginalised we want to be present in and where our Neighbourhoods which sought to remove work is meaningful. the students from their comfort zone and confront them with a side of society that is far from them and at times unknown. The invitation required the presence of a local partner and we invited Marta. This decision was natural, not only because of the empathy we have for her work and

25 26 her way of being but also because we talk Marta Maccaglia (1983, Italy) has a degree 3. Universidad de Ciencias y Artes de América Latina. the same language: architecture as a tool in architecture from the University of of transformation, projects which support La Sapienza in Rome with a specialty in community empowerment and place a museology. She began her career in 2009, value in local materials and techniques and collaborating with architecture offices learning on-site. in Italy, Spain, and Peru, including OAB with Carlos Ferrater. Since 2011, she has We do not believe that Marta will change worked in Peru with a variety of NGO’s. the world, nor do we believe that that is She co-founded AMA architecture in her ambition. But what we clearly believe 2013, to construct schools in the Peruvian after working with her as teachers and rainforest. In 2014, she founded the getting to know her work with Semillas is NGO “Semillas” for which she currently that she reinvents her life every day, that serves as director. The Secondary School she is able transfer this freedom to the in Chuquibambilla was a finalist for the people around her and, above all, that she Oscar Niemeyer prize, 2016, and 2nd prize is happy doing so. in the 2014 Pan-American Architecture Biennial of Quito (BAQ) worldwide contest on Social Habitat and Dvlpt. The Classroom in Mazaronkiari was a finalist in the Ibero-American Architecture Urbanism Biennial, 2016. Semillas has been named to Curry Stone Design Prize’s Social Design Circle 2017.

Left page: Multifunctional classroom, Marta Maccaglia and Paulo Afonso, Mazaronkiari, Satipo, Peru, 2014 © dr Adjacent: Primary school, Marta Maccaglia, Jerusalén de Miñaro, province de Satipo, Pérou, 2016-2017 © dr NINA MARITZ Fondatrice de Nina Maritz Architects Windhoek, Namibie

by Carin Smuts, architect, founder of CS Studio, Captown, South Africa, Award-winner of the Global Award for Sustainable Architecture 2008

After Francis Kéré, Fabrizio Carola, Carin she was influenced by such architects Smuts and East Coast Architects, Africa as Mike Playdon, Vivienne Japha, Jan has once again been recognised as a Nauta and Roelof Uytenbogaardt, all scene in which scarcity breeds invention, of whom placed an emphasis on strong this time in the shape of the Namibian contextual responses, both socio-political architect Nina Maritz. Namibia, which and environmental. They tended to favour became independent in 1990, has a pragmatism and adaptability over the troubled history marked by apartheid. “grand gesture” of the object building. The country suffers from deep social Between 1991 and 1992 she worked with inequalities and the tourism boom Julian Cooke on the upgrading of hostels doesn’t alter the fact that one has to be for single males in the townships of Cape able to survive in a semi-arid climate. In Town into single family units2. This work establishing her office in 1998 Nina Maritz increased her awareness of the process of wanted to make a clear contribution to participation when working with people. the creation of a Namibian architecture She returned to Namibia and its semi- that is capable of accompanying the desert and desert environment, opening collective narrative of a country which her own practice in March 1998. is both very old and very new: “is there “Appropriate indigeneous landscape sustainability in the future, are we future- design is thus integral to our approach”3 proof, are we being resolute.”1 The philosophy of Nina Maritz Architects Nina Maritz was born in Pretoria, South can be expressed by the Navajo/Diné Africa in 1967. Her parents are both concept of “hozho”, i.e. environmental architects and the rest of the family artists. beauty, the happiness that one experiences She describes her family as eccentric and from being in harmony with nature. creative. Her great-grandmother, Lizzy, Architecture can only be complete when married Oscar Niemeyer’s nephew. Her it works well – true beauty comes from a grandparents lived on farms. combination of the pragmatic, the aesthetic When Nina was five years’ old her parents and the sustainable. moved to Port Elizabeth in the Eastern Nina Maritz Architects attempt to make Cape to teach in the Architecture Faculty. buildings and places with meaning, which Her earliest influences included the not only contain activities but also express architectural excursions that she undertook their time and place. As a result they shape with her parents during which she became beneficial environments which add to, intrigued with space and form as well as rather than detract from, people’s lives. 1. Interview Nina Maritz, 99fm podcast : the interaction between inside and outside. Namibian design that is static and active. They try to create serenity and exterior- 2. Western Cape Hostel Dwellers This remains a strong component in her interior spaces in which people feel Association Projects. work today. 3. Nina Maritz, Practice Philosophy, comfortable and creative. The firm wants ninamaritzarchitects.com She decided to study architecture at to broaden people’s awareness of beauty the University of Cape Town (1985-1991) so that they experience their surroundings which is where I first met her. Her parents with heightened perception – and this had moved to Namibia, her father’s includes a deeper appreciation of nature. homeland, in 1986. During her studies

