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Mulino Agri '90 - Roberto Paoli, Gustavo Carabajal, Sergio Ruggeri, Gianfranco Giovanelli, Mario Giovanelli

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La cooperativa Agricola Agri ’90, da alcuni decenni, contribuisce in maniera determinante alla conservazione dei caratteri paesaggistici ed ambientali della bassa Valle del Chiese. Con la ripresa della tradizionale coltivazione del “Nostrano di Storo”, da cui si ricava la pregiata farina da Polenta, vasti appezzamenti, destinati ad un rapido degrado, sono stati recuperati e messi a cultura.

Roberto Paoli, Gustavo Carabajal, Sergio Ruggeri, Gianfranco Giovanelli, Mario Giovanelli — Mulino Agri '90

Dopo una prima fase sperimentale, che ha interessato soprattutto i terreni di fondovalle (circa 320 ettari), sono stati rimessi a cultura anche terreni più marginali, collocati a quote più elevate in Val Daone e in Val Rendena; ed a fianco della tradizionale coltivazione del granturco veniva introdotta la produzione di piccoli frutti, ortaggi e patate con l’adozione di pratiche agronomiche innovative e metodi biologici di lotta ai parassiti.

Roberto Paoli, Gustavo Carabajal, Sergio Ruggeri, Gianfranco Giovanelli, Mario Giovanelli — Mulino Agri '90

Con il passare degli anni e l’aumento dei soci e dei conferimenti, lo storico mulino di via Regensburger di Storo, si rilevò del tutto inadeguato, e tra i soci si manifestò l’esigenza di dotarsi di una nuova sede dove, in modo razionale, poter provvedere alla conservazione, movimentazione e trasformazione dei prodotti. Il progetto presentava dunque due grandi domande, apparentemente in contrasto fra di loro, alle quali bisogna trovare risposta nel modo più semplice ed “economico” possibile.

Roberto Paoli, Gustavo Carabajal, Sergio Ruggeri, Gianfranco Giovanelli, Mario Giovanelli — Mulino Agri '90

A fianco ad un preciso e dettagliato programma funzionale si manifestava infatti l’esigenza di realizzare una costruzione capace di esprimere l’attenzione al paesaggio e all’ambiente che da sempre “informa” la vita della cooperativa. La complessità del tema ci ha convinti ad affrontarlo in maniera semplice rispettando alcuni semplici criteri di riferimento: - articolazione e distinzione delle funzioni per evitare volumi troppo impattanti; - contenimento delle altezza con differenziazione in verticale dei materiali; - collocazione sul retro dell’edificio del piazzale di manovra dei mezzi e delle strutture di contenimento della granella; - impiego di materiali naturali chiaramente in rapporto con il contesto locale ma rivisti e reinterpretati in chiave contemporanea; Nell’impianto sono dunque distinguibili i volumi principali del magazzino, del mulino e della vendita dei prodotti raccordati dal corpo più basso degli uffici.

Roberto Paoli, Gustavo Carabajal, Sergio Ruggeri, Gianfranco Giovanelli, Mario Giovanelli — Mulino Agri '90

I corpi di fabbrica si costruiscono su basamenti pieni in legno o muratura bianca su cui si innalzano parti traslucide protette all’esterno da frangisole verticali in legno di larice. Sul retro dei volumi principali un ampia copertura in legno consente la movimentazione e la trasformazione dei prodotti anche con cattive condizione metereologiche, mentre verso il fianco della montagna entro ordinati contenitori riposa l’“oro di Storo”.

Roberto Paoli, Gustavo Carabajal, Sergio Ruggeri, Gianfranco Giovanelli, Mario Giovanelli — Mulino Agri '90

Il Mulino Agri ’90, oltre ad una segnalazione a Costruire il Trentino 2009I2012, ha ricevuto anche un riconoscimento alla seconda edizione del concorso internazionale Constructive Alps indetto dalla Confederazione Elvetica e dal principato del Liechtenstein per promuovere tra gli architetti e i costruttori la sensibilità per interventi di costruzione e ristrutturazione responsabili e innovativi in tutto l’arco alpino. A questa edizione del concorso hanno partecipato 400 progetti provenienti dall’intero arco alpino, in una prima fase del concorso le giuria ha selezionato 30 progetti finalisti tra i quali sono stati poi scelti i tre progetti premiati e sette riconoscimenti.

