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A10 new European architecture to czasopismo zajmujące się architekturą tylko EUROPEJSKĄ - w tym wydaniu wiele projektów, nowości w tym temat z okładki - betonowa transformacja we Wrocławiu!

A10 dostarcza nam zwięzłą, dokładną i aktualną informację o ostatnich realizacjach, projektach i nowinkach architektury Europejskiej, od terenów Arktyki po Morze Śródziemne.

Co ważne - znacznie rzadziej A10 poinformuje nas o największych dokonaniach znanych sław architektury, koncentrując się na znacznie szerszym polu architektury starego kontynentu, starając się skierować uwagę na rzeczy dziejące się zarówno w zachodniej jaki i centralnej oraz wschodniej Europie. Z czystym przekazem informacyjnym, A10 prezentuje nowe budynki i projekty wykonane przez "gwiazdy jutra", "zapomnianych mistrzów" oraz jeszcze nie odkryte talenty.

A10 jest przygotowywane i wydawane przez krytyka architektury Hansa Ibelingsa oraz grafika Arjana Groota. Czasopismo posiada sieć ponad 70 korespondentów w całej Europie, od Irlandii po Turcję (także 3 w Polsce) i od Portugalii po Rosję. Dzięki tej ciekawej siatce współpracy A10 bardzo często jako pierwszy donosi o nowych projektach czy też budynkach.

Poniżej spis treści wydania 43 - wraz z tekstami informującymi w języku angielskim.

fotografie A10.eu:

Overview of contents

On the spot

News and observations

    Tiburtina station by ABDR, Rome (IT)
    Stills flagship store by Doepel Strijkers Architects, Amsterdam (NL)
    Architecture as a collector's item
    Playhouse by Anna & Eugeni Bach, Nummi Pusula (FI)
    and more…

Start

New projects

    Museum extension, Alcázar de San Juan (ES) by PKMN architectures
    Wellness centre, Kranjska Gora (SI) by Enota
    Public squares, Warsaw (PL) by BudCud, Moko Architects, Centrala, WWAA and KAPS Architects
    Tourist complex, Split (HR) by Ivona Jerković, Josip Jerković, Marta Lozo, Damir Petric and Hrvoje Vidović

Interview

feld72: Space for possibilities

The feld72 team does not like to be circumscribed by the classic definition of a professional architect. They work in both art and architecture, taking on small and large commissions as well as temporary projects. Anne Catherine Fleith, Michael Obrist and Mario Paintner explain why the dialogue with other parties and the participatory approach are important tools for them and what role strategic thinking plays in this process.

Ready

New buildings

    Housing, Paris (FR) by Hamonic + Masson
    School, Vilnius (LT) by Sigitas Kuncevičius
    Cultural centre, Nantes (FR) by Tetrarc Architectes
    Primary school, Glasgow (UK) by jmarchitects
    Residential building, Belgrade (RS) by Dejan Miljković and Jovan Mitrović
    Museum extension, Graz (AT) by Nieto Sobejano with eep architekten
    Villa, Saue county (EE) by Kamp Arhitektid
    College building, Dresden (DE) by Kister Scheithauer Gross Architekten and stadtplaner with Rohdecan Architekten
    Townhouse refurbishment, London (UK) by Ashton Porter Architects
    Museum, Wrocław (PL) by CH+ and VROA
    Mountain house, Pernink (CZ) by FAM Architekti

Section

Light interventions

When it comes to the conscious use of light in architecture, it is possible to distinguish two extremes. On the one hand there is the kind of lighting that supports and enhances the architectural space. This is the case, for example, where the illumination corresponds with the construction, or where routes through a building are accentuated with light lines. On the other hand there are many projects where the application of light tells a different story, produces a contrast.

Eurovision

Focusing on European countries, cities and regions

    Curating the city – Tallinn's year as Capital of Culture (EE)
    A gulf apart: Benidorm and Marbella (ES)
    Tour guide: Rotterdam, large and small (NL)

Out of obscurity

Buildings from the margins of modern history

The house that Giuseppe Perugini built for himself in Fregene, outside Rome, is the crystallization of his experiments with an architecture that combines kinematic elements, using rotating structures and suspended prefabricated modules. According to Giampiero Sanguigni it reflects 'the desire to realize a potentially infinite architecture'.

Playhouse

Playhouse

[Finland] NUMMI PUSULA (FI) - Uma and Rufus Bach, the children of the Finnish-Spanish architects Anna & Eugeni Bach from Barcelona, are the clients of a playhouse in the their grandparents' garden. The parents describe how it went: 'When an architect couple has young kids, there will come a day when they ask: "Mum, dad… You're architects, aren't you? And you make houses for people? So how about designing a house for us?" In such a situation, there are two possibilities: find an excuse to avoid it, or promise them that you will make a house especially designed for them. We found ourselves in this situation last summer, and we promised them that we would build a house for them on their grandparents' farm in Finland. And, of course, at the kids' insistence we fulfilled our promise.'

