I.P. WOMEN, STEEL AND ARCHITECTURE “TRANSFORMING TOMORROW” TOMORROW” “TRANSFORMING REFLECTIONS ON

ODILE DECQ WINKA DUBBELDAM ZAHA HADID EVA JIRICNA CARME PINOS RENATA SEMIN BENEDETTA TAGLIABUE In collaboration with ELISABETTA www.constructalia.com TERRAGNI transforming tomorrow

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WOMEN, STEEL AND ARCHITECTURE

Cover photo: “Opus” Office Tower Dubai, UAE Zaha Hadid Courtesy Zaha Hadid Architects The world saved by women? The Plan and Andrea Pontiggia stop short of this in their volume fully dedicated to women architects - intellectual provoca- tion though it is; nor do they posit any redeeming function by female creativi- ty against the Italian (not only Italian) backdrop crying out for a transfusion of architectural competence, of whatever gender. But it is a pleasing thought that the female contribution, no less creative than men’s but perhaps borne on a different sensibility and sense of politics (more service than power), might here bring forth the true value of architecture. In its broadest sense that means competence drawing support from creativity and creativity fed chiefly by competence - two inseparable ingredients alike needed if we are to attain the desired result: enhancement of our urban warp and woof by conservative renovation of past beauty and, above all, qualified invention of something new. An old commonplace - old but still relevant - describes Italy as a disfigured country gutted by surveyors. That category may include shining examples of professionalism and public spirit, but it here stands for all that is ugly, defac- ing our towns and, probably more important, our countryside. In the light of such stereotypes it becomes highly symbolic that the international archi- tecture congress is taking place in Turin: never before have so many Italian editorial towns - Milan, of course, but also Rome, Naples, Turin itself, Bologna, Genoa and many others - been on the receiving end of ongoing renovation plans that have the potential to upgrade the whole townscape. It is essential we seize this opportunity for the enormous social, even more than economic, promise it holds. For that to happen the planning must adhere to the strictest canons of archi- tecture (as both science and art). Best practices demand that we proceed by international competitions, that every operation be thrown open to the broadest resources of the profession. The important thing is that - amid the inevitable aesthetic controversy surrounding any project - the results should be inspired by architectural quality; that we should avoid complacent short- cuts, half-measures or makeshift solutions. Unfortunately that is not always or everywhere guaranteed. There have been many warning signs of a return to old methods, the deplorable subordination of quality to misguided “raison d’état” - often not even making economic sense. Though not alone of its kind, the example of the new Milan Fair at Rho-Pero - designed by Massimiliano Fuksas - confirms authoritatively that such a doughty work of international import must draw on ‘different’ expertise from what tends to be offered by the otherwise excellent building scene in Milan, or the rest of Italy. A transfusion of know-how from respectful, broad-ranging, aware employ- ment of our professional architect resources. With all the civil, and of course aesthetic, ambition that such an approach entails. Milan, with the wealth of projects surrounding Expo 2015, will be Italy’s first and foremost testing ground for the new approach. What we must ensure is a new method of managing the major works of town development, on the part of local authorities, central state authorities, and of course private enterprise. The contribution of leading worldwide women stars of architecture could be of enormous help in ushering in such a new method. May it prove so. It will be the crowning achievement of this editorial venture.

Sergio Luciano Editor in Chief, Economy*

* Economy represents today the most important weekly economic magazine in Italy 002 Editor in Chief, The Plan Plan The Chief, in Editor Leonardi Nicola Enjoy! renaissance. urban mean to comes it culture, thereby tourism; and production, 2007, means in Architecture as economy. the of Plan turbine The major a as “hosting” architecture Economy, recognizing with is minds of partnership welcome incredible Another with cladding. and amazement roofing of avant-garde source or projects never-ending and structural a for is potential credible a Steel as demands. products its important to presenting response real manufacturing steel in a have we leader world architects, a women nine ‘voice-over’: from tenth answers with side by the Side as venture. welcome doubly publishing our of ArcelorMittal makes sponsor This systems. building or materials the produce that nies compa the by backed be must architect an time, in point and this at for innovate to industry order In from scope manufacturing. inseparable endless is nowadays job possibly architect’s and an why architecture, new reason up with more one is more opening That are and creativity. more technology and interweave materials fashion in and innovations graphics while art, research design, and of worlds experimenting The creating, ing. means architecture contemporary of vanguard the in Being like. really is society our what of glimpse of - work a world revealing today’s amid career the in full woman about and architect an thought of being for reality food gives architecture of world the to approaches divergent widely were and tions enlisted genera cultures, of countries, mix architects The renown. of future talents women known lesser for stars big The the room with alongside possible, as critique. wide as panorama transversal geographical the a extend to also but forms reputation, on it chosen approach; individual an complete more Each is than one. picture by whole one The architect. each interviews of the reaction or collect answer the by not followed and is answers question the pool to simply was Plan The of pocket the of edition layout the prompting idea the why for also is That a viewpoints opinion. of forming body instant together complete, not if broad, impressions, discussion, of for spread open an points provide up to hope We open to development. as free-wheeling probe to much so not aim questions The ego. architect’s an of to aspects intimate architecture more of the on subjects touch classic the beyond going interview with provocative unu an in respects liaison some floor in in the and women sual giving (hatched of idea questions) the the devised who prompted Pontiggia Andrea This women. journalist creative are calibre world of civilization architects our in many developments and such to stranger no is architecture of world historically The a of of entrepreneurs. Italian head neo-President as air fresh of Merkel, breath welcome a Angela Marcegaglia, Emma own chancellor our to country, German chauvinist from examples, famous many are There men power, in eclipsed. women extremes: virtually to taken equilibrium of change a of tells Streep, an Meryl starring ordinary. and the extraordinary 2006, of in out Frankel David by anything directed the cinema) longer and the with no on stay (to is Prada” moved dresses manager devil has to “The secretary society our humble from now: goes it watch Griffith to that fact smiles One careers. women’s and enough women committed on was but course, context of the entertainment, was It Hollywood, of obvious. from far Olympus film the the and one to different a Griffith Melanie catapulted and - parts Ford Harrison great the of one - 1988 in Woman” “Career film the directed Nichols Mike a When once preserve. forces, male armed purely the including life, of between walks all and balance industry internal for No of goes same The question politics. women. the and and men ignore can society Europe, our in of least at feature central parliament, a or been government has factor” “female the now years some For www.theplan.it PLAN,THE and newsstands and bookstoresAvailablequality in journals.architecture international authoritative most the of one is issued bimonthly,issued - - - -

003 004 editorial bring extraordinary results in architecture. in results can it extraordinary bring materials, the of knowledge technical to Harnessed form. it give and afresh out it think space, perceive to of able being quality means a this Sensitivity often women’s. and sensitivity pronounced for calls architecture that in Italy, thinks side development business in the archi engaged Youthful tect Lara Cappello, feminine? the in architecture ‘decline’ actually one can But insights. and sensations of wealth a provide differences, colour and textural processing, surface mention of to not - patina variety mirror, The gloss, high - shells. appearance building for opportunities that unique agree both affords unit, and steel support shell, design Brazilian architectural the of the charge in to Scalzo, Silvia at solutions now new until developing Etzenbach, centre country Liège Christine the emerging architects, an women in our in or of Two whether tradition, one Brazil. like gripping metal-working a long is its challenge with the Belgium, But building. in advantages steel the all using across of put to easy always not is it challenge: a some of is thing This group. worldwide a by gained as back know-how technical steel pool provide and to up units design with daily liaising architects women image: metalworker normal the from figures “different” rather some ArcelorMittal contains of world the countries, 60 over spread more, and staff its With 320,000 women. ArcelorMittal some of viewpoint the present to pleased are we architects, women leading world’s the with interviews the in including feminine, architecture to devoted Plan The of issue special this of promoters As innovation. generate or potential material solu exploit to into which by researching tions been has it chain, building the in actors other all with synergy In steel. of making is architecture uses new experimental the on eye close a keeping been has ArcelorMittal, manufacturer, steel first world’s The of handling flexible construction. of speed composition, and of space, freedom affords it time one same At the the materials. and other for with steel match the the and reality: into cladding is surface idea the Steel this structure, translates sensation. best that immaterial technology an building shells, see-through geometry complex structures, down surfaces, Slimmed our architecture. of vision urban creative the up contemporary sums elegance and lightness to aspiration An city the in Steel - - - their needs.” their and generations future the eye on an with act and think must we Nowadays scrap. from produced largely material, recycled a already is today for building used being steel the fact in and material recyclable a is steel recouped: materials its deconstructed, be can at construction Finally, steel a energy. cycle and its of end water the in saving a the At means this site exploitation. on site stage optimizes hands-on and height, building or space modation to one accom gains This enables encumbrance. structural reduce resistance and spans broad design weight/mechanical of ratio high steel’s phase, concept the with beginning life: of a building’s stages at all concerns mental environ to responds and advantages many offers definitely Steel sumption. duty a con is energy their that or containing promoting materials objects; choosing in whether a sustainable mission, and organizations as of out thought European be behalf must On the “Buildings out. steel. coordinates points Marta Dziarnowska Marta ArcelorMittal consid architect another is Polish there as sides technical eration, and aesthetic the from apart But Building & Construction Support Construction & Building Patrick Le Pense Le Patrick Tommaso Tirelli Tommaso ArcelorMittal - - - -