28 Over time, Nina Maritz Architects The Habitat Resource and Development have principally become known for Centre, in Windhoek, is a good example. environmentally sustainable design. This centre for research into the design This is a result of their interest in the and construction of sustainable housing environmental role of buildings and was built in two phases between 2005 people in society. It includes not only the and 2008. Nina Maritz won the design design and construction of low embodied competition by proposing that the centre energy, appropriate green buildings, but itself should be a research process also the integration of these into the local which she then used for an extensive environmental and socio-cultural context. investigation into and demonstration The reuse and refurbishment of existing of the materials and technologies which structures are essential strategies in are available and appropriate in Namibia. sustainable design and this can be seen For her, “appropriate” combines factors in many projects. Such projects also often such as low embodied energy, local offer the opportunity to develop details manufacture (as a means of boosting that use standard, easily available materials employment) and the need for low to to create innovative effects which medium skills. combine appropriateness with impact. The building is designed as a collage of Frugal design visually manifests itself in different elements grouped together small details that enhance the sensory around the features of the natural experience of architecture. Broadening landscape, a dry riverbed and a sloping this into industrial and product design has hillside. Its features include a variety of become part of their overall approach. forms and, especially, types of roofing The practice focusses on producing structures as a means of investigating what environmentally sustainable environments. people can do for themselves, even with They appear to have emerged from the found materials. The team spent a lot of ground or the environment, a feature time searching for second-hand and waste derived from Nina Maritz’s ability to materials which were then incorporated assess the landscape and carefully place into the design. This meant that the design the buildings. The spatial arrangements had to be inherently flexible in order to be able to accommodate last-minute changes Below: respond to the semi-desert and desert Habitat resource and development as new objects or materials were found. centre, Windhoek climate of Namibia. © Nina Maritz 4. Such as the Shack Dwellers Foundation of Namibia. 5. Interview Nina Maritz, FM 99 podcast: Nambian Design that is static and active. 6. by Millennium Challenge Account Namibia.

Above and on the right page: The design is passive, with the exception Nina Maritz was commissioned6 in 2013 to Exterior and interior views of the Twylfelfontein Visitor Centre, 2003 of two cooling features. There is a strong design a programme of Regional Study and © Nina Maritz indoor-outdoor relationship, with interstitial Resource Centres : three multi-purpose outdoor spaces designed for such activities regional libraries located in three different as gatherings of community groups.4 cities and regions: Gobabis, Helao Nafidi and Oshakati. Completed in 2016 the “Everybody’s live, in a way, are theatre, centres were built using similar modular architecture provides the setting”5 elements which were differently organised Twyfelfontein is a World Heritage Rock around courtyards in line with the specific Art Site in Erongo Region. Completed in orientation of the sites of the three 2006, the Twyfelfontein Visitors’ Centre is a different buildings in three regions. cement-free building which uses a narrow The design emphasises passive solar palette of materials. It is also fully reversible design with 90% of the power being and conceptualised around the symbolism provided by solar PV. The public space of the rock art while also blending in with takes the form of perimeter courtyards and the environment so successfully that it relatively raw, unfinished materials are used almost disappears. with coloured elements giving each centre The design used 44 gallon drums cut into a regional identity. The main internal space segments as roof tiles and stone gabions of each centre is a double-height volume for walls. Despite being largely open to with an open mezzanine which introduces the exterior the building is exceptionally the notion of spatial flow to communities cool due to the storage qualities of the who have only been exposed to small gabion walls and the curved roof which single-storey structures. The centres are conducts heat outwards. The architects also highly flexible with most spaces able also designed the low-tech interpretative to accommodate a variety of activities and display. The building has no power. Water events. is trucked in occasionally to fill a small tank Fun elements designed to encourage and the toilets are waterless composting interactions between visitors include a toilets. This is a perfect solution for the ramp connecting the ground and first Namibian desert environment. The idea floors and a brightly painted wall with a of a cement-free building is a particularly scattering of box windows which also acts important example for drought- as winter heat trap due to its large north- stricken Southern Africa. The building facing windows. demonstrates a cleverness which results 30 from the local conditions.

design. The buildings appear to be at one with nature. This relationship with the landscape encourages an awareness of and appreciation for the natural environment. Each of the projects has a strong contextual response and is respectful of the local landscape, society, culture and budgets. The designs respond to the existing features, slope, orientation, water- courses, vegetation, existing structure, footpaths, etc. The buildings work well functionally: Nina Maritz believes that, given the scarcity of resources in the environment in which they build, wasting these on useless features is a crime. There is an inherent flexibility in her work which permits constant changes of use without reconstruction. By further optimising indoor-outdoor relationships and creating extensive outdoor space for activities, value is added without inflating costs. Local materials such as the invasive timber prosopis, etc, are used, despite resistance from the construction industry. The construction is low-tech in order to maximise the use of local skills, which 7. Nina Maritz, Practice Philosophy, tend to be neither highly developed nor ninamaritzarchitects.com “Given the socio-economic challenges complex. facing Namibia, we pursue appropriate The work is place-specific, the balance community development where we can” between local materials, details and space- The Habitat Centre and Twyfelfontein making is sensitive and responds to the are good examples of Nina Maritz’s surroundings. The involvement of the users design process. The creative use of local in the process is always present and leads materials shows her philosophy and style in to appropriate solutions. transforming found objects into a creative 32 Above: What I personally enjoy and admire about Born in 1967, Nina Maritz graduated Regional study & ressource centre of Oshakati © Christine Skowski Nina’s body of work is the fact that the from the UCT School of Architecture architecture is continuously evolving (1985-1991) and started her own practice and always the product of collective in Windhoek 1998. She is a Trustee of effort. The constant research into locally- the Green Building Council of Namibia, Left page: Regional study & ressource centre found materials which are then detailed active in the community pressure group of Gobabis © Maryke Maree in such a way to produce creative Save Water Namibia, the certification Regional study & ressource centre of Helao Nafidi © Christine Skowski solutions is excellently exemplified by the programme Eco-Awards Namibia for Twyfelfontein project. The work is sensitive sustainable tourism and the NGO to the socio-economic conditions and the Greenspace Namibia. She is member of practice pursues appropriate community the Namibia Environment and Wildlife development. The keen interest in Society and the Namibia Forum for Urban indigenous nature, more specifically Design. Nina Maritz has lectured in the plant life, as a habitat is integral to the USA, Europe, India, Uganda, Kenya, design approach. The links between the Nigeria, South Africa, China, Finland people, the place and the detail are always and Sweden. She actively supports the appropriate and sensitive. new Department of Architecture and In an interview earlier this year Nina Maritz Spatial Planning of Namibia University of explained her difficulties in obtaining Technology and does pro bono work on funding for most of her community work sustainable tourism, green urban open due to the fact that Namibian Government spaces and craft development. spending has been put on hold. She works with extremely poor communities who require school structures and yet there is no funding. We hope that with more international exposure and networking this will improve.