Roberto Paoli, Gustavo Carabajal, Sergio Ruggeri, Gianfranco Giovanelli, Mario Giovanelli — Mulino Agri '90

I 30 progetti selezionati, pubblicati in un numero speciale della rivista “Hochparterre” sono esposti nella mostra “Construtive Alps” al museo di Berna fino al 29 settembre 2013 e successivamente itinerante per l’arco alpino con una tappa già programmata anche a Merano.

Roberto Paoli, Gustavo Carabajal, Sergio Ruggeri, Gianfranco Giovanelli, Mario Giovanelli — Mulino Agri '90

Roberto Paoli, Gustavo Carabajal, Sergio Ruggeri, Gianfranco Giovanelli, Mario Giovanelli — Mulino Agri '90

Roberto Paoli, Gustavo Carabajal, Sergio Ruggeri, Gianfranco Giovanelli, Mario Giovanelli — Mulino Agri '90

Roberto Paoli, Gustavo Carabajal, Sergio Ruggeri, Gianfranco Giovanelli, Mario Giovanelli — Mulino Agri '90

Roberto Paoli, Gustavo Carabajal, Sergio Ruggeri, Gianfranco Giovanelli, Mario Giovanelli — Mulino Agri '90

Roberto Paoli, Gustavo Carabajal, Sergio Ruggeri, Gianfranco Giovanelli, Mario Giovanelli — Mulino Agri '90


Maso Curio - Roberto Paoli

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Il maso Curio è la più antica testimonianza di architettura agricola – patronale di tutta la val Rendena. Parte in muratura e parte in legno il maso con le sue stalle, il suo porticato, le sue gigantesche colonne di larice, il tetto di scandole, il “casetto” del latte e la “casera” dei formaggi, sorge nel punto più panoramico dell’omonima piana. Deve il suo nome alla parola latino – barbarica ” Curium ” (o Kurium) che significa “il luogo del signore”.

Roberto Paoli — Maso Curio

Qui, più che altrove, pietre legni, raccontano un processo millenario, nel quale l’uomo, impiegando tutte le sue risorse intellettuali e fisiche, ha cercato di sopravvivere in condizioni durissime (freddi e lunghi inverni, inondazioni, incendi, frane, valanghe, carestie, pestilenze…) usando, senza sprechi, le poverissime e limitate risorse che l’ambiente offriva.

Roberto Paoli — Maso Curio

L’intervento di restauro intrapreso nel 2011 ha solo cercato di rendere più eloquente questo racconto:

Roberto Paoli — Maso Curio

“(…) il tassello su cui si fissa il tuo sguardo illuminato fu tagliato in uno strato del tronco che crebbe in un anno di siccità: vedi come si dispongono le fibre? Qui si scorge un nodo appena accennato: una gemma tentò di spuntare in un giorno di primavera precoce, ma la brina della notte l’obbligò a desistere – . Il Gran Kan non s’era fin allora reso conto che lo straniero sapesse esprimersi nella sua lingua, ma non era questo a stupirlo. – Ecco un poro più grosso: forse è stato il nido di una larva; non di un tarlo, perché appena nato avrebbe continuato a scavare, ma d’un bruco che rosicchiò le foglie e fu la causa per cui l’albero fu scelto per essere abbattuto… (…) La quantità di cose che si potevano leggere in un pezzetto di legno liscio e vuoto sommergeva Kublai; già Polo era venuto a parlare dei boschi d’ebano, delle zattere di tronchi che discendono i fiumi, degli approdi, delle donne alle finestre … Italo Calvino “Le città invisibili”

Roberto Paoli — Maso Curio

Roberto Paoli — Maso Curio

Roberto Paoli — Maso Curio

Roberto Paoli — Maso Curio

Roberto Paoli — Maso Curio

Roberto Paoli — Maso Curio

Roberto Paoli — Maso Curio

Roberto Paoli — Maso Curio

Mercato Coperto, Reggio Emilia - Corvino + Multari, strutture: erreci ingegneri associati, impianti: temoprogetti, progetec