00 5 CHARACTERS

Benedetta Tagliabue Odile Decq Eva JiricnaZaha Hadid Eva Jiricna Winka Dubbeldam Benedetta Tagliabue Renata SeminElisabetta TerragniCarme PinósWinka Dubbeldam Carme Pinós Renata Semin Elisabetta Terragni Winka Dubbeldam Odile Decq Zaha Hadid Carme Pinós Renata Semin 006 Carme PinósRenata SeminElisabetta Terragni Benedetta Tagliabue Carme Pinós Zaha Hadid Renata Semin Winka Dubbeldam Eva JiricnaOdile Decq Renata Semin Winka Dubbeldam Benedetta Tagliabue Carme Pinós Renata Semin Elisabetta Terragni Winka Dubbeldam 007 ODILE DECQ

French architect, designer, town planner, Odile Decq studied at UP6 and IEP in Paris. She has taught internationally characters at architectural schools including The Bartlett in London and the Columbia University in New York. She is currently professor and head of the Architecture Department at ESA, Paris. Member of the French Academy of Architecture and Commander of the Order of Arts and Letters. Founded ODBC in 1985 together with Benoît Cornette. Their work is a dynamic vision of space based on the concept of Sensual Hyper-Tension. ODBC won the DuPont Benedictus Award® in 1995 for the Banque Populaire de l’Ouest, and again in 1999 for two university buildings in Nantes. In 1996, they received the Golden Lion Award at the Architectural Biennial in Venice for their overall achievements. Completed works include the A14 highway viaduct at Nanterre, the urban plan for Port de Gennevilliers, and the covered tribune for a rugby stadium in Orléans, all in France. Recent projects include the MACRO extension in Rome, a housing and commercial facilities building commissioned by Novoli Immobiliare, Florence, Italy; the Liaunig Museum in Neuhaus, Austria; the FRAC Bretagne in Rennes, France.

Winka Dubbeldam, dutch architect, is a graduate of the Academy of Architecture in Rotterdam (1990) and went on to take a Master at Columbia University, New York. She is director of the Post-Professional Program at the Architecture School of the University of Pennsylvania, Philadelphia. In 1994 she founded Archi-Tectonics NY. Since then she has exhibited at various venues including “The Unprivate House” and “Young Architects” at the MoMA (1999-2001) and at the Archi-Lab in Orléans (France, 2001). She took part in the project exhibition for the New York WTC area, curated by Max Protetch and presented at the Venice Biennale 2002. She was named the “Emerging Voice” by the Architectural League NYC in 2001, while Archi-Tectonics won the 2006 IIDA/Metropolis Smart Environments Award. In 2007 she published AT-INdex, a conceptual WINKA monograph on the work of Archi-Tectonics. Projects pending include: a condominium at DUBBELDAM Anguilla, Villa’s In the Sky, a residential building in New York; Q Tower and Unknot Tower at Philadelphia, and also various projects for private houses and shops in New York. 008 Architecture in 2007 (the Cube Tower), etc… Tower), Cube (the 2007 in Architecture Spanish of Biennial the of Prize 1st 1995,the in Espana de Arquitectos los de Superior Consejo the of Architecture of Prize National the as Pinós Carme by received were prizes Many etc...). Dusseldorf, - Kunstakademie Barcelona, - (ETSAB Europe and etc…) Columbia, (Harvard, USA the in University prestigious most the amongst professor, guest a as working teaching, with activity architect’s her combined has She Barcelona. in Square Gardunya the of design the and Tortosa, in Headquarters Government Catalan the Florence, in complex housing Novoli the as projects many in working is she Currently collection. MoMA the of part permanent a become has model its and (Mexico) Guadalajara in Tower Cube the is projects main her of One studio. own her up set 1991 she In Games. 1992Olympic the for Buildings Range Archery the for Prize Barcelona of City the as awards many received work 1991. in Their ending Miralles, Enric with partnership a formed 1979.1982she in On Barcelona de Arquitectura de Superior Técnica Escuela the at graduated spanish, Pinós, Carme JIRICNA EVA heritage sites both in the UK and abroad, including her first building in Prague, the Orangery Orangery Castle. the Prague Prague, in in building first her including abroad, and UK the in both on sites projects many heritage completed has EJAL London. in Bones’ & ‘Skin design acclaimed the exhibition in excels currently - also practice The staircases. steel and glass her of engineered another elegantly featuring Gallery Jewellery completed just the & including Museum, Victoria the Albert and Harrods, Boodles, jewellers top for commissions completing prestigious recently several sectors, commercial and private in both work, of body large a has she compiled UK the In Zlin.. in open to due building University new a Hotel and Prague, in successful Josef stunningly the in resulted has approach design holistic Her work her teaching. for and recognition international as well as - C.B.E Academician, Royal Industry, Designer for Royal - awards many received has Jiricna Prague. in office by an with practice also own now 1985, her form to able was she talent and dedication impressive Council, her with London and Greater the at 1968 in began experience architectural her ; London 30 in than years more for worked and lived has She Czechoslovakia. Zlin, in born was Jiricna Eva HADID ZAHA Pritzker Architecture Prize. Architecture Pritzker the won she 2004 In Design. of School Graduate the at Chair Tange Kenzo the held she where MA, Cambridge, University, Harvard including world, the around universities in teach to continues Hadid Germany. Rhein, am Weil at (1989-93) station fire Vitra the was work constructed significant first Her (1989). Düsseldorf in centre media and art an for and Berlin, (1986), Kurfürstendamm the (1983), Peak Kong Hong the for those winning competitions, architectural several entered she 1980s the During (1980-87). Association Architectural the at teaching began also 1982.She in Design Architectural from medal gold a won that Place Eaton in flat a designing London, in practice own her opened she 1980 In Hague. The (1978), extension Building Parliament Dutch the on worked she there teachers; her of one Koolhaas, Rem by founded Architecture Metropolitan for Office the joined then 1977and 1972 to from London, Association, Architectural the at studied She birth. Iraqi of teacher, and designer architect, British PINÓS CARME

009 RENATA SEMIN

Renata Semin, brazilian, graduated in 1982 at the Faculty of characters Architecture and Urbanism at São Paulo University/ Brazil. In 1984 she founded Piratininga Arquitetos Associados with the partnership of 7 young architects. The responsibility of many projects developed by the firm during the 80’s and 90’s in Brazil is remarkable to define the professional profile: urban projects, new buildings, remodeling and restoration of historical sites, social housing, space planning and interior design for companies, having the government as a client or a family, or a corporation. Some of the projects are: an urban action for social and economical development in the South Zone of São Paulo metropolis; a plan for rehabilitation of Fortaleza central area, the libraries -both in Faculty of Architecture and Urbanism of University of São Paulo, the restoration and modernization of Sao Paulo central library - Mário de Andrade. Some others were developed in collaboration with the architect Paulo Mendes da Rocha for the São Paulo University (museums and other institutions) and for private clients.