33 RAUMLABOR Berlin, Germany

by Jana Revedin

Berlins’ collective “raumlabor” or How did your work begin in 1999 and how “spatial laboratory” was created by is it organized – legally and economically? Markus Bader, Andrea Hofmannn, raumlabor was driven by common Jan Liesegang and Christof Mayer interests from the very start – but running in 1999. Francesco Apuzzo, Benjamin a business wasn’t one of them. We all had Foerster-Baldenius, Matthias Rick (+ day jobs in different Berlin offices and 2012) and Axel Timm joined the team met in the evenings, at weekends to push between 2001 and 2005 followed by projects that we saw as vital – as a political Frauke Gerstenberg in 2013 and Florian and ethical mission! We wanted to find Stirnemann in 2016. ways of encouraging more immediate raumlabor’s members have various interaction in the urban environment educational backgrounds at TU based on action or performance. Berlin, the Bartlett, Royal Academy In this way raumlabor, as a group, 1. Interview with Jana Revedin, Berlin, March 2018. Copenhagen or Cooper Union New empirically discovered ways of working. 2. Walter Gropius, “Architektur”, York, all marked by experimental and We set up an informal, adaptable network Berlin, Fischer, 1956. participatory experiences. structure that wasn’t limited by waiting for The Global Award honours a collective commissions but fully based on individual which is seen as the godfather of engagement. To this day our principle those European architectural practices aim is to ensure research flexibility and that successfully use experimental artistic freedom. Economic pressure participatory methods in appropriating and constraints are up to the individual. and designing the public realm. We are all self-employed architects and independent artists: auto-entrepreneurs. Fighting for an architecture and At the same time we are all citizens: the urbanism that emancipates all raumlabor actions have accumulated participants and, especially, the users symbolic capital over the past 20 years. themselves in a design process led them to develop innovative methods of co- You develop your research and programming, co-designing and even transmission as a free entity, somewhat co-producing. like the reformatory Bauhaus in its day, “Within our spatial practice we’ve defining architecture as “a service to 2 created skills, expertise and knowledge society” ? that enable us to produce by exploiting We believe in learning through passing the loopholes of current economic on skills, conversation and the common conditions: an architecture without a exploration and discovery of an urban client that finds new markets by itself!”1 context in the form of new behaviours and We have the good fortune to carry out modes of action. The “Open raumlabor this dialogue in their laboratory on lively University” was founded in 2015 in Flutgraben in Alt-Treptow an area of response to this and we use it as a vehicle urban transport and logistics terminals for exploring our methods of production from the 1920s facing the former East and actively assembling workshops, Harbour on the River Spree. projects and initiatives in which we can highlight possible educational aspects. 34 For example, we are working with the You all trained as architects but, from the 3. Umberto Eco, “L’opera aperta”, Urban School Ruhr in Germany’s Ruhr beginning of raumlabor in 1999, based your Milano, Bompiani, 1962. valley. The first complex educational project processes on interdisciplinary initiative of the Open raumlabor University cooperation. What have been the results this is being carried out in collaboration of such “open work”3? with Urbane Künste Ruhr, a polymorphous We fought for a broader understanding

Above: and decentralised institution for of space at the interface between Project Juni Park in Berlin Neukölln. contemporary art in the Ruhr region. Unlike The garden and its process. architecture, urbanism, art and activism © raumlabor most existing academic environments by creating links between different fields the urban school invites everyone to join and bypasses between different scales. the conversation. Access is unrestricted. Within our spatial practice we’ve created The urban school wants to be as open as skills, expertise and knowledge that enable possible and believes that two guidelines us to produce by exploiting the loopholes make a good school: Firstly, all expertise is of current economic conditions: an of equal value: expertise, understood as a architecture without a client that finds new separate body of knowledge, needs intense markets by itself! Our projects want to be connections and live exchanges with other understood as interpretations, concepts, expertise in order to remain innovative and proposals open to testing and inhabitation thriving. Secondly, everyone is a teacher rather than material products in the sense as well as a learner: we try to overcome of an architectural object. Our inflatable traditional hierarchies and role descriptions. pop-up are not commercial The Urban School acknowledges the objects, they are tools designed to situated knowledge brought into the stimulate a process - rather than a final conversation by locals. Connecting this product. local expertise to the specific expertise brought in by internationally active tutors How did projects such as Tempelhof and participants creates a productive Airport or Coop Campus change the sphere for the development of urban political and social context? narratives and learning questions related to In 2007 raumlabor became part of the specific place and context. a thinktank set up by Berlin’s Urban Development Senate to consider the future