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Il progetto ha come obiettivo la necessità di integrare la destinazione d’uso del mercato con le attuali consistenze del complesso nel rispetto delle istanze del restauro e della utilità sociale di alcune nuove funzioni (obiettivo della conservazione integrata). Questi aspetti, insieme con l’analisi delle condizioni di conservazione in cui versano le strutture in elevazione, gli orizzontamenti, le coperture e le scale, gli spazi aperti, con un approfondimento sulla galleria e i cortili, hanno costituito i temi intorno ai quali si sono articolate le scelte progettuali. Con la nostra proposta di intervento sono state in generale evitate le “azioni passive”, quelle che in sostanza determinano impatti diretti ed irreversibili; quelle “attive”, che determinano impatti normalmente reversibili, sono state orientate verso tipi mitigabili e riconoscibili oltreché, riteniamo, compatibili sul piano dell’istanza storica ed estetica. L’idea di trasformazione, con una serie di piccole modificazioni necessarie ad assicurare l’accessibilità e la funzionalità dell’intero complesso, si attua attraverso un intervento di miglioramento. L’idea è di definire una proposta architettonica che descriva il monumento nei suoi caratteri storici e permanenti, proiettandolo nel terzo millennio quale luogo delle identità culturali, sociali ed etniche, fondate sul confronto. Il recupero del Mercato Coperto parte dalla lettura di un territorio che è deposito di storiche trasformazioni quali la centuratio, all’interno del quale la struttura del mercato assume ruolo, significato e relazione. L’organizzazione del monumento risulta orientata dalla geometria che, riducendosi alla scala dell’intervento, definisce l’orditura dello spazio dell’intero complesso capace di aprirsi al suo intorno anche attraverso il sistema delle corti e dei giardini. Il progetto, nel conservare le specificità ed il carattere del monumento, si pone l’obiettivo di realizzare un complesso integrato di interesse pubblico e di utilità sociale che contribuirà ad innescare e potenziare un processo di recupero diffuso e di rivitalizzazione del tessuto economico-sociale del rispettivo intorno urbano, quale elemento di valorizzazione e arricchimento dell’identità culturale della città. Rendere quindi unitario l’intero intervento, compreso tra l’attuale mercato coperto, l’ex casa dello studente, l’edificio della Oviesse, la piazza Scapinelli, gli spazi delle corti interne, dando trasparenza all’intero complesso attraverso i percorsi di penetrazione, per garantire la massima integrazione con il tessuto urbano circostante e la massima accessibilità pedonale da e per più punti della città. Il sistema distributivo genera una dinamicità degli spazi che determinano una frequenza di scambi tra le persone e le cose che i luoghi del commercio innescano in pezzi di città. Il mercato potrà quindi diventare il luogo delle relazioni interpersonali “materiali” tra i fruitori del monumento ed il luogo delle relazioni “immateriali” tra le reti globali. Questa condizione definisce un luogo aperto alla multimedialità per realizzare una comunicazione con la totalità del sapere, degli spazi, dei soggetti, scavalcando ogni tipo di barriera ed annullando tutte le possibili marginalità. Le pareti di alcuni manufatti edilizi si predispongono infatti ad essere fondali di proiezioni multimediali, secondo il progetto che l’Amministrazione Comunale sta elaborando. La proposta progettuale considera il complesso, anche a ragione dei caratteri emblematici della configurazione concettuale individuata, come parte integrante e propulsiva del nuovo processo di sviluppo della città di Reggio Emilia.

Corvino + Multari, strutture: erreci ingegneri associati, impianti: temoprogetti, progetec  — Mercato Coperto, Reggio Emilia

Il nuovo prospetto su Piazza Scapinelli

Corvino + Multari, strutture: erreci ingegneri associati, impianti: temoprogetti, progetec  — Mercato Coperto, Reggio Emilia

Corvino + Multari, strutture: erreci ingegneri associati, impianti: temoprogetti, progetec  — Mercato Coperto, Reggio Emilia

Corvino + Multari, strutture: erreci ingegneri associati, impianti: temoprogetti, progetec  — Mercato Coperto, Reggio Emilia

Corvino + Multari, strutture: erreci ingegneri associati, impianti: temoprogetti, progetec  — Mercato Coperto, Reggio Emilia