Benedetta Tagliabue was born in Milan and graduated from the University of Venice in 1989. In 1991 she joined Enric Miralles’ studio where she became a partner. Her work with Miralles, whom she married, includes a number of high profile buildings and projects in Barcelona: Parque Diagonal Mar (1997-2002), Head Office Gas Natural (1999-2007) and the Market and quarter Santa Caterina (1996-2005), as well as projects across Europe, including the School of Music in Hamburg (1997-2000) and the City Hall in Utrecht BENEDETTA (1996-2000). TAGLIABUE In 1998, the partnership won the competition to design the new Scottish Parliament building. More recently, she won the competition for Pavilion of Spain in the Universal Exhibition Shanghai 2010, (2007) and, also she is working in Public Spaces of Hafencity Harbor in Hamburg, Germany, Naples subway train station and Retail Redevelopment in Leeds, UK among others. Further she received the Honorary Doctor of Arts degree from Napier University (2004), The RIBA Stirling Prize 2005, the Centenary Medal from Edinburgh Architectural Association and the 2005 Spanish National Architecture Prize ‘Manuel de la Dehesa’, for the Scottish Parliament building. 010 Elisabetta Terragni, italian, since graduating from the Milan Polytechnic, has taught in several overseas programmes, at the ETH in Zurich and as Visiting Distinguished Professor at the New York Institute of Technology. She now teaches regularly at City College of New York. Private houses, apartments, a loft and a greenhouse were designed and built in Italy where She also created temporary installations for trade fairs and museum exhibitions, such as the Palladio Center in Vicenza and Castelvecchio in Verona. In 2003 she won the competition for a major public school building in the town of Altavilla Vicentina (Vicenza). The structural solution for the roof was evolved in collaboration with the Swiss engineer Juerg Conzett (Chur), allowing for a tensioned slab of 90 meters in length. The building embraces patios and recreational areas within a continuous perimeter of glass ELISABETTA and sliding screens. TERRAGNI 011 THE INTERVIEW 12345678910

1 THE INFLUENCE OF INNOVATION AND TECHNOLOGY ON ARCHITECTURE 2 NEW OPPORTUNITIES: THE CONTEMPORARY HORIZONS OF ARCHITECTURE 3 THE LAWS OF PHYSICS: WHAT ARE THE NEW CONFINES OF THE “FEASIBLE”? 4 IS ARCHITECTURE FREEDOM? 5 THE ERA OF NON-STANDARDISATION 012 10 9 8 7 6 WHY THE FUTURE NEEDS ME? NEEDS FUTURE THE WHY GENIUSES OF WORLD A IN EGO ARCHITECT’S THE MEGACITYTHE CITIES WITHIN SUSTAINABILITY: A LABEL, A MUST OR A MISSION? SOCIETY CHANGING A OF EXPRESSION THE

013 The influence of innovation and technology on architecture

Winka Dubbeldam - The generation of performative modulations and surfaces is facilitated by the use of generative software, such as Maya and Catia. FTF, file to factory manufacturing facilitates the actual build- ing of these modulations. Prefabrication itself is changing as well, where before it would be described as the industrial manufacturing of the same element over and over again, now these units are a series of varying elements, defined by an analysis of their performance, rather than their form or shape. This is worked out in our proposal for the Q tower.

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2 014 Odile Decq - Architects are always concerned by innovation and technology. Just as there is no architecture without the technology of materials, of structure and all techniques, so archi- tects have always focused on innovation. But, innovation is not only a technological question. Innovation relates directly with the state of evolution and development of society. As Hans Hollein expressed it at the Venice Biennale in its title “Sensing the future. Architects as seismograph”, architects try to capture and reflect by their project what happens and what will happen. It seems today that architects are more and more interested in innovation in technology but I do think that innovation is more than that and concerns social, cultural and human issues as well as technology. If, as architects, we organize a place for humans to live in, every innovation or transformation in the living process and its surrounds is also our concern.

3 015 Zaha Hadid - Our ambitions towards creating fluid, dynamic and therefore complex structures have been aided by technological innovations. 3D modelling on the computer has served a definite purpose during our design processes, facilitating the application of complex double curved surfaces. We like to work a lot with curvilinearity because we believe it visually simplifies the configuration, and you can then cope with more complexity without crowding or cluttering the visual scene. Our designs demand continual progress in the development of construction technology, and industry continues to respond by providing ever more sophisticated tools. When those tools are developed, our designs in turn become more ambitious as we see the new possibilities created by technology. Although computers have simplified things, at the same time they have made it possible to achieve a greater degree of complexity in our digital work. There is an evenness to design now. But what I miss from the period before computation is all the cultural material. Physical models offered something different from the perspective of drawing, which was different again from the plan or the painting. Now there is a sameness and far fewer surprises - you don’t get layers of discovery.

4 016 Carme Pinós - To speak of technology in architecture means speaking of lots of things at once: the tools for drawing or calculating, the tech- nology altering the sense perceptions by which we perceive space - by light, sound, climate factors, etc.. Technology is also changing how we process materials and then manipulate them. Which is to say that tech- nology actually comes into the whole architecture process and the use we make of it later. When we talk of technology applied to drawing or calculating, we should remember that it is giving us opportunities today that past times never imagined. But we can get to a point when so much freedom gets us down.

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Eva Jiricna - Needless to say, historically the problems associated with construction led to inventions and new technologies which gave opportunities to those who were willing to explore them to create bet- ter results. It is not surprising that the monumental and most remarkable examples of historic buildings show technology stretched to its limits and subsequently creating miracles based on new possibilities and new solutions. If we look at our options today - compared with our predeces- sors - we have got a much larger range of choices and we are conse- quently more and more selective about how we use them. For some of us it is very tempting and challenging to follow the latest discoveries and the latest inventions and accept the risk associated with such a route; but there are others who use their creativity within the limits of well known and well established methods and achieve excellence by other means. I am personally always looking for new means and new technical solutions. I find this exciting, challenging and satisfying (it’s not always the same for the clients who inevitably have to share the risk and financial implications…) 017 Renata Semin - The architectural conception is understood as a knowl- edge issue dependent on a commission demand and an architectural opportunity. The project and its articulations within the industrial and technological world tie up and search for innovative systems. Designing architecture is part of a continuously innovative process.

Benedetta Tagliabue - It is always very important. I think that today technology gives the possibility to achieve a higher complexity. And this is very beautiful because technology is giving architects and builders a lot of new possibilities.

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Elisabetta Terragni - I’m reminded of Cedric Price’s pun: “Technology is the answer. What was the question?” No doubt architecture always needs technological innovation, but it also needs to resist technologi- cal dictates. Some of the worst practices result from an acceptance of certain products that seem economically attractive (at the time) but may have nothing else to recommend them. Remember silicone rubber and aluminium windows? The former has killed precision, the inventor of the latter was sent to the lower circles of hell by Woody Allen. 018 7

1/2 ODILE DECQ - Edificio per residenze 5 eva jiricna E spazi commerciali Canada Water Bus Station PROGETTo IN CORSO, Firenze LONDRA, UK, 1999 Courtesy ODBC architectes urbanistes © Richard Bryant

3 WINKA DUBBELDAM - UNKNOT TOWER 6 BENEDETTA TAGLIABUE - centennial pavilion PROGETTo IN CORSO, PHILADELPHIA, USA IN commemoration of the 100th anniversary Courtesy Archi-tectonics OF the city of esch-sur-Alzette, Luxembourg, 2006 © Pierre Engel 4 ZAHA HADID DUBAI BUSINESS BAY 7 Elisabetta TerragnI SIGNATURE TOWERS Casa Bianchi, SERRA PROGETTo IN CORSO, Dubai, UAE Cernobbio, ITALIA 2002 Courtesy Zaha Hadid Architects © Brigitte Desrochers 019 020 N hori the design envelope ever further. Great things can come out of this this of out come can working. things of method Great further. ever envelope design push to the us inspire turn in developments new con those a and reality, visions structed those make to required technologies techniques digital new manufacturing and of visions development recipro architectural continuing strong the avant-garde a encourage more is our There whereby attitude. relationship cal investigative col an extensive and requires architecture laboration of state current The - Hadid Zaha 1 ew z o ons pp ortunities of architecture : the contem p - - - orar y Carme Pinós - When we do architecture it would be absurd not to reckon with the innovation in materials that technology affords. Architecture must meet the demands of every moment and and hence to be opened to everything the contemporary world offers us. It is another matter when one manipulates the real perception of space into mere stage scenery. Technology gives us a huge range of possibili- ties; the reverse side is getting cut off from the tangible and sensual in essential, elementary terms of expression. That seems to me another danger.

2 021 Odile Decq - Paul Virilio told me once that today architects are facing a challenge that is much more complex than ever: the question of the desire or pleasure factor. The horizon is by its very nature unreachable. You always travel towards it and in crossing the sea you negotiate with the elements. Facing the challenge expressed by Virilio, the new horizon lines of architecture are diverse and often contradictory: urban context desire versus city den- sity, growth of rich people versus social issue of poverty, people’s mobil- ity and constructional lightness/versus energy saving; space transpar- ency and fluidity versus frontiers and security; fast communication and exchanges versus local flesh- and eye-contact.

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Renata Semin - The target is better conditions for urban life and a sus- tainable situation for our cities. One contemporary attitude towards urban design is to promote democratic access to relevant and up to date information about the urban space - services, territory, occupa- tion, environment, health, education, security, planning. 022 Winka Dubbeldam - Our research, as it has evolved over the last 10 years, is focused on re-thinking, re-searching and re-evaluating the question asked, and the generation of performative models. Performance in the traditional sense; maintenance of free skins, low energy use and ‘green’ structures, but even more the creation of challenging environments, where the boundary is blurred between industrial design intelligence and architecture. The attempt is to minimize the influence of bias or prejudice in the experimenter when testing a hypothesis or a theory, in order to get to some level of invention. The focus is not on form but on the performa- tive, not on aesthetics but on intelligence. Our Greenwich building changes the way the city relates to domestic space and vice versa.