The 13.5 m2 house, which was built with a budget of 800 euros, has a very simple structure with two externally identical modules oriented in opposite directions. One of these modules is double child-height, which allows an adult to enter the house without having to bend. The other module has two levels, connected by a simple ladder, allowing for a more complex layout inside.

For the structure and the floors, spruce from the grandparents' farm was used. The rest of the timber was bought at the local hardware store. The house was designed in July, and self-built in the space of two weeks last August, using the traditional techniques employed in the construction of Finnish barns.

Anna and Eugeni Bach: 'The interior is what children understand as a basic house, but due to their abstract nature, the interior spaces allow a child's imagination to flow, and spaces that might be identified as a domestic interior can suddenly become the dungeon of a medieval castle, or the top floor of the keep from which to shoot arrows at enemies.'

Museum

Museum

[Poland] WROCŁAW (PL) - CH+ and VROA have transformed a monolithic WWII bunker into a temporary museum.

For decades this bunker was a special piece of architecture in Wrocław's cityscape. Built during World War II by Nazi architect Richard Konwiarz, it was supposed to provide the best possible protection for the community of the then-German city of Breslau from the Allied bombers. The bunker survived the war almost unscathed and entered the post-war period as a space with great potential and an unclear future. Too visible and prominent to be urbanistically ignored, too monstrous a structure to be radically altered and with too difficult a layout to be transformed into a space for any conventional function, the bunker waited more than six decades to become, once more, a place where people congregate.

Eight years ago the Polish Ministry of Culture launched a public programme of founding contemporary art institutions and erecting museums of contemporary art in sixteen major Polish cities. The result was a series of international open design competitions. With the winning project in Wrocław on hold because of budget shortfalls, the idea arose of converting an existing building into a temporary museum. The choice of the city-owned bunker was quite logical, as it had recently become a site of contemporary art. A few years earlier its front elevation, thoroughly renovated, had acquired a piece of concrete poetry by prominent Polish artist Stanisław Dróżdż, while its interior was home to a new Polish art review aptly entitled 'Survival'. Instead of an architectural competition, the conversion was the subject of a design-and-build tender won by a team of two very young Wrocław studios, CH+ and VROA , together with an experienced general contractor.

The task confronting the team was obviously a tough one. Six floors of claustrophobic space, 1.1-metre-thick reinforced concrete external walls, a 1.5-metre-thick reinforced concrete roof slab and three internal concentric load-bearing concrete rings combined with a extremely large number of internal partitions did not make it easy to convert the bunker into a well-functioning building. Moreover, because of a very tight budget, the architects’ intervention had to be modest.

Even after having removed all the non-structural partitions, the architects did not obtain typical contemporary art museum white-box spaces: instead of being high, well-proportioned and orthogonal, they were low, narrow and curved, and still evoked a sense of claustrophobia. To open up the interior, CH+ and VROA removed part of the floor slab between the third and fourth storeys and inserted a new lift shaft in the very centre of the bunker, covering the holes of the old shaft with metal gratings. The result is a series of floors where three concrete rings create an undetermined space in which exhibits and visitor movements – both vertical and horizontal – intersect, and in which from time to time one gets glimpses of what is happening on the neighbouring levels.

The interior is minimally finished. The architects scraped the old layers of plaster off the internal surfaces, poured a concrete finish on the floors and put all the piping and wiring directly onto the walls, thereby exposing the sinister, thus far invisible beauty of the bunker. The only real architectural interventions were the new glass-walled lift, a rooftop café and a multifunctional space in the exhibition zone. The first two, painted in a fashionable green colour, provide unusual spatial experiences: the lift through its movements within the circular concrete shaft, and the cylindrical glass café because it offers a real three-dimensional release after the constriction of the six floors below. The multifunctional space, shimmering with a palette of bright colours, is an unexpected addition by Swiss artists Sabina Land and Daniel Baumann. Called 'Beautiful Tube', it simultaneously follows the logic of the building's layout and contradicts it by offering multiple levels, shelves and places to sit.

Even after the intervention the bunker remains a labyrinth of cramped spaces. Although very regular in its geometry, it is a space where nothing is obvious and where everybody gets lost, not just in the building but also in difficult contemporary art. Perhaps the real issue here is that the bunker, being a built expression of the political force that anathematized artistic modernity as 'Entartete Kunst' (degenerate art), is now exhibiting works that are the direct descendants of that despised art.

Primary school

Primary school

[United Kingdom] GLASGOW (UK) - jmarchitects' bold design makes the most of an old city-centre site.

The Hillhead area of Glasgow was largely developed in the 1850s when three-storey blonde sandstone tenements were laid out on a grid plan on rising ground next to the River Kelvin. The area also encompasses the University of Glasgow, which first established itself here in the 1870s, and borders the mighty Kelvingrove Park. It is one of Glasgow's most colourful and cosmopolitan areas.

In the 1980s one block of tenements collapsed, leaving a gap site. Adding to this an adjacent Parks Department depot, Glasgow City Council chose this as the site for a new school that would combine the function of six existing primary and nursery schools in the area; all schools were in Victorian buildings on tight sites with constricted playgrounds, and all had declining pupil numbers.