Corvino + Multari, strutture: erreci ingegneri associati, impianti: temoprogetti, progetec  — Mercato Coperto, Reggio Emilia

Corvino + Multari, strutture: erreci ingegneri associati, impianti: temoprogetti, progetec  — Mercato Coperto, Reggio Emilia

Corvino + Multari, strutture: erreci ingegneri associati, impianti: temoprogetti, progetec  — Mercato Coperto, Reggio Emilia

Corvino + Multari, strutture: erreci ingegneri associati, impianti: temoprogetti, progetec  — Mercato Coperto, Reggio Emilia

Corvino + Multari, strutture: erreci ingegneri associati, impianti: temoprogetti, progetec  — Mercato Coperto, Reggio Emilia

Corvino + Multari, strutture: erreci ingegneri associati, impianti: temoprogetti, progetec  — Mercato Coperto, Reggio Emilia

Corvino + Multari, strutture: erreci ingegneri associati, impianti: temoprogetti, progetec  — Mercato Coperto, Reggio Emilia

Corvino + Multari, strutture: erreci ingegneri associati, impianti: temoprogetti, progetec  — Mercato Coperto, Reggio Emilia

Corvino + Multari, strutture: erreci ingegneri associati, impianti: temoprogetti, progetec  — Mercato Coperto, Reggio Emilia

Corvino + Multari, strutture: erreci ingegneri associati, impianti: temoprogetti, progetec  — Mercato Coperto, Reggio Emilia

Corvino + Multari, strutture: erreci ingegneri associati, impianti: temoprogetti, progetec  — Mercato Coperto, Reggio Emilia

Casa C - Francesco Librizzi, matilde cassani

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A very small apartment within a very “Milanese” building dated 1900. Two rooms plus a bath room, characterized by a narrow footprint com- pared to the quite high ceiling. Windows, doors, and above all the floor tiles, had finishes and materials survived to another century: something precious to save as a resource for the new inhabitants of this space. The strong identity of the interiors and the peculiarity of the narrow high section, gave the chance for a minimum but very significant interven- tion. We tought it was only necessary to unveil the hidden potential of the space, leaving almost untouched all the rest. Nothing melanchonical, but also no obsession for contemporarity. Adding a new layer to the ex- iguos surface availble in the house was necessary. Making the trajectory to reach it architectonically visible, was all we needed to do. A new thin wireframe wrapping the bodies while approching to “+1 level”: a sus- pended night area inside the old house.

Francesco Librizzi, matilde cassani — Casa C

Francesco Librizzi, matilde cassani — Casa C

Francesco Librizzi, matilde cassani — Casa C

Francesco Librizzi, matilde cassani — Casa C

Francesco Librizzi, matilde cassani — Casa C

Francesco Librizzi, matilde cassani — Casa C

Francesco Librizzi, matilde cassani — Casa C

Francesco Librizzi, matilde cassani — Casa C

Francesco Librizzi, matilde cassani — Casa C

Francesco Librizzi, matilde cassani — Casa C

Francesco Librizzi, matilde cassani — Casa C

Francesco Librizzi, matilde cassani — Casa C

Francesco Librizzi, matilde cassani — Casa C

S Residence - Shigeru Ban Architects

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Sengokubara Residence
The 2‐storey wood structure residence is situated on a flag pole shaped site, 30m square in plan with a 15m diameter interior courtyard. With the main living room centered on the interior courtyard, all spaces are arranged in a radial manner from the entrance. The 8 sliding doors separating the main living room and interior courtyard can be opened at any time so that the space can be used as one. The structure is made up of wooden columns and beams, which are 75mm x 350mm L‐shaped pieces, also arranged in a radial manner, creating a large one way sloped roof. The large roof varies in height, achieving ceiling heights between 2.4m to 7.5m.