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Benedetta Tagliabue - Travel and communication without limitations of distance. This is revolutionary compared to being an architect only 20 years ago and I think that this is the greatest change we have been given.

Elisabetta Terragni - Many opportunities beckon: new materials, new fabrication processes, new sensibilities. The latter are more important to me than the former. As we gain a better understanding of how we react and interact, we will become more selective and more sensitive to our surroundings. 023 3

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Eva Jiricna - Through computer technology globalisation has become a fact of life. Not only is the creative process drawing on collective knowledge on a truly global scale but the end-users are equally well informed and require architects to stretch their abilities beyond the ter- ritorial image of the counties of their origin. We are now living in a world without boundaries in which the rules can change at any time. The new technologies allow us to stretch our imagination beyond the “possible” and explore the “forbidden”, giving us a chance to realise our dreams. On the other hand we are giving ourselves new tasks and new limits related to our responsibilities to the planet and the human race. There is nothing to stop the creative process but we have to bear in mind that living means letting others live too. 024 6

1 ZAHA HADID - Maxxi: National Museum OF XXI Century Arts Work in progress, Rome, Italy Courtesy Zaha Hadid Architects

2 CARME PINóS - CUBE TOWER Guadalajara, Mexico, 2005 Courtesy Estudio Carme Pinós

3/4 ZAHA HADID - London Aquatic Centre Work in progress, London, UK Courtesy Zaha Hadid Architects

5 eva jiricna - Boodles, New Bond Street LONDRA, UK, 2007 © Richard Bryant

6 ELISABETTA TERRAGNI - Kindergarden and Elementary School: Community Theater Altavilla Vicentina, Italy, 2008 © Mike Dolinski 025 The laws of physics: what are the new confines of the “feasible”?

Eva Jiricna - The laws of physics do not change, only our interpretation might be different due to the increase of relevant knowledge. Through our understanding of science we can find a way of stretching the limits of the feasible and allow ourselves to increase the area within which we oscillate.

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Zaha Hadid - Our architectural language is driven by new digital design and manufacturing tools which allow for fluid and organic forms instead of the repetition of separate mechanical parts. The recent ability of structural engineers to calculate complex geometries and mixed structural systems is also a factor pushing this exciting new modern architecture forward.

Renata Semin - Architectural design counts on these laws for collaboration. Take the Library project presented in this case. Suspended steel joists (truss beam) - 3.75 metres high by 71 meters long - hang the lower floors of bookshelves. The engineering challenge aimed at and achieved technical, economical and constructive feasibility. 026 Odile Decq - Physics and its laws remain the same but it is true that the feasible has reached new limits. Peter Rice explained to me once how calculation tools give engineering new fields of exploration. What was easy to design and conceive was not so easy to calculate before the emergence of strong calculators. Today, we can build extreme cantilevers, fluid structures and forms, destabilized volumes, floating disassociated objects, etc. This technical evolution gives engineers and architects new responsibilities in their interactive relationship. I always dream I will live until “teleportation” is invented! More seriously, I am every day interested in new developments in physics, astrophysics and the biological sciences. So, who knows?

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Elisabetta Terragni - It depends on the physics you invoke: More is feasible than we have figured out how to use. Light materials instead of heavy ones; the familiar treated in inventive ways. Most of all, we need to find the right ideas and match them with the right materials. Synthetic textiles and new coatings guarantee lightness and durability where a certain heaviness and costly efforts used to be necessary. But because something is possible, it doesn’t mean it actually needs to be done. The limits I recognize are as much limits of our senses (and limits of what makes sense) as they are limits of performance. 027 3

Benedetta Tagliabue - The realm of physics nowadays is handling a much more detailed and complex level. I have been invited to roundtables of physics, interested in understand- ing, for example, the elaboration of a project like designing a building. Understanding our complexity and being able to have a science capa- ble of describing it is a wonderful possibility. 028 2 1

Courtesy ODBC architectes urbanistes architectes ODBC Courtesy ArchitectsHadid Zaha Courtesy W odile W - HADID ZAHA ork ork - decq in in progress progress Terminal Maritime “OPUS”TOWEROFFICE ,T ,Dubai, UAE anger,M orocco BARCELONA, 3 Courtesy EMBT ArquitectosEMBT Courtesy SantaC BENEDETTATAGLIABUE aterinaMarket spain,2005 renovation

029 Is architecture freedom?

Carme Pinós - In answer to the question whether architecture is free, I would say the whole process must be free if it grasps its own responsibil- ity. In that sense architecture also meets another requirement: we need everyone’s ego if we shoulder our own responsibility; which means awareness of the repercussions of our actions.

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Benedetta Tagliabue - No, architecture is not freedom. Architecture is about limits and about knowing how to calibrate the limits you are work- ing with and how to make them coexist with each other and yourself. 030 Renata Semin - Practice is freedom. Fifty percent of my life has been dedicated to professional practice with a team of talented partners and decisive collaborators. Recently our firm has pro- moted innovative partnerships. This wider range team is focused on special urban approaches like sustainability, pavement design, restoration of public spaces and buildings. Freedom is recognition of and emphasis on the architectural values of each project.

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Elisabetta Terragni - To many of us architecture is above all a necessity. If I say I seek freedom in architecture, I must agree to work under the conditions that obtain. They do vary greatly from culture to culture, from place to place. When everything is said and done, architecture appears to yield only limited freedom. On the other hand, I can rethink every job I’m asked to do and try every time to propose another solution than a client may expect. I can invent another way of hanging my windows and lighting my spaces, I can choose colours and surfaces, create an atmosphere and propose an experi- ence that could not be achieved in another way. If architecture is freedom, it depends on our capacity to invest that freedom in our buildings. 031 4

Odile Decq - Architecture is becoming more and more free and the limits of its freedom are the demands of society, the reality of people’s and client’s needs, respect for a budget and first of all the architect’s own ethics.

Winka Dubbeldam - Yes, within restrictions, if one sees restrictions as a design challenge, as we do, it feels free. 032 5

Eva Jiricna - Architecture is not freedom and it would be no fun were this the case. There are restrictions in life as much as in architecture and we have to define our own limits. The trick is to sail through all those obsta- cles without making a compromise. I would like to quote Charles Eames who said in his last lecture in London, having been asked how many compromises had he been forced to make during his lifetime, “I have never accepted a compromise since I always understood con- straints”. 033 6

Zaha Hadid - Architecture can be a vehicle in which I think you can address certain very important social issues evident in the complexity of people’s lives in the 21st century. 034 4 3 1/2 2010 Shanghai Expo FOR

Courtesy ODBC architectes urbanistes architectes ODBC Courtesy Archi-tectonics Courtesy ArquitectosEMBT Courtesy ODILE DECQ - DECQ ODILE NEW YORK,USA, 2004 winka BENEDETTATAGLIABUE - Museum W W ork ork in in dubbeldam- ContemporaryArt of progress progress MACRO ,Shanghai, C hiNA ,Rome , Italy GREENWICH STREET PROJECT STREET GREENWICH SpanishP avillion 6 5

Courtesy Zaha Hadid ArchitectsHadid Zaha Courtesy W entre C Arts Performing Dhabi Abu HADID ZAHA ev © London,UK, 2006 RenovationRoom ,Harrods Dhabi,Abu UAE Richard Bryant Richard ork a - jiricna in progress Jewellery Fine

035 The era of non-standardisation

Renata Semin - Standardization or non standardization is not the ques- tion. The decisions that have to be taken along a design process lead to the appropriate solution or specification for each issue. The possibility of reproduction on a large scale is welcome in situations like constructing components and products to achieve more accurate constructional performance, employing qualified workers and getting better services. In Brazil this is an issue to be carefully handled and discussed because of our great housing shortage.

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Winka Dubbeldam - Standardisation will be replaced by custom manu- facturing, we are working on the Cibani residence with a car designer, to have the façade made as a prototype!!!!

Odile Decq - In this freedom there has emerged the idea of the “non- standard”, helped by new industrial machines driven by specific com- puter programs for construction and material optimization. This is true for some one-off projects but others are more difficult, such as housing as long as human beings keep living on the horizontal. The Oblique Function world has not yet arrived everywhere! 036 Zaha Hadid - The architecture of repetition that marks out the 20th Century has been superseded by buildings that are adaptable, as well as encouraging diversity. The traditional architecture of crisp platonic blocks and crystalline grids is antithetical to these new demands for variation and intensive integration of contemporary life patterns.