It consists of a school, woodworking shop, kitchen and urban garden. The launch of the Coop Campus in 2017 as both an example of and a structure for all projects investigating communal issues such as gardening, learning and living enabled a range of actors to become involved as a means of promoting step- by-step development. A greenhouse was constructed as the first building of the campus with the aim of increasing its visibility and raising its relevance as a stakeholder in the transformation process. Which is your approach instead in the House of Statistics? We chose a different approach in this project, that we launched in 2015. It deals with the reprogramming of the former Left page: of Tempelhof Airport. Working within the The Pop-up ‘‘Kitchen Monument’’ at House of Statistics, a building complex Liverpool (high) and Duisbourg (low). large, slow structures of local politics and in the centre of Berlin consisting of five Above the Kitchen Monument installation project in Frankfurt. government enabled us to appreciate buildings with a total floor area of around © raumlabor the flexibility and creative dynamics 40,000 m2. The publicly owned complex of working outside such structures. has been empty for over 10 years. The We tried to implement a framework department of urban development wanted for use-based urban development. An it to be demolished to make way for a initial open process lasting five years commercial development. In an artistic would create diversity and test various action a giant poster was installed on scenarios in order to find true needs the façade of the building as an act of before consolidating these in long-term symbolic squatting and we announced the programmes. This was conceived as an development of spaces in the building for open dialogue between equals based on art, culture, education and social issues. both top down and grass root expertise. By using social media to promote this The Coop Campus, on the other hand, action the initiative was launched and a is an ongoing incremental process that political discussion opened. The aim of deals with the development of former the initiative is that the State of Berlin cemeteries. Located on the edge of acquires the property from the Federal Berlin Neukölln and close to the former Government. The inheritable lease on Tempelhof Airport, Coop Campus is part the building would then be handed of an area that has been facing radical over to a cooperative which would be change due to gentrification for years. The given the mandate to develop it as an catalyst for the process was the temporary economically feasible framework and JuniPark project in 2014 which was transfer it to a non-profit organisation. In conceived as an open structure that could spring 2016 the development cooperative be inhabited by heterogeneous social ZUsammenKUNFT was founded in groups from the neighbourhood. order to provide a legal framework for This project led raumlabor to become further steps. The parliamentary elections involved in the upcoming transformation in Berlin in September 2016 led to a of the cemeteries. We have a strategic new red-red-green left-wing coalition partner - the property manager of the government. This was a breakthrough for landowner, the Protestant Church - who the process. Negotiations are now being supports our objective of community held regarding the development of 25% of engagement. We started in spring 2015 the property by the cooperative and the with the “Gärtnerei” a green nursery current goal is that this will be one of the jointly developed with and for refugees. eleven-storey blocks. 37 What does experimentation, “learning first time a paradigm change in urban 4. Hannah Arendt, “The human by doing”, mean for you? How much time design away from colonialist master condition”, Chicago, University of do you dedicate to Hannah Arendt’s vita plans and towards “open processes” and Chicago Press, 1958: “For the things we have to learn before we can do activa4 approach in your practice? spoke of the urgent issues of sustainable them, we learn by doing them.” development, climate change, the 5. Henri Lefebvre, “Le droit à la ville”, A lot, if you look at projects like the Sauna Paris, Gallimard, Anthropos, 1968. House realized in 2014 in the former appropriation of inhabitants of their 6. Joan Clos, Richard Sennett, Ricky industrial harbour of Gothenburg! The public space and, thus, the “right to the Burdett, Saskia Sassen: “Towards an 5 Open City: the Quito papers and the jury of the Swedish Architecture Prize city” . Twenty years on, at the Quito new urban agenda”, UN Habitat III 2015 stated: “Like a stranded container Summit, colleagues of unquestionable Forum, Quito 2016: “More work is nee- ded to complement the New Urban it stands there. A slight unshaped figure authority finally declared the dogmas of Agenda, helping to mark a paradigm with a corrugated surface, in the old basin late modern functionalism as definitively shift away from the rigidity of the 6 technocratic, generic modernist mo- of Frihamnen. The sauna gives vitality, “obsolete” . What will be raumlabor’s del we have inherited from the Char- future direction? ter of Athens towards a more open, contributes to new life and a new future. malleable and incremental urbanism With its zest for life and will to create, the We reflect the idea of a city as a location (…) The new paradigm requires the embracement of a broader time sauna becomes more than just a creative of diversity and contradiction between horizon, the concepts of flexibility and haven - it also becomes a vitamin injection varying interests. However, we mustn’t resilience, accommodating heteroge- neity and change and allowing people for the whole town.” As a result of this lose sight of who should gain from the to re-appropriate spaces.” both collectively programmed and finely desired results. It’s therefore essential to designed project (like the Bauhaus in its recognise the opportunities that come time, we insist upon perfect mastery of from an urban practice which fosters the both design and detail) our client, the use of the city by society as a whole. The City of Gothenburg, is now planning the processes initiated within such a practice realisation of a “Jubilee Park” within a must be able to flourish within the political period of seven years, 2014-2021. and economic parameters. If shared effectively between planning and implementation we believe that this timespan (as you cited – Arendt’s vita activa, learning by doing) could contribute raumlabor is a group of nine architects, to the creation of a new common space: landscape architects and artists based a platform in the city that is both physical in Berlin since 2009. raumlaborberlin and relational. collaborates for its projects with Let us recall how foresightedly you’ve professionals from other fields: Right page: Sauna in the former industrial port of positioned yourselves since your scenographers, filmmakers, artists, Gothenburg, cloakroom and access walkway. © raumlabor founding! In 1996, just three years before musicians, ethnologists or sociologists. Below: raumlabor came to life, the UN Habitat Recent projects include: Temple of No Interior view of the sauna under the panelled walls. © raumlabor Summit in Istanbul proclaimed for the Shopping, a metal can installation that tracks the flow of goods through the economy; the exhibition "WEtransform", Nuremberg, 2016. raumlabor is also publisher. Main publications : Acting in Public, raumlaborberlin and dem Heidelberger Kunstverein gestaltung und satz Michael Meier, Christoph Franz, with Jovis Verlag, Berlin 2008; New Community In The Open City, 2010; The Knot: An Experiment on collaborative Art in Public Urban Spaces, Markus Bader, Oliver Baurhenn, Kuba Szreder, Raluca Voinea & Katharina Koch, with Jovis Verlag, Berlin 2011. 39 « Transformation de 530 logements, cité du Selected Grand-Parc à Bordeaux », Karine Dana, in D'a, Publications bibliography 2015, nov., n°240, p.62-67 « Vivre ensemble. Quand le logement donne envie : La tour aux trois visages », Namias, Olivier, MONOGRAPHS ON in Ecologik, (2012, août-sept.) Supplément au AWARD-WINNING BOONSERM PREMTHADA, n°28, p. 36-41 BANGKOK PROJECT STUDIO ARCHITECTS « Paris 17e, boulevard Bois-le-Prêtre, renaissance Special issue. « Emerging architecture d'une tour d'habitation », Thierry Mandoul, in Sustainable Design I (épuisé) awards », Catherine Slessor, Ken Tadashi Archiscopie, (2012, mars) n° 111, p. 14-17 Oshima, Luis Fernández-Galiano, in : Towards a new ethics for architecture and the city Architectural review, (2011, décembre) n°1378, RAUMLABOR p. 42-57 Find the gap : Neue Köpfe und Wege in der Monographs of the award- « Schattenspiel mit Sinn und Sinnlichkeit Architektur, Kuratoren = Curators Kristin Feireiss, winners 2007 and 2008 of the Kantana Film and Animation Institute. Ulla Giesler ; Herausgeber = Publisher Hans- Global Award for Sustainable Premthada, Boonserm » ; Czaja Wojciech, in : Jürgen Commerell, Berlin : Aedes , 2005 Architecture, Baumeister Vol. 111, n°8, (August 2014), p.22-31. raumlabor Berlin, Katja Aßmann, Markus Bader, Marie-Hélène Contal and Jana Fiona Shipwright, Rosario Talevi, « Explorations Revedin, Ed. Birkhauser, 2009 FRÉDÉRIC DRUOT ET in Urban Space », Urban School Ruhr Series, Sustainable Design II ANNE LACATON & dpr-Barcelona, Barcelona 2018 JEAN-PHILIPPE VASSAL Towards a new ethics for « Cathédrale d'eau : Fountain house, Montréal, GHI, Bordeaux, révolution au Grand-Parc, Canada, 2014 = Water tower », Laurie Picout, in architecture and the city coordination éditoriale Xavier Rosan, Amélie L'Architecture d'aujourd'hui, 2016, juillet, n°413, Monographs of the award- Daraignez ; photographies Philippe Ruault, p.44-49 winners 2009 and 2010 of the Bordeaux : le Festin | Bordeaux : Aquitanis « Vigie sociale sur Frihamnen », in Architectures Global Award for Sustainable DL 2016, cop. 2016 CRÉE, 2016, juin/juil., no 376, p.120-124 Architecture, Habitations légèrement modifiées, Guillaume « Shabby Shabby, des chambres à coucher Meigneux, réalisateur. Paris : Centre National Marie-Hélène Contal dehors ! », Quinton, Maryse, in D'a, 2015, juin, de la Cinématographie - Images de la Culture, and Jana Revedin, n°236, p.108-111 2014 Ed. Actes Sud, 2012 Raumlaborberlin.- A + U, 2014, déc., n°531. Tokyo, Avec vue sur la métropole : 50 000 logements p.88-97 Sustainable Design III autours des axes de transports collectifs Towards a new ethics for de l'agglomération bordelaise, Delphine « Dialogue provokers », Florian Heilmeyer, in Désveaux, Véronique Siron .- Paris : Mark : another architecture, (2010, juin-juil.)n°26, architecture and the city Archibooks + Sautereau, 2012 p.70-79 Monographs of the award- Tour Bois le Prêtre : Druot, Lacaton & Vassal winners 2011 and 2012 of the [Ausstellung Deutsches Architekturmuseum] MARTA MACCAGLIA Global Award for Sustainable / [Herausgeber] Ilka & Andreas Ruby, [Peter « Do It Yourself Architecture », Luca Sampò, Nigal Architecture, Cachola Schmal]. Berlin : Ruby Press, 2012 Cross, Colin Ward, in Boundaries, 2013, juillet- Marie-Hélène Contal Vers de nouveaux logements sociaux, septembre, n°9 and Jana Revedin, Ed. exposition présentée à la Cité de l'architecture « reBuilding the Future : Culture », in : Alternatives - Gallimard, 2014 & du patrimoine, Paris, du 17 juin 2009 Boundaries, 2016, n°17 au 1er juillet 2010 / commissaires Jean- Didactica emparedada : Mazaronquiari Sustainable Design IV François Pousse, Francis Rambert ; Cité de multifunctional classroom, Perú, Marta Maccaglia Towards a new ethics for l'architecture & du patrimoine ; Institut français y Paulo Afonso, in Arquitectura viva n°185, 2016, architecture and the city d'architecture. Milan : Silvana Editoriale ; Paris : p.44-45. Monographs of the award-winners Cité de l'architecture & du patrimoine, 2009 2015 of the Global Award for Lacaton & Vassal, catalogue de l'exposition NINA MARITZ Sustainable Architecture , Lacaton & Vassal, grand prix national de Afritecture: building social change, exhibition, Marie-Hélène Contal l'architecture 2008 présentée à la Cité de Architekturmuseum der TU München, l'architecture & du patrimoine du 26 novembre and Jana Revedin, Ed. Alternatives Pinakothek der Moderne, München, September - Gallimard, 2016 2008 au 15 mars 2009 et co-produite avec 13, 2013-January 12, 2014, Ostfildern : Hatje l'Institut français d'architecture/Cité de CantzMünchen : Architekturmuseum der TU Sustainable Design V l'architecture & du patrimoine ; [direction München, 2013 Towards a new ethics for de l'ouvrage Anne Lacaton et Jean-Philippe « Il progetto esemplare : Habitat Research and Vassal. Orléans : HYX | Paris : Cité de architecture and the city Development Center », Cinzia Abbate, in Arca, l'architecture & du patrimoine, 2009 Monographs of the award-winners Les bons enfants : Ministère de la Culture et 2016 of the Global Award de la Communication, Francis Soler, Frédéric for Sustainable Architecture : Druot ; entretien en cahier central réalisé par Gion Caminada, East Coast Alice Laguarda ; photographie de Mathias Architects, Kengo Kuma, Patama Fennetaux. J.-M. Place éd., 2001 Roonrakwit - case Studio, Patrice « La ville réutilisée : une générosité spatiale », Doat ; Marie-Hélène Contal Christian Simenc, in : EcologiK, 2016, sept.-oct.- and Jana Revedin, Ed. Alternatives nov., n°51 p.78-83 - Gallimard, may 2017