Shigeru Ban Architects — S Residence

Completion: 2013
Site area 1770.00m2
Building area 576.89m2
Total floor area 452.60m2
Structure Timber

Shigeru Ban Architects — S Residence

Shigeru Ban Architects — S Residence

Shigeru Ban Architects — S Residence

Shigeru Ban Architects — S Residence

Shigeru Ban Architects — S Residence

Shigeru Ban Architects — S Residence

Shigeru Ban Architects — S Residence

Shigeru Ban Architects — S Residence

Shigeru Ban Architects — S Residence

Shigeru Ban Architects — S Residence

Shigeru Ban Architects — S Residence

Shigeru Ban Architects — S Residence

Shigeru Ban Architects — S Residence

Shigeru Ban Architects — S Residence

Shigeru Ban Architects — S Residence

Shigeru Ban Architects — S Residence

Shigeru Ban Architects — S Residence

Shigeru Ban Architects — S Residence

Apartment renovation in Raval. Barcelona - Eva Cotman

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This project sets out to alter and improve an apartment situated in Raval, the Ciutat Vella district of Barcelona. An area used to be known for its nightlife as well as the insecurity, El Raval has changed significantly in recent years, and has become one of the touristic attractions in the center of the city. Today it is home to many bars, restaurants, museums and art galleries, making it a popular neighborhood among young professionals and students alike.

Eva Cotman — Apartment renovation in Raval. Barcelona

Bookshelf / Staircase / Gallery

The clients are a young couple with a very active social life, enjoying fully all the cultural activities that Raval offers. In defining the new use of space, in accordance with the client’s needs, much attention has been given to maximize the entering of daylight and the visual interrelationships between the different parts of the house, each with its own identity. The aim was to give the occupant various possibilities to move from one space to another, to create diversity inside the apartment as well as to enable the clients to enjoy the diversity of the neighborhood where they live.

Eva Cotman — Apartment renovation in Raval. Barcelona

The project objective is to try to maximize the functionality of the space for the new and contemporary use by the owner, but at the same time not to loose the identity of the neighborhood and materiality of the existing building. The economic aspect was an important part of the project – it had to be a low-cost project done in a relatively short-time execution.

Eva Cotman — Apartment renovation in Raval. Barcelona

The apartment was previously ‘cleaned’: the walls were cleaned from cast, the cast ceiling was removed and all non-loadbearing walls were removed. The apartment wooden ceilings, as well as brick walls, are painted white to be a blank base for the activities of its future occupants. The heart of the house is around the library, which separates the dining room from the built-in closet and, at the same time, joins the kitchen, dining room and the living room; it is an all-in-one element: staircase, bookshelf, closet and bench. The staircase leads to the small gallery located on the top of the closet, and is a space with a guest bed. This gallery also helps to access the storage, which is located above the kitchen and the entrance area. It is a compact apartment with multifunctional elements to provide flexibility and adaptability to different needs, in other words, a ‘mini-space’ with a ‘maxi-functionality’.

Eva Cotman — Apartment renovation in Raval. Barcelona

Eva Cotman — Apartment renovation in Raval. Barcelona

Eva Cotman — Apartment renovation in Raval. Barcelona

Eva Cotman — Apartment renovation in Raval. Barcelona

Eva Cotman — Apartment renovation in Raval. Barcelona

Before

Eva Cotman — Apartment renovation in Raval. Barcelona

After

House Komazawa Park - miCo.

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The renewal of wooden framework modifies the landscape of a residential district. This project is a renovation and extension of a 30 years old wooden house. We tried to see this dense neighborhood of wooden houses as a “compact cluster of the wooden frames”, which then seemed to us like an editable landscape. The wooden frame structure made it possible to add or subtract beams and columns, setting free the renewal of the building. The wooden frame structure allows for the addition and subtraction of beams and columns to fit the composition of the family and its current purpose, letting us freely renew the house. The issues of the old wooden house were solved by altering the framework without depending on the site or the existing building. Rather than creating a brand-new view, we tried to make an aged building which changes slowly with the landscape.

miCo. — House Komazawa Park

The site has very narrow access to the street and is surrounded by similar houses. The neighbor on the back side of the house is currently a small field, but it will be built up in near future, which might make the site shaded and poorly ventilated. In response to this we decided to make three small separate units. One of which is an addition and the other two were created with a division of the existing house. These gestures made the scale of building smaller and reduced tightness with the neighboring buildings. The spacing created from the separate units gave each volume an adjacent exterior, as to solve the shading and ventilation problems.