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Carme Pinós - It’s not a question of doing whatever is now possible, but of knowing what we want, what we are asking of architecture and, above all, what model town corresponds to our own existential wishes and needs. That is to say, what architectural space - inside or outside - do we want to live in and relate to? In a society where the structures are constantly changing and individualism is to the fore, it is hard to find models for coexistence except for those dictated by the market with its clear penchant for abstraction, tending to turn us all into statistics and numbers. No stable, lasting model interests a society like ours based on production and consumption; it is change that fuels this, not stability. We’re in danger of believing that anything goes, and making research serve that end. 037 4

Benedetta Tagliabue - Nowadays we have technical possibilities which are dealing with complexity. A lot of disciplines, including physics, are now dealing with it. Standardisation is a kind of forcing which was relevant when technol- ogy had more limits. Now technology, giving more ways of handling complexity, makes us nearer to the craftsman’s way of working. Using all these possibilities properly is, I think, one of the great chal- lenges for the future. 038 with our sensibilities. our with tune in more much certainly is It works. it how and another world the about idea suggest geometries Non-standard us left disillusioned. have and may It anaemic over. was game the until economy and ardization Terragni Elisabetta Mdr acietr pae te ad f stand of card the played architecture Modern - -

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Eva Jiricna - Since we live in much greater luxury - those who have got money to spend or invest want something special, a ‘one-off’ piece. That is only one side of the coin. The other happens to be the fact that in the building industry we have never found a real answer to non- standardisation. To standardise means to produce a repetitive product and use it as such. Even though there have been many attempts to standardise various buildings units (windows, doors, ceiling panels, lighting etc) the process of putting them together is usually one-off. One of the reasons for non-standardisation is a lack of flexibility and high costs, sometimes only related to the cost of manufacturing and limited lifespan. There are problems with replacements and, above all, we do not like uniformity. Various dictatorships have tried and failed. The entire world is aiming at more freedom. P.S. It is always dangerous to make these sweeping comments. Standard housing units in under- developed countries would be a blessing and standard tents or hospitals etc. would help to resolve the immediate problems in disaster areas. More common sense and less ego might be a help in certain situations. 040 6

1/2 winka dubbeldam - Q TOWER AND cibani residential unit Work in progress, USA Courtesy Archi-tectonics

3 ZAHA HADID - NURAGIC AND CONTEMPORARY ART MUSEUM 2006, CAGLIARI, ITALY Courtesy Zaha Hadid Architects

4 BENEDETTA TAGLIABUE - centennial pavilion IN commemoration of the 100th anniversary OF the city of esch-sur-Alzette, Luxembourg, 2006 © Pierre Engel

5 eva jiricna - private residence LONDON, UK, 2004 © Richard Bryant

6 ZAHA HADID - BERGISEL SKI JUMP INNSBRUCK, AUSTRIA, 2002 © Hélène Binet 041 The expression of a changing society

Elisabetta Terragni - Our society changes more than our architecture does. As a matter of fact, our architecture has changed very little, we still hear the customary complaints from our grandfathers whenever something happens outside their frame of mind. Italy seems a country where modernism and its kitsch have survived amazingly well. Does this mean that our society is also slow to change?

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Odile Decq - How far is it the instability of the world, more than changes in society, that keeps questioning architecture in terms of forms and urban development and in terms of new social and political relation- ships that can influence our vision of architectural space? I often ask myself each of these questions. I can’t give even one answer. Nothing is definitive, every solution, every proposal is transitory. 042 Eva Jiricna - Society is changing for political, economic, cultural and many various, complex reasons. Architects can respond to the changes and help to prevent some of the undesirable effects occurring. There have been various utopian ideas to solve the future, there have been various despotic mega-projects proposed during distant, and less distant, history. We have examples of famous architects designing cities (Louis Kahn, Le Corbusier, Oscar Niemeyer, etc.), and we have the developers of “ Canary Wharfs” and Prince Charles villages. Cities have to grow naturally through ever changing requirements and mutual understanding of all parts of societies. There is a long way to go.

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Zaha Hadid - One of the great challenges of 21st century contemporary architecture is the fun- damental restructuring away from the “Fordist” concept of repetitive blocks typical of industrial mass society (large, square factories containing long assembly lines of similar workstations with staff each repeating the same task hour by hour, and the square repetitive blocks of traditional homes, offices and skyscrapers of the 20th Century), towards a “post-Fordist” society of flexible specialization, with its new order of diversity of work and life processes and a new level of fluid- ity and dynamism in careers, institutions and corporate organizations. The more complex lives we lead in the 21st century overlap and integrate rather than separate the life aspects of work, education, entertainment and habitation. The modern principle of functional zoning in regular grids has been superseded by agendas of layering in mixed-use developments. 043 Winka Dubbeldam - Society is now purely global with traces of the local, as described by Saskia Sassen! We are building the Un-Knot tower, a GHM hotel & residences which are mostly occupied by perma- nent travellers. Service is crucial and of a very high international level.

Benedetta Tagliabue - Architecture always expresses the situation and the needs of a society in a certain moment and place. It was so in the past and will be so in the future. This is what makes architecture so interesting, that it is always evolving together with people, users, society, time and so on.

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Renata Semin - The range of this expression leads me to place side by side extreme and at other times contrasting situations that are now jux- taposed as never before: worldwide access, regional culture, local tra- ditions, nanotechnology, robotics, handicrafts, high industrial perform- ance, natural lifestyles, restoration, destruction, memory, “dismemory”. Our project team, as a professional attitude, has been successful in designing for wide-ranging issues such as social housing, space plan- ning for corporations, chemical laboratories, countryside construction, technological sites, libraries, buildings for health care, urban planning, public spaces and every subject related to our existence. 044 6

1/2 ZAHA HADID - Maxxi: National 5 BEnEDETTA TAGLIABUE - vigo university Museum of XXI Century Arts CLASSROOMS and connecting bridge Work in progress, Rome, Italy Vigo, spain, 2003 Courtesy Zaha Hadid Architects Courtesy EMBT

6 eva jiricna - Fine Jewellery 3 Renata semin - Campinas catholic Room Renovation - Harrods UNIVERSITY central library London, UK, 2006 CAMPINAS, brazil © Richard Bryant Courtesy Piratininga

4 ELISABETTA TERRAGNI - Kindergarden AND Elementary School: corridor Altavilla Vicentina, Italy, 2008 Courtesy Elisabetta Terragni 045 Sustainability: a label, a must or a mission?

Odile Decq - Is the sustainability debate a new question or just another function to be resolved? Is it a new definition of our way of living or a fundamental re-definition of architecture? For my part, educated as I was in architecture during the seventies, the tail end of the hippies and during the first oil crack, solar, bioclimatic architecture and the self-sufficient environment were nourishing fun- damental questions and debates at school. So I consider that subject with its consequent responsibilities as an evident basic constraint for a project, never a “mission” (I hate that word: it seems religious!). If, today, it is used as a label it gives people more consciousness of it.

1 046 Renata Semin - An assertive mission, a statement. Using the library as an example for the moment: the design brief was natural ventilation and lighting, low energy consumption, universal design for accessibility, rational construction process, adequate per- formance of infrastructural systems and low cost maintenance. Such a starting point emphasizes quality in architecture.

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Benedetta Tagliabue - Sustainability is a name, a word. Sometimes I just try to understand what really lies beyond this word, other than being a word that makes everything you do acceptable. I think its meaning is about living well in a place, in harmony with people and with the environment, and that’s something not new to us. We have always tried to achieve this: to make architecture attentive to the site, attentive to the people using it or looking at it. Attentive to durability or to its existence in time. Most of the time traditional architecture is very sustainable. It is useful to be aware of that. 047 Eva Jiricna - Sustainability is a condition of human survival on this planet. In the same way as people accepted using toilets as a good thing, they will have to willingly accept sustainability as something which is in their favour.

Winka Dubbeldam - This Mission is a must.

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Zaha Hadid - There are many architects that use sophisticated air- conditioning and interior design methods to improve the ecological balance of a building - whereas I am concerned with adjusting new materials and manufacturing methods that are relative to a whole new paradigm of space articulation and space making. In the end, these different clusters of development - sustainability and the applicability of the materials - will come together again, bringing solutions to a great many problems. 048 Elisabetta Terragni - Sustainability is a slogan. There are reasons for this, and some of them are important but far from new. Remember that most houses had two sets of windows, one was removed during summertime and mounted when it got cold? Remember that we had several sets of clothes before air-conditioning and heating created an artificial indoor climate? And why should we splurge all that light over every interior? Reasonable choices, tested for centuries, went a fair way toward sus- tainability. Using heat-pumps, better insulation, voltaic cells, aeolian power and the like is not only reasonable but necessary.