40 « Réenchanter le monde » est un manifeste sur l’avenir SOUS LA DIRECTION DE M.H. CONTAL Réenchanter le monde du monde habité, rédigé par les architectes lauréats du Global Award for Sustainable ArchitectureTM. Au fil des Rendez-vous années, ces architectes ont formé et animent une scène de recherche et de mise en question, reconnue dans L’architecture et la ville face le débat mondial sur les grandes transitions. Elle réunit Ré- des architectes du Nord et du Sud et leur dialogue décentre notre vision du monde : sur la culture, le renversement des échanges, les foyers et raisons aux grandes transitions de l’innovation… enchanter 2018 Ces transitions – urbaines, écologiques, démographiques, SOUS LA DIRECTION DE M.H. CONTAL économiques, énergétiques…– s’effectuent en ce directed by Marie-Hélène Contal. moment, sous nos yeux. Du premier ébranlement de 1974 le monde à la crise systémique de 2008, ce ne sont pas de simples L’architecture et la ville face secousses mais une rupture d’ampleur qui s’est produite. aux grandes transitions Elle sépare un siècle qui fonda sa vision du progrès sur Ré-enchanter monde le l’exploitation sans limites des ressources matérielles et C. Alexander / A. Aravena / S. Aronson / T. Cruz / G. Debrun, MDW / Contributions from Christopher Alexander; A. Freear et E. Barthel / J. Frenzel / K. Low / P. Madec / G. Mazzanti / humaines, d’un xxie siècle qui doit d’abord se demander J. Revedin / S. Rintala et D. Eggertsson / P. Samyn de quel « progrès » nous avons besoin. Si l’on donne à l’architecture sa définition traditionnelle Alejandro Aravena; Barbara Aronson; Teddy Cruz; Exhibition – une œuvre de commande – on a du mal à croire qu’elle puisse vraiment agir sur des enjeux aussi globaux et incertains que l’épuisement des ressources ou le développement inégal. Les protagonistes de Gilles Debrun; Andrew Freear et Elena Bartel; « Réenchanter le monde » affirment, eux, qu’un architecte n’est contemporain que s’il affronte ces réalités, met Réenchanter le monde. en cause les programmes, les modes de production ou