miCo. — House Komazawa Park

In contrast to each unit there is a connecting transparent volume, as a result the three separated units become one spacious room. However this large room is hard to imagine from the exterior of the building due to its fragmented appearance. We hope this “renewal of the wooden framework” provides some motivation to make change in dense residential landscape of the big city.

miCo. — House Komazawa Park

miCo. — House Komazawa Park

miCo. — House Komazawa Park

miCo. — House Komazawa Park

miCo. — House Komazawa Park

miCo. — House Komazawa Park

miCo. — House Komazawa Park

miCo. — House Komazawa Park

miCo. — House Komazawa Park

miCo. — House Komazawa Park

miCo. — House Komazawa Park

miCo. — House Komazawa Park

miCo. — House Komazawa Park

The Library of Muyinga - BC architects & studies

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THE LIBRARY OF MUYINGA: ARCHITECTURE
The first library of Muyinga, part of a future inclusive school for deaf children, in locally sourced compressed earth blocks, built with a participatory approach.
Our work in Africa started within the framework of OpenStructures.net. BC was asked to scale the Open structures model to an architectural level. A construction process involving end-users and second-hand economies was conceived. Product life cycles, water resource cycles en energy cycles were connected to this construction process. This OpenStructures architectural model was called Case Study (CS) 1: Katanga, Congo . It was theoretical, and fully research-based. 5 years later, the library of Muyinga in Burundi nears completion.

BC architects & studies — The Library of Muyinga

Vernacular inspirations
A thorough study of vernacular architectural practices in Burundi was the basis of the design of the building. Two months of fieldwork in the region and surrounding provinces gave us insight in the local materials, techniques and building typologies. These findings were applied, updated, reinterpreted and framed within the local know-how and traditions of Muyinga.

BC architects & studies — The Library of Muyinga

The library is organized along a longitudinal covered circulation space. This “hallway porch” is a space often encountered within the Burundian traditional housing as it provides a shelter from heavy rains and harsh sun. Life happens mostly in this hallway porch; encounters, resting, conversation, waiting – it is a truly social space, constitutive for community relations. This hallway porch is deliberately oversized to become the extent of the library. Transparent doors between the columns create the interaction between inside space and porch. Fully opened, these doors make the library open up towards the adjacent square with breathtaking views over Burundi’s “milles collines” (1000 hills). On the longitudinal end, the hallway porch flows onto the street, where blinders control access. These blinders are an important architectural element of the street facade, showing clearly when the library is open or closed. On the other end, the hallway porch will continue as the main circulation and acces space fot the future school.

BC architects & studies — The Library of Muyinga

A very important element in Burundian (and, generally, African) architecture is the very present demarcation of property lines. It is a tradition that goes back to tribal practices of compounding family settlements. For the library of Muyinga, the compound wall was considered in a co-design process with the community and the local NGO. The wall facilitates the terracing of the slope as a retaining wall in dry stone technique, low on the squares and playground of the school side, high on the street side. Thus, the view towards the valley is uncompromised, while safety from the street side is guaranteed.

BC architects & studies — The Library of Muyinga

The general form of the library is the result of a structural logic, derived on one hand from the material choice (Compressed Earth Blocks masonry and baked clay roof tiles). The locally produced roof tiles were considerably more heavy than imported currogated iron sheets. This inspired the structural system of closely spaced columns at 1m30 intervals, which also act as buttresses for the high walls of the library. This rhytmic repetition of columns is a recognizable feature of the building, on the outside as well as on the inside. The roof has a slope of 35% with an overhang to protect the unbaked CEB blocks, and contributes to the architecture of the library.

BC architects & studies — The Library of Muyinga

Climatic considerations inspired the volume and facade: a high interior with continuous cross-ventilation helps to guide the humid and hot air away. Hence, the façade is perforated according to the rhythm of the Compressed Earth Blocks (CEB) masonry, giving the library its luminous sight in the evening. The double room height at the street side gave the possibility to create a special space for the smallest of the library readers. This children’s space consist of a wooden sitting corner on the ground floor, which might facilitate cosy class readings. It is topped by an enormous hammock of sisal rope as a mezzanine, in which the children can dream away with the books that they are reading. The future school will continue to swing intelligently through the landscape of the site, creating playgrounds and courtyards to accomodate existing slopes and trees. In the meanwhile, the library will work as an autonomous building with a finished design.