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1 Elisabetta TerragnI - Casa Bianchi 4 Elisabetta TerragnI Greenhouse Apartment in Engadine Cernobbio, Italy, 2002 Samedan, Switzerland, 2005 © Brigitte Desrochers © Vaclav Sedy

2 Renata semin - Campinas catholic 5 ELISABETTA TERRAGNI UNIVERSITY central library Kindergarden and CAMPINAS, brazil Elementary School: Corridor Courtesy Piratiningaa Altavilla Vicentina, Italy, 2008 Courtesy Elisabetta Terragni 3 eva jiricna - hotel josef Prague, Czech Republic, 2002 © Ivan Nemec, Berlino, Praga 049 Cities within the megacity

Benedetta Tagliabue - Its not easy to answer shortly on such a broad topic. I think that the Megacity is the great contemporary theme; it is for example the theme of the future expo 2010 in Shanghai, where we are going to build the Spanish pavilion. “How to live well in the big city”: the architecture of our Spanish pavilion is an answer to this question.

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Winka Dubbeldam - New York is one of the examples, yes. Niche cul- tures as described by Alvin Toffler in the Sixties are getting to be a really strong force in the city and on the internet.

Eva Jiricna - Too much intellectual argument with very little practical implication. 050 Odile Decq - Mega-cities is where more than half of the world popula- tion lives. I don’t understand that difference between city and mega- city. Mega-city is a city. If the question refers to cities as the historical ones, they are just a few areas where a small part of the world live within privileged urban conditions. If this question refers to areas within mega- cities that we could call cities, it means the question of the neighbour- hood. Again, as in the second question, this is a social issue in urban development. It could be developed as a network of local urban cores, whatever they are - horizontal or vertical.

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Elisabetta Terragni - Megacities are an abstraction. Nobody “lives” in a megacity, everyone lives in surroundings of rather limited dimensions. What makes large cities often so interesting is the fact that they harbour small ones. When I think of the East Village in New York, it reminds me of Porta Ticinese in Milan. With the difference that its mix of stores and opportunities is far denser and much more complex and variegated. 051 052 such as Mexico City, Mumbai, Johannesburg. I mean, not so much for its privileges but for its its for but privileges its for much so not challenges. mean, I Johannesburg. Mumbai, City, Mexico as such studies case megacity other in reproduced be easily may Paulo São of example global The this in megacity. responsibilities respective own their with each urgently them apply to must struggle of and platform policies a government create the democratically, and discuss to order in society investigations intervention and civil action their converge Multidisciplinary practitioners, level, issues. cultural University new and at require economic conducted this all social, life, spatial, urban face of to appeals policies constant networks the street of infrastructure, construction never-enough the the occupation, and unplanned with coping irregularities, ground natural the overcoming territory, the through out Spreading with. to deal a and a problem value Renata Semin 3 - São Paulo, where I live, has turned into one of the world megacities. This prefix is is prefix This megacities. world the of one into turned has live, I where Paulo, São - patterns of built-up environments. the upon environments. depend built-up of they as patterns much as communication of systems technical these upon depends h sca odr n cmlx oil ucinn o cneprr scey n h 21 the In society contemporary of functioning social complex and order social The internet). and telephone, telecommunication of broadcasting, systems (printing, various and aviation) systems automobiles, mechanical trains, (i.e. include systems transportation of These compete architecture. complement, that traditional beyond systems extend and infrastructure with, of set new a created has era sufficiently with modern The society a structure to institutions. and processes possible life it robust and was complex way this well in as Only layer, larger. upon ever layer growing as superimposing and developments, and infrastructure complex more ever up building been have Cities order. a social stabilize and up to build towns/cities into ment Hadid Zaha 2 1

Courtesy ODBC architectes urbanistes architectes ODBC Courtesy Archi-tectonics Courtesy W odile DUBBELDAM- WINKA W ork ork - decq in in progress progress - Human civilization has always relied on architectural structures and their arrange their and structures architectural on relied always has civilization Human - Terminal Maritime ,T ,PHILADELPHIA, USA UNKNOTTOWER anger,M orocco 4 3

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project st century century 4 -

053 The architect’s ego in a world of geniuses

Winka Dubbeldam - That is so un-interesting.

Eva Jiricna - Unnecessary, surplus.

Odile Decq - No comment to this question. Not interesting.

Renata Semin - This statement is the opposite of the architectural proc- ess I believe in. Responsibility and an integrated team of skillful interdis- ciplinary professionals are the components behind design.

1 054 2 be protagonists in current architecture. architecture. current to in reason protagonists every be have bent scientific a or sensibility artistic an that feel I sense. of professional any in way architects not bywere Romano, Michelangelo, and Giulio Alberti to Brunelleschi from figures, greatest its that fact the was inventive and rich so architecture Renaissance made what that though forget not Let’s that.” started I think I architects. be to want artists and artists, be to want “architects that irony of tinge a than more Terragni Elisabetta difficult. very very, it have guys, “top” the even are, they no to, talk successful how can matter you architect Every time. hard a have really generally, - Hadid Zaha Everything requires more diligence, but I think architects, architects, think I but diligence, more requires Everything - In a recent interview, Dan Graham observed with with observed Graham Dan interview, recent a In -

055 3 4

Benedetta Tagliabue - Ego is a problem for every human being! And it is present for sure in every profession. Now in architecture we have a need for visibility, given by the fact that we have to work in a very extended world. In this extended network of communications, I think it is very important to use our image and our visibility correctly. It’s important to try to maintain our ego within a limit, just as every other human being has to do. 056 5

1/2 ZAHA HADID - PHAENO SCIENCE CENTER WOLFSBURG, GERMANy, 2005 © Werner Huthmacher

3/4 BENEDETTA TAGLIABUE - Gas Natural’s New Headquarters BARCELONA, spain, 2008 © Romain Piro

5 ODILE DECQ - Greenland Furniture Centre Shangai, China, 2007 Courtesy ODBC architectes urbanistes 057 Why the future needs me?

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Odile Decq - You will tell me!

Eva Jiricna - Does it? I wonder. Since I don’t know I’ll go on doing my best and run the risk that it might all be wasted.

Zaha Hadid - Because I think through our architecture we can give people a glimpse of another world, enthuse them and make them excited about ideas.

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Renata Semin - As part of a project team dedicated to research, design, developing and applying our knowledge to achieve better conditions in our cities. The attention must focus on a virtuous and ethi- cal process.

Benedetta Tagliabue - The future never needs any of us, that is for sure. Life is cruel. But I very much enjoy dealing with the present. The present gives me a lot of plans with which to look towards the future. Plans which I hope will help bring happiness to many many people. 059 060 of speed, simulation, and angst. and simulation, speed, of a in world offer I manage as to can hope experience an I enjoyable and ephemeral as possible. as “stuff” little as with architecture make can I when I’m happiest balance. for room and of quiet areas suggests opens nuance, response, emotional an obviously elicits (and work my me whether to clients) matters my to It touch. delicate more a with it to handle trying I’m brutal, even and unforgiving harsh, all above seemed architec ture when period long a After architects. future facing. are teaching I’mwe And issues the for feeling my and sensibility my honing I’m it. Terragni Elisabetta WinkaDubbeldam - Whether the future needs me or not, I’m working on on I’m working not, or me needs future the Whether - - It probably doesn’t. probably It - - 4 3 2 1

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Courtesy ODBC architectes urbanistes architectes ODBC Courtesy renata vigo BEnEDETTATAGLIABUE - DECQ ODILE W Courtesy Piratininga Courtesy Courtesy Benedetta TagliabueBenedetta Courtesy Vigo ork paulo , university spain,2003 in - semin progress , brazil,2006 MACRO,Museum mario sport ,Rome, I taly de building andreade ContemporaryArt of library

6 4/5/7 Courtesy Archi-tectonics Courtesy LONDRA,UK,1999 ev NEW YORK,USA, 2004 winka © Richard Bryant Richard © a - jiricna dubbeldam- C anadaW