manifestô de décision hérités de l’ordre industriel moderne. Jörn Frenzel; Kevin Low; Philippe Madec;

17 € ISBN 978-2-07-254330-2 Architecture, Ville, Transitions 784582 Giancarlo Mazzanti; Jana Revedin; Sami Rintala collection manifestô et Daggur Eggertsson; Phlippe Samyn. (roaming version) Ed. Gallimard/Cité de l’architecture & du The exhibition circulates in a light patrimoine, coll. Manifestô, Alternatives, 2014 travelling version, updated with projects from all the winners since La Ville rebelle 2007. Démocratiser le projet urbain directed by Jana Revedin. Calendar Contributions of Christopher Alexander; Grenoble, La Plateforme Al Borde; Marco Casagrande; Santiago Cirugeda; from 14th March to 28th July 2018 Marie-Hélène Contal; Salma Samar Damluji; Mons-en-Barœul, le Lien, Yona Friedman; Philippe Madec; Jana Revedin; from 11th September to 30th October Juan Roman; Rotor; Wang Shu and Lu Wenyu. 2018 [dates to be confirmed] Ed. Alternatives, collection Manifesto, Gallimard, 2015

Sous la pression des grandes transitions et des aspirations SOUS LA DIRECTION DE JANA REvEDIN de tous, l'architecture doit aujourd’hui assumer des New issues responsabilités nouvelles, mais difficilement maîtrisables : DIN E v participer à une lutte cruciale pour l'adaptation de l'habitat E et des villes au changement climatique, réguler l'emploi de R NA

A Construire avec l'immatériel la matière et de l'énergie, écouter les besoins des sociétés, Construire affronter une urbanisation sans commune mesure... L'ensemble de ces transitions pose la question d'un Démocratiser le projet urbain

nécessaire renouvellement des ressources de immatériel l'architecture, dessine les contours d'un changement ’ avec directed by Jana Revedin. complet de paradigme. Car ces ressources ne sont pas seulement matérielles foreword by Pascal Nicolas-Le Strat