BC architects & studies — The Library of Muyinga

THE LIBRARY OF MUYINGA: A COMMUNITY PROJECT.
Social reintegration: reconnecting the deaf and blind community to broader society.
In a very informal and oral Burundian culture, deaf children are excluded from stories, information, exchange, education. Often, deaf children are isolated, or even expelled from a certain group of people. The library of Muyinga, linked to an inclusive boarding school for deaf children, creates the possibility to belong to a group, to belong to the wider community of Muyinga through public infrastructure as the first of its kind in Muyinga. In a later stage, the school will further integrate its deaf students into broader society by a future school-based wood workshop, and a future polyvalent hall, both serving the wider community of Muyinga.

BC architects & studies — The Library of Muyinga

Intercultural Dialogue and participatory processes
Since several years or even decades, participatory design has taken a more prominent role in modern architecture. Some of these initiatives are very innovative but often fail to translate well-intended theory to real-life practice. BC architects & studies has focused from the beginning on the implementation of participatory processes in constructional practice. We do this not only by cooperating with local workforces, but also by involving students, interns and young architects, in a mutual educational setting. Also the organisation of the library is based on this pronciple. The board of the library includes all directors of neighboring primary and secondary schools, facilitating contact and cooperation between the future deaf students and the hearing students. The library will also host cinema-nights for the whole community of Muyinga.

BC architects & studies — The Library of Muyinga

Educational processes during construction
Different educational institutions contribute to this project. Summer school with LUCA architecture university Brussels: Every year 3-6 students join us to work on the field in Burundi for at least 6 weeks, supported by a scholarship of VLIR-UOS. Experience trip for Zevenkerken High School: Every year, around 20-30 high school students come and enlarge their perspective during a 2 week stay in Burundi. Architecture internships: every year 1-2 people join us for their architectural internship during at least 1 month. Whatever the group, everyone joins in small on-site prototyping workshops on diverse topics such as CEB production, adobe production, earth analysis, bamboo weaving, sisal weaving, foundation solutions, furniture design, and so on, in an atmosphere of mutual contact and respect with local craftsmen, whereby knowledge of all involved is shared. These workshops bring an understanding of the direct social, cultural, ecological and economical effects of certain actions in a globalizing world: small scale actions do matter.

BC architects & studies — The Library of Muyinga

Short-chain economy, knowledge transfer, capacity building
All material research, design decisions and construction site organisation aims at keeping a short supply chain of expertise, labour, and materials. We try to reinforce the local economy by means of this short supply chain. We chose hand labour over machine labour when organizing earthworks; we hire only local labourers, a local foreman and local architect, to avoid the interference of a contractor from Bujumbura or Rwanda; we focus on the use of local materials such as earth for the masonry and finishing, clay for the roof and floor tiles, sisal for the hammock, Eucalyptus for the roof structure, and if we have to use cement, we try to do it as minimal as possible, wile buying it in the local shop. Throughout the process of the construction, we try to create good conditions for knowledge transfer. The builders have mastered CEB production and construction, earth plaster through our input. We have mastered the sisal hammock weaving and the floor and roof tiles detailing through the input of the local builders, and so on. The knowledge transfer goes in all directions. In the end, the construction process of the library will have built capacity. The foreman is considering mounting a CEB production facility to sell CEB blocks to Muyinga residents; 12 labourers have made it to mason-helpers or even masons during the process, which was celebrated according to the masons’ guild traditions; we have learned (and continue learning) how to act as architects in a globalizing world; the architecture students and interns have learned design with short-chain materials, to be applied in a Western construction context also. The capacity building process is endless and ongoing.

BC architects & studies — The Library of Muyinga

International collaborations
For this project, the architects of BC-AS worked in association with the NGO of the diocese of Muyinga Odedim (Organisation Diocésaine pour l’Entraide et le Développement Intégral de Muyinga). Together they promote a holistic approach in the construction process in Burundi, with a specific focus on the development of educational structures (schools). Satimo, a small Belgian non-profit, gives financial support. Besides that, the project is closely connected to SHC, an NGO for helping sensorial handicaped people in Africa. Also Rotary Aalst, Zonta Brugge, Province of West-Flanders, Abdijschool Zevenkerke and VOCATIO are given a worthy mention for their financial support. Finally VLIR-UOS in combination with the faculty of architecture of KU Leuven, campus Sint-Lucas Brussels/Ghent, and the Hogeschool Ghent are the academic partner of this project.