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067 068 Involucrienvelopes - interior design KARA KARA recyclable. 100% steels, all like and, non-pollutant being in friendly proper environmentally is and mechanical ties high has ductile, extremely is It corrosion. against defence excellent an coating, surface self-protective fine a form to oxygen with reacts this 10.5%) (min. content chrome high its With stain on and falling steel. less shells increasingly is choice building for architectural the family steel designed the Within especially solutions. design systems interior and products architect the offers steel Stainless CONSTRUCTIONS FOR SKIN NEW STEEL: STAINLESS SOCIETCHANGING A E THE hence the product’s durability. durability. and product’s process the hence self-protection the impairing nickel-free. without is it properties but magnetic steel’s the resistance, restores feature corrosion This its guaranteeing content chromium high a has steels ferritic © Pawlowicz - courtesy ArcelorMittal courtesy Pawlowicz- © Innovation never an end in itself in end an never Innovation ® ® is a new series of ferritic stainless steel products by ArcelorMittal. The alloy of this family of of family this of alloy The ArcelorMittal. by products steel stainless ferritic of series new a is : INNO : RESSIONXP OF V ATI V E ARCHITECTONIC SOLUTIONS SOLUTIONS ARCHITECTONIC E Y - - ArcelorMittal’s advisors and technical experts can offer designers guidance on the best choice of of choice best the on guidance needs. designers specific offer satisfy to can steel experts technical and advisors ArcelorMittal’s mm. 1500 of width maximum a with mm Thanks to the different finishings available (matte, mirror, etc.) KARA etc.) mirror, (matte, available finishings different the to Thanks roof. or façade entire the of weight section the resistant the decreasing of thereby reduced thickness be to the allow K36 the of features mechanical traditional by excellent welded The easily and techniques. transformation, and profiling for suitable 436: standard international KARA typical of new industrial installations, the KARA the conditions installations, environmental industrial aggressive new of average the typical to exposed architecture in cladding external For fluctuations. is price alloy the that fact nickel-related to the by subject not stable made price competitive extremely an at characteristics technical impact flanked by a flexibility allowing totally free spatial expression with virtually no maintenance maintenance no virtually with KARA product, of expression type the on spatial Depending free costs. totally allowing flexibility a by flanked impact ® is part of the market range of highly corrosion resistant products offering high performance performance high offering products resistant corrosion highly of range market the of part is ® ® range offers the K36, a steel corresponding to AISI AISI to corresponding steel a K36, the offers range is available in thicknesses ranging from 0.4 mm al 3 al mm 0.4 from ranging thicknesses in available is ® guarantees high architectonic architectonic high guarantees © Pawlowicz - courtesy ArcelorMittal courtesy Pawlowicz- ©

069 070 Involucrienvelopes HORI ae f seby Avl ouin ase al h dsge’ nes ihn a within needs designer’s the and all basis answer modular solutions their Arval With assembly, etc.). of ease brise-soleil, panels, pre- slatted, (sandwich steel, system shingles, façade (stainless of coffered, choice materials or to etc.) as galvanised, personalised painted, be may solutions Arval guided is the from whole process until the phase throughout the architect design is shell mounted. The research. aesthetic and technical new of outcome the are solutions systems Arval cladding. complete inside and in ceilings floors, roofs, specialising façades, for company group ArcelorMittal an is Arval Mascaret life. to building the bring to seem that effects light vibrant by environment surrounding the with dialogues It form. organic an with buildings for suitable © Paul Robin - courtesy ArcelorMittal courtesy - Robin Paul © AR O NEW single system: look, fire resistance, water-proofing, heat and noise comfort. comfort. noise and Caïman heat water-proofing, resistance, fire look, system: single renovation or construction of steel buildings. To suit a variety of building building of variety finishes. a and colours of suit choice Towide a offers Arval buildings. applications, steel of the construction for or market solution roofing renovation economical and and practical cladding the comprehensive, a in provides product and leading fix to a is simple and panel lightweight insulated The insulation. wool rock a or polyurethane a The enclosing circumstances. sheets steel of profiled coated two range comprise come Systems widest Panel the they Insulated meet flat, to shapes exceptionally various and of units mount in to easy coffer and The Quick sunlight. operations. the filter refurbishing or new in or cladding façade for suitable are transparency Evolution® ST systems building the give they façade and look roofs fly dynamic for their With or vertical. used horizontal be can mounted They are sun-breakers. section, hole round/oblong embossed VAL Because every challenge is an opportunity and every solution has its best form best its has solution every and opportunity an is challenge every Because ® SOLUTIONS ® is a shingle façade system (the shingle size can be chosen) chosen) be can size shingle (the system façade shingle a is ® Z a efrtd rs-ae eto, n S Lmee 300 Lumiere ST and section, cross-wave perforated a , ONS OF ARCHITECTUREOF ONS PP ORTUNITIES: THE CONTEMORTUNITIES:THE ® , an an , P

ORAR Y © Ch.© ArcelorMittal courtesy Wood - Oxygen façade. The architectural depth. aesthetic of truly a sense is the result enhancing light, the in shimmers that de-structured a appearance façade the gives panels micro-perforated these of aspect elimi to 3-D The factors. necessary external to due corrosion intervention prevent and growth organic periodical nate only leaving cleaning, normal ensures rain of action the easy: extremely also is clad façade Maintenance whole process. ding the up speed help panels Oxygen® the install, to frame. Easy structural transom and convex mullion size a to anchor varying that with motifs concave panels and steel stainless embossed interlocking thick THE OX THE The OxygenThe qualified ArcelorMittal people. by out ArcelorMittal carried be qualified should Installation mm. 7 is space joint-width vertical and This Oxygen surface. non-undulated system. whole the to single, stability a maximum to provides compared façade the transverse of the increase inertia bars reinforcement hollows, horizontal convex and and edges concave of upturned alternation the to addition In the panels. at ing quarter-spheres interlock the across 4 pattern embossed of the and continuity ensures edges This corners. the along spheres, semi-spheres concave 8 concave and 12convex 15 has panel Each steel. stainless coated Y ® ® GEN modules are available in the size 82 cm x 134 cm approx. Horizontal Horizontal x 82 cm 134 approx. cm size the in available are modules micro-perforated, 4301 thickness 10/10 from made are modules ® ® system is ArcelorMittal’s latest façade cladding release: 10/10 release: cladding façade latest ArcelorMittal’s is system SY STEM © Eric AvenelArcelorMittal Eric courtesy © - - - -

071 072 structures Courtesy ArcelorMittal Courtesy (ACB BEAMS CELLULAR ARCELORMITTAL ARCHITECTUREFREEDOM?IS sections, which produces an economic saving and greater ease of transportation and assembly. and transportation of ease greater and saving economic an produces which sections, steel hot-rolled over traditional of 25-30% a weight-saving also is There perforations. beam the through pass can circuits other and wiring since cm, enable by 25-40 to be reduced beams structure of a floor height Cellular m. final the 25 to 8 from girders, floor for m; 45 to 10 from roofing, with for vary required: possible task the spans The height. beam final the of 80% to up diameter hole the with etc.), vature, the on Depending outset. the at cur holes, of the than spacing and ratio diameter the (varying of shapes a host produce inertia/weight may one need, and design height greater circular a with girder a and is result The perforations again. together welded then are that tech pieces T patented a two by obtain shaft to the down nique The cut is which instalment. of section I or H speed hot-rolled basic a prefabricated, with being begins and, process saving practicality, monetary ensuring and flexibility, space appearance, saving fine a floors, and roofing to solution lightweight a are beams ACB Freedom as an expression of light and light as an expression of freedom of expression an as light and light of expression an as Freedom ® ) - - Courtesy ArcelorMittal Courtesy

073 074 envelopes Courtesy ArcelorMittal Courtesy ties. Available in a new exclusive range of attractive finishes and colours like gold or champagne, champagne, or gold like colours and finishes proper attractive of anti-corrosive range better exclusive with new a endowned in or Available aesthetic ties. more or simply anti-bacterial just an or light, of surface, source a reflector, a self-cleaning innovative sensor, with a be products can new steel launch process and this - With properties. nanoparticles - coat particles to fine enables technol that extremely with Development, breakthrough sheet and a steel Research line, ArcelorMittal’s coating by steel first world a plasma as vacuum developed a ogy for prototype industrial an is Arceo A NON-STANDARDISATIONOF ERA THE rceo Technology at the service of aesthetics of service the at Technology : T : echnological A and I esthetical nno v ation - - vacuum coating process, all the particles are deposited on the steel. steel. the on deposited are a in particles the because all simply process, treatment, coating vacuum require that gases or effluents generate it does neither preparations; or chemical solvents not use does Arceo of environment. the is respectful process plasma vacuum The (Duraclean). accessories and applications in industrial and office buildings (Luminance buildings office and industrial in lighting in applications (Ambient®), walls interior doors, ceilings, in decoration interior for suited are products these ® ) or in building applications like façades façades like applications building in or ) Courtesy ArcelorMittal Courtesy

075 076 envelopes 30 years. Solano years. 30 to up guarantees, of range extended an resist and edges, corrosion cut greater on even - protection, ance UV enhanced feature They elements. to the resistance high and life longer with thermo products to create protective coating a plastic with steel solid marry They environments. coastal and industrial including situations, demanding in applications cladding wall and colour palette are phthalate-free. The size availability is 0.3 to 1.8 mm thick thick mm 1.8 large. to mm 0.3 600x1550 is and availability size The phthalate-free. are palette colour the on paints all new users, end for life of distinctive quality the To ensure and emboss. logo Solano® woodgrain, striped, fine striped, medium leathergrain, grained, smooth, patterns: emboss different seven to up of choice a in Solano SOLANO MEGACITCITIESTHE WITHIN © Emiel Verhasselt© ArcelorMittal courtesy - Safety, durability and protection; a presence for the present and the future the and present the for presence a protection; and durability Safety, ® 30 is a range of organic coated steels specially designed for roof roof for designed specially steels coated organic of range a is 30 ® ® is available in a wide range of modern colours and comes comes and colours modern of range wide a in available is Y © Emiel Verhasselt© ArcelorMittal courtesy - - -