– matériaux et techniques – mais aussi immatérielles. SOUS LA DIRECTION DE J Les textes de cet ouvrage, écrits par des architectes dont l’immatériel Contributions from Marie-Hélène Contal ; Teddy l'autorité est fondée sur l’expérience, ouvrent une réflexion Temps, usages, communauté, droit, climat... sur ces ressources immatérielles qu'il est crucial aujourd'hui de nouvelles ressources pour l’architecture Cruz et Fonna Forman ; Paulo David ; de réintroduire dans la pensée architecturale. Le temps, le dialogue interdisciplinaire, les flux naturels et artificiels qui Avant-propos de Pascal Nicolas-Le Strat Etienne Delprat ; Patrice Doat ; Anne Feenstra ; rythment le monde habité, mais aussi tous les moyens mis Marie-Hélène Contal / Teddy Cruz & Fonna Forman / Paulo David en œuvre par les sociétés pour mener à bien leur travail Patrice Doat / Etienne Delprat / Anne Feenstra / Jan Gehl / Bernd Gundermann Jan Gehl ; Bernd Gundermann ; Kengo Kuma ; continu d'organisation collective et d'émancipation des Construire l avec Kengo Kuma / Jana Revedin / Carin Smuts / Werner Sobek / Takaharu Tezuka individus – connaissance des communautés in situ, droit, Chris Younés expérimentation… –, autant de ressources inépuisables à Jana Revedin ; Carin Smuts ; Werner Sobek ; même, selon les auteurs, de renouveler avec profit la formation et la pratique de l’architecte. Takaharu Tezuka ; Chris Younés. Ed. Alternatives, coll. Manifestô, Gallimard, 2018

manifestô Sustainable Design VI

G01949 Towards a new ethics for architecture 17 € ISBN9:HSMARC=\^V^Z[: 978-207279-195-6 collection manifestô and the city Monographs of the award-winner 2017 of the Global Award for Sustainable Architecture : Takaharu Tezuka + Yui Tezuka, Brian MacKay-Lyons SUSTAINABLE DESIGN 6 & Talbot Sweetapple, Assemble, Sonam Wangchuk, Le Global Award for Sustainable The Global Award for Sustainable SUSTAINABLE Architecture a été créé en 2007 par Architecture, created in 2007 by Paulo David ; l’architecte et professeure Jana Revedin the architect and professor Jana Revedin avec la Cité de l’architecture & du in partnership with the Cité de l’architecture JANA REVEDIN patrimoine de Paris comme partenaire & du patrimoine de Paris, rewards every culturel. Il récompense chaque année year five architects who share VERS UNE NOUVELLE Marie-Hélène Contal and Jana Revedin, MARIE-HÉLÈNE CONTAL MARIE-HÉLÈNE CONTAL DESIGN cinq architectes qui partagent l’éthique the ethics of sustainable development ÉTHIQUE POUR du développement durable et proposent and propose new experiences in L’ARCHITECTURE des expériences innovantes, en milieu the urban as well as in the rural areas. MARIE-HÉLÈNE CONTAL ET LA VILLE Ed. Alternatives - Gallimard, mai 2018 urbain comme dans les grands territoires. The Global Award for Sustainable JANA REVEDIN 6 Les 55 architectes lauréats depuis Architecture Community (55 laureates la création du prix forment un réseau since 2007) has become a global collective TOWARDS A NEW collectif mondial d’échange of exchange as much as of scientific ETHICS FOR et d’expérimentation scientifique et and professional experimentation. ARCHITECTURE professionnelle : le Global Award for Sustainable Architecture Community. The subject addressed by the jury of this AND THE CITY eleventh edition of the Global Award was Le thème retenu par le jury de “The invisible ressources of architecture”. la onzième édition du Global Award The prize winners 2017 are: Takaharu Tezuka était « Les ressources invisibles de + Yui Tezuka (Tezuka Architects, Japan), l´architecture ». Les lauréats 2017 sont Sonam Wangchuk (India), Assemble Takaharu Tezuka + Yui Tezuka (Tezuka (Great Britain), Brian MacKay-Lyons Architects, Japon), Sonam Wangchuk and Talbot Sweetapple (MacKay-Lyons (Inde), Assemble (Angleterre), Brian & Sweetapple Architects, Canada), MacKay-Lyons et Talbot Sweetapple Paulo David (Portugal). Their works gathered (MacKay-Lyons & Sweetapple Architects, together here confirm the density of Canada), Paulo David (Portugal). the debate among architecture, resources Leurs travaux, présentés ici, confirment and development. la densité du débat sur les rapports entre architecture, ressources et développement. SUSTAINABLE DESIGN 6

25 ¤ - ISBN : 978-2-07-278481-1 9:HSMARC=\]Y]VV: G01739-5 41 Fondateur & mécènes

The Global Award for Sustainable Architecture™ was founded in 2006 by the architect and professor Jana Revedin. The Global Award Community, which consists of the 60 contemporary architects from around the globe who have received the award, works towards a sustainable architectural ethic and fosters research, experimentation and transmission in the fields of sustainable architecture, urban renewal and academic social responsibility. It defines architecture as an agent of empowerment, self-development and civic rights The Global Award is run by the Cité de l’architecture & du patrimoine Paris and is under the patronage of unesco.