With an appreciation of the awkwardness of the site and its location in an area of high architectural value, the City Council opted for a traditional procurement route as opposed to their usual procurement of a batch of schools through a single 'design and build' privately financed contractor, or the in-house production of one generic typology. With the Council's Education Department acting as client, jmarchitects were selected through competitive interview. They have produced a building which is economical, makes maximum use of its site, and manages to be simultaneously both assertive towards and respectful of its setting.

The building is in two parts. A predominantly 'civic' part (intended also to be used by the community) is set well back from Gibson Street, creating a playground or public space onto which open the school's dining room and games hall. A more sober 'learning block' containing all the classrooms is laid out behind the 'civic' block, nestling between the leafy banks of the Kelvin and the beginnings of Kelvingrove Park. A 32-metre-long glass-walled bridge connects the two blocks and also enables the building to skirt round a derelict house that the council had been unable to acquire.

The south edge of the block is split into a pavement on two levels: the upper level slopes gently upwards into the school's 'civic entrance'. The lower pavement drops down with the street along the side of the building, leading both to the vehicular entrance to the school and to one of the entry points into the classroom block for parents and children. The triangle between these two pavements is finessed with a series of tapering steps, whose perforated risers both mask and vent the car park that lies beneath the front block.

The glass-walled box of the head teacher's room and school library projecting from the south side of the building reinforces this side as the school entrance. The cast glass sections provide both translucency and the necessary elements of privacy, while narrow clear glass windows create some element of transparency and provide for ventilation.

The glass bridge connects the ground floor of the civic block to the first floor of the classroom section, but most pupils use one of the three access points in the perimeter fence around the back of the school (which open at the beginning and end of the school day). From these, pupils arrive on the ground floor of the double-height 'social space' which forms the atrium to one half of the classroom block.

The 21 classrooms are distributed on two levels around the perimeter of this block. Floor-to-ceiling windows on both sides flood them with light and connect them to the bordering river and encroaching park. The three nursery classrooms occupy a single-storey extension at the far end of this part of the building, giving onto their own protected playground, beyond which lies an additional area of paving and grass for the use of the primary school. The building is designed to accommodate 666 primary pupils and 60 nursery-age children.

A cladding of finely precast concrete panels, colour-matched to the sandstone of the surrounding tenements, dominates the front part of the building, while an earthy red brick helps to anchor the classroom block to its river/park setting. The classroom block is further camouflaged by a sedum roof, punctuated only by the atrium's clerestory and the 'chimneys' of the passive ventilation system that serves each classroom.

Although there are occasional disjunctions between materials and forms, jmarchitects have maintained a fine balancing act between contemporary form and traditional setting, and in Hillhead Primary have created an excellent learning environment for the 21st century.

Wellness centre

Wellness centre

[Slovenia] KRANJSKA GORA (SI) - Enota's respect for local building characteristics has not prevented it from delivering a distinctly contemporary-looking wellness centre.

Kranjska Gora is a ski resort in north-western Slovenia, located on a plain surrounded by an imposing mountain landscape. But the development of the town's hospitality and accommodation facilities has little connection with either the picturesque landscape or traditional regional architecture. Kranjska Gora's recent development has been marred by events like the destruction of Hotel Prisank, which was considered one of the best examples of Slovenian critical regionalism. Its replacement, like the majority of the town's accommodations, is far from serving as a powerful marker of (local) identity. Luckily, however, Kranjska Gora still boasts some smaller examples of well-preserved alpine architectural heritage, and it is precisely these buildings that served as a source of inspiration for Enota's Terme Olimia project there.

Enota architects have extensive experience in designing hotel and wellness centres, all of which comes together in the new building, which is designed to serve as an independent spa complex offering tourists indoor services and activities year round. The new spa is located in the town centre and stands next to a municipal hall and a primary school that are surrounded by smaller residential buildings. While the building's size references the town's larger public buildings, its timber facade, wooden balcony and steeply pitched gable roof are derived from local and regional building characteristics. Although the architectural intervention may seem unadventurous in its materiality and shape, it is still quite spectacular in its contemporary appearance.

The large roof made up of wooden elements is also the main facade of the new building, so that the structure blends well with its surroundings. Because of the extent of the programme, the architects have hidden a large part of the building below the ground, creating a closed and secluded underworld. Natural illumination of these spaces is provided by incisions in the ground plane. Two wider incisions house the access points for pedestrians and cars.

The programme comprises a swimming pool area, and a wellness section with saunas and massage rooms. The building is organized over a number of levels, which are divided into various smaller areas that make for a diverse interior. The underground recreational park flows into the upper elongated building mass containing the massage, sauna and beauty section. The wooden cladding hides yet another secluded feature, this time on top of the building – a vast open terrace where visitors can relax and sunbathe in any season of the year while also enjoying stunning views of the surrounding mountains.

Publikacja jednojęzyczna, w wersji językowej: - angielskiej