© Pierre Engel Pierre © 1 sheet thickness from 0.17 to 3 mm), and are available in sheet or strip form, form, wide. mm 850 strip 1 to or (final 600 sheet from in use to available are and according mm), 3 0.17 to varying from thickness coatings sheet paint of range a ArcelorMittal in the by come group manufactured steels pre-painted The etc.). façade panels, cladding, sandwich (like jobs outside for or etc.) doors, ceilings, (false surfaces inside lining for and trade building malleable the in used are elastic, steels fire, Such workable. and scoring to resistant being as well as cor to rosion, resistance and properties mechanical of excellence in compete ers lay steel these All saving. economic and look of terms in achieved product final of quality high a and controlled be can is production that so Manufacturing continuous coat. top a and primer a paint: of coats sup two steel given is port galvanised The product. low-cost ecological, steel technological, a is pre-painted Tagliabue, Benedetta by 2) (Fig.1, Esch-Sur-Alzette of city s sd n h pvlo i cmeoain f h 100 the of commemoration in pavilion the in used As STEEL PRE-PAINTED 2 th anniversary of the the of anniversary © Pierre Engel Pierre © - - -

077 078 roofings Arsolar sheet steel boxes fixed to purlins between which a layer of vapour-proof rock wool fibre insulation is is insulation Traditherm fibre wool rock Alternatively, vapour-proof of inserted. layer a which between purlins to fixed boxes steel sheet for the installation of photovoltaic panels. The ideal working conditions for the Arsolar the for required conditions features working ideal slope The and panels. photovoltaic of surface the installation with the for Europe in latitude. to identified relation been in have varies areas earth the insolation on Seven energy sun-produced of supply plentiful pollution-free The radiation. solar from directly electricity generating and lated photovoltaic roofing. The Arsolar The roofing. photovoltaic lated To maximize the potential of Arsolar potential the To maximize of distance a Km. running car a by 160,000 produced pollution the to corresponding CO2, of tons 30 of emissions be used. In both cases the Arsolar the cases both In used. be ARSOLAR WH Courtesy ArcelorMittal Courtesy ArcelorMittal offers a full range of parts and accessories to guarantee a full dry-bonded multilayer multilayer Arsolar The dry-bonded full insulation. a heat guarantee to including system accessories and roofing parts of range full a offers ArcelorMittal electricity. comes clean of production Arsolar® the for system incentives roofing government-funded photovoltaic the under combined a As guarantee. year 20 a by covered port sup roofing metallic the with power, nominal the of to 80% equal years 25 guaranteeing over users, production end energy and an workers building firms, construction planners, to support targeted offers the panels to be assembled on a surface with at least 10% slope, bearing in mind that the optimal optimal the that mind in Arsolar of bearing surface 25mq A 30°. slope, or 60° 10% around is least angle at slope with surface a on assembled be to panels the Respect for the environment requires efficiency and energy saving energy and efficiency requires environment the for Respect THE FUTURE NEEDSFUTURE THE ME?Y ® is a high performance modular panel system devised by ArcelorMittal for integrated venti integrated for ArcelorMittal by devised system panel modular performance high a is ® : INNO : V ATI V ROOFING ROOFING Y EFFICIENC HIGH E ® 120 mm thick load-bearing insulated steel sandwich panels can can panels sandwich steel insulated load-bearing thick mm 120 ® ® modules will rest on special bored omega spacers on the sup the on spacers omega bored special on rest will modules and ensure the success of the photovoltaic project ArcelorMittal ArcelorMittal project photovoltaic of the success the ensure and ® system has the dual function of metallic roofing for buildings, buildings, for roofing metallic of function dual the has system ® modules can be supported by corrugated or or corrugated by supported be can modules ® roofing (3000 Wc) will avoid atmospheric atmospheric avoid will Wc) (3000 roofing Courtesy ArcelorMittal Courtesy ® system require require system - - - cells is 1050x1495 mm for single modules and 1050x2990 mm for double modules and the nominal nominal the and modules double for mm Wc. 75 and 65 1050x2990 between is mq and per power modules single for mm 1050x1495 is cells photovoltaic silicon crystalline by the up taken surface panel The anthracite. and blue white, colours: ventilated), with fixture points in the gutter and outlet on the ridge of the roof. not the of Arsolar were ridge roof the on the outlet if and gutter the temperature in in points rise fixture with the with ventilated), subside to would required (which is space generation air thick cm electricity 8 An ensure ventilation. and strength mechanical ensure to designed port abrasion and fire resistant, elastic, malleable, workable and eco-friendly. and workable and malleable, also is roofing it elastic, for resistant, mentioned, fire mm and 0.7 qualities - abrasion the 0.5 Besides of sheets. wide mm 1500 - thicknesses 700 in in comes It used façades. is for 0.8 - 0.7 It AlcorMittal. by manufactured and (1.6%), (43.4%) zinc silicon (55%), aluminium of alloy an with 10215) coated (EN sheet steel carbon a is Aluzinc® value excellent also is and light, and money. building heat for a reflect to provides capacity It high its to brightness. thanks and shield, colour thermal a against natural with its years 20 preserves for Aluzinc® Guaranteed zinc. corrosion, and through holing aluminium of corrosion action protective atmospheric to combined resistance the roofing to excellent for affords thanks and the used effect enhances starred and both silvery coating parts, bright metal a the equal with resistance, surface almost in mechanical provides bonding steel The zinc shells. and façade and aluminium in coated sheet steel A ALUZINC ® is manufactured in galvanized laminated corrugated steel panels available in three standard standard in three available panels steel corrugated laminated in galvanized is manufactured ® Courtesy ArcelorMittal Courtesy

079 Editor in Chief The Plan thanks Locomia NICOLA LEONARDI Comunicazione Integrata for providing the concept Art Director and Editorial Co-ordinator of this volume CARLOTTA ZUCCHINI

Senior Editors MARCO LEONARDI GERARDO DALL’OCCA DELL’ORSO GIULIANO RE

Managing Editor ADRIANA DALL’OCCA DELL’ORSO

Creative Director RICCARDO PIETRANTONIO

Special Contributors LUCY BULLIVANT CRISTINA MOROZZI ALESSANDRA ORLANDONI LUIGI PRESTINENZA PUGLISI RAYMUND RYAN

Correspondents CARLO VITTORIO MATILDI, GREAT BRITAIN GRAHAM FORD, NEW ZELAND UGO CAVALLARI, SPAIN FELIX FREY, SWITZERLAND SERGIO GHETTI, USA EMILIANO GANDOLFI, THE NETHERLANDS

Special Contributors ArcelorMittal BCS LARA CAPPELLO CHRISTINE ETZENBACH MARTA DZIARNOWSKA SILVIA SCALZO

Graphic & Editing GIANFRANCO CESARI GIANLUCA RAIMONDO

Editorial Staff LAURA COCURULLO ANGELA MACCHI ELISABETTA MADRIGALI FEDERICO MASTRORILLI ILARIA MAZZANTI SILVIA MONTI ALICE POLI Printer for this issue Text Editors Mondadori Printing MADDALENA DALLA MURA - Italian FRANCESCO PAGLIARI - Italian Publisher STEVIE JOHNSON - English THE PLAN RALPH NISBET - English Art & Architecture Editions CENTAURO srl Translators Edizioni Scientifiche Maria Sole Checcoli Via del Pratello, 8 Maria Rosa Cirillo 40122 Bologna - Italy Catherine de Coataudon Tel.+39. 051.227634 Rossella Fresu Ratzinger Fax +39. 051.220099 Christopher John Turner www.theplan.it Johannes Rösing CCAP 0610 U 89003 Advertising and Editorial Coordinator COSTANZA DALL’OCCA DELL’ORSO Distribution in Italy - Bookshops JOO DISTRIBUZIONE Distribution Manager Via F. Argelati, 35 - 20143 MILANO GUGLIELMO BOZZI BONI Tel. +39. 02. 8375671 Fax +39. 02. 58112324 Administration E-mail: [email protected] SERENA PRETI Distribution in Italy - Kiosks Subscriptions PIERONI DISTRIBUZIONE s.r.l. ILARIA ROSSI Via Vittorio Veneto, 28 20214 MILANO Promotion Tel. +39. 02. 632461 FEDERICA ANDREINI Fax +39. 02. 63246232