The Cité de l’architecture & du patrimoine guarantees the cultural presence of the Global Award for Sustainable Architecture through its European and international network of experts and architecture centres. Each spring, the Cité organises the annual symposium and presentation of the five award-winners and their work. It also works with locus on publicising the work of the award through: - travelling exhibitions about the nominated architects - publications and conferences www.citedelarchitecture.fr

The Global Award for Sustainable Architecture received the patronage of Unesco in 2011. www.unesco.com

42 For the past forty years, Bouygues Bâtiment International (a subsidiary of Bouygues Construction) has been a benchmark in the construction industry. Its many projects around the world demonstrate its varied skills and know-how. In 2013 Bouygues Bâtiment International became a partner of the locus foundation. This partnership is the result of the convergence of our shared concern over the twin issues of sustainable architecture and urban renewal. By supporting the Global Award for Sustainable Architecture™, Bouygues Bâtiment International promotes an ethically responsible image of the construction industry. Following the exemple of the locus Foundation, Bouygues Bâtiment International has made cultural respect for local environments and all aspects of innovation the basis of corporate philosophy. Supporting the Global Award is a way of demonstrating its commitment to and hands-on participation in the worldwide debate on sustainable development. For far from seeking merely a fashionable image, Bouygues Bâtiment International aims to contribute to building better lives for everyone everywhere in the world. Through its robust sustainable development strategy, Bouygues Bâtiment International designs and builds highly energy-efficient and environmentally-friendly projects which meet the expectations of all its stakeholders – clients, partners, staff, local authorities and civil society. The architect is often involved at the beginning of the construction process, whilst the contractor comes in at a later stage. By joining up these two links in the chain, this partnership will enable us to join forces in promoting environmentally-friendly design and sustainable construction.

BNP Paribas Real Estate, one of the world's leading real estate service providers, offers a full range of services that integrate the entire life cycle of a property: Promotion, Transaction, Consulting, Expertise, Property Management and Investment Management. With 5,100 employees, BNP Paribas Real Estate brings to its clients its knowledge of local markets in 36 countries with more than 180 offices. BNP Paribas Real Estate is a BNP Paribas Group company. As part of its csr policy, BNP Paribas Real Estate supports the development of the city's construction trades. Based on the principle that what we are building today shapes our world of tomorrow, BNP Paribas Real Estate developed in 2007 a patronage in favor of architecture. One of its first commitment was the support of the first temporary exhibition of the Cité de l’architecture & du patrimoine: "Before after, architectures over time". Moreover, for the past 10 years, BNP Paribas Real Estate has been encouraging young talents every year through its Prix des Espoirs de l'Architecture, inviting young students in schools of architecture in France to reflect on the construction and transformation of city. The shared concerns with the Cité de l’architecture & du patrimoine about architecture and sustainable development, as well as the ambitions carried by the Global Award for Sustainable Architecture have driven BNP Paribas Real Estate to support the 2018 edition of the Prize.

43 Benno Albrecht, architect, Jana Revedin, architect PhD, professor Comité historian, professor at iuav University, at École Spéciale d’Architecture and at scientifique Venice, Italy ENSA Lyon, France, Founding President of the Global Award for Sustainable Marie-Hélène Contal, architect, Architecture director of Cultural Development, Cité de l’architecture & du patrimoine, Paris, Honorary members 2018 : France Philippe Madec, architect, Atelier Spela Hudnik, architect, professor, Philippe Madec, professor at ENSA de Director of the International Bretagne, France, Global Award 2012 Architecture Biennale of Ljubljana, Sami Rintala, architect, Rintala & Slovenia Eggertsson, professor at Trondheim Kristiina Nivari, Deputy Director of University, Norway, Global Award 2009 the Museum of Finnish Architecture, Helsinki, Finland

Cité de l’architecture & du patrimoine Paris - citedelarchitecture.fr The Cité de l’architecture & du patrimoine offers its visitors an exceptionally diverse cultural experience organised in a single, unique location occupying 22,000m² in the heart of Paris. From urban renewal to the revitalisation of our cultural heritage, questions of the city occupy us daily. A public entity under the umbrella of the Ministry of Culture and Communications, the role of the Cité is to be a source of information and knowledge in all questions related to the quality of architecture, from the upgrading of our cultural heritage to the preservation of the urban environment. Aimed at both the general public and a more specialist audience, the programme of the Cité is highly diversified: permanent and temporary exhibitions, teaching and workshops, symposia, debates, projections... Specialists in the areas of architecture and urbanism are invited to take advantage of the courses offered by the École de Chaillot as well as the library and the archives of the Cité.

Università iuav di Venezia Venise - www.iuav.it Venice’s iuav University is one of the world’s best known and enjoys a particular reputation for the quality of its research laboratories in the areas of composition and the theory and history of architecture and the city. Since 2005, iuav University has created an international master’s degree in Sustainable Urban Planning as a centrepiece of its research programmes.

44 Museum of Finnish Architecture Helsinki - www.mfa.fi Created in 1956, the Museum of Finnish Architecture is the world’s oldest architecture museum. Since its creation, it has produced and sent out over 1,000 exhibitions. Today, mfa is home to valuable expertise in the area of sustainable architecture, in particular in Scandinavia, the focus of the most advanced research in this area. The Museum of Finnish Architecture works in close collaboration with the gau:di network and the most important international architectural institutions.

International Architecture Biennale Ljubljana - www.architecturebiennaleljubljana.si The International Biennale of Architecture of Ljubljana was created in 2000 by Peter Vezjak and Špela Hudnik. This young biennale of contemporary architecture is one of the most dynamic players on the Eastern European architecture scene. Focussed on the exchange of information, the event organises an innovation competition and on-line activities of excellent quality. This intra-European platform allows local figures (from Slovenia, Italy and Austria) to come head-to-head with international names from the creative sectors of the contemporary architecture scene.

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47 CITÉ DE L’ARCHITECTURE & DU PATRIMOINE Auditorium, 7 avenue Albert de Mun Paris 16e - M° Iéna ou Trocadéro citedelarchitecture.fr #GlobalAward