BC architects & studies — The Library of Muyinga

THE LIBRARY OF MUYINGA: LOCAL MATERIALS RESEARCH.
The challenge of limited resources for this project became an opportunity. We managed to respect a short supply-chain of building materials and labor force, supporting local economy, and installing pride in the construction of a library with the poor people’s material: earth.
Earth analysis: “field tests and laboratory tests”– Raw earth as building material is more fragile than other conventional building materials. Some analyse is thus important to do. Some easy tests can be made on field to have a first idea of its quality. Some other tests have to be made in the laboratory to have a beter understanding of the material and improve its performance.
CEB: “from mother nature”– After an extensive material research in relation with the context, it was decided to use compressed earth bricks (CEB) as the main material for the construction of the building. We were lucky enough to find 2 CEB machines intactly under 15 years of dust. The Terstaram machines produce earth blocks of 29×14x9cm that are very similar to the bricks we know in the North, apart from the fact that they are not baked. Four people are constantly producing stones, up to 1100 stones/day.

BC architects & studies — The Library of Muyinga

Eucalyptus “wood; the strongest, the reddest”– The load bearing beams that are supporting the roof are made of eucalyptus wood, which is sustainably harvested in Muramba. Eucalyptus wood renders soil acid and therefor blocks other vegetation to grow. Thus, a clear forest management vision is needed to control the use of it in the Burundian hills. When rightly managed, Eucalyptus is the best solution to span spaces and use as construction wood, due to its high strengths and fast growing.
Tiles: “local quality product”– The roof and floor tiles are made in a local atelier in the surroundings of Muyinga. The tiles are made of baked Nyamaso valley clay. After baking, their color renders beautifully vague pink, in the same range of colors as the bricks. Each roof surface in the library design consists of around 1400 tiles. This roof replaces imported currogated iron sheets, and revalues local materials as a key design element for public roof infrastructure.
Internal Earth plaster: “simple but sensitive”– Clay from the valley of Nyamaso, 3 km from the construction site, was used for its pure and non-expansive qualities. After some minimal testing with bricks, a mix was chosen and applied on the interior of the library. The earth plaster is resistent to indoor normal use for a public function, and has turned out nicely.

BC architects & studies — The Library of Muyinga

Bamboo: “Weaving lamp fixtures”– Local bamboo is not of construction quality, but can nicely be used for special interior design functions, or light filters. In a joint workshop with Burundians and Belgians, some weaving techniques were explored, and in the end, used for the lamp fixtures inside the library.
Sisal rope: “from plant to hammock”– Net-making from Sisal plant fibres is one of the small micro-economies that bloomed in this project. It took a lot of effort to find the only elder around Muyinga that masters the Sisal rope weaving technique. He harvested the local sisal plant on site, and started weaving. In the pilote project, he educated 4 other workers, who now also master this technique, and use it as a skill to gain their livelihood. The resulting hammock serves as a children’s space to play, relax and read, on a mezzanine level above the library space.

BC architects & studies — The Library of Muyinga

Concrete “when it’s the only way out”– For this pilot project, we didn’t want to take any risks for structural issues. A lightweight concrete skeleton structure is inside the CEB columns, in a way that both materials (CEB and concrete) are mechanichally seperated. The CEB hollow columns were used as a “lost” formwork for the concrete works. It is our aim, given our experience with Phase 1, to eliminiate the structural use of concrete for future buildings.

Architect: BC architects
Local material consultancy: BC studies
Community participation and organisation: BC studies and ODEDIM Muyinga
Cooperation: ODEDIM Muyinga NGO, Satimo vzw, Sint-Lucas Architecture University, Sarolta Hüttl, Sebastiaan De Beir, Hanne Eckelmans
Financial support: Satimo vzw, Rotary Aalst, Zonta Brugge, Province of West-Flanders.

Budget: 40 000 €
surface: 140m2
Concept: 2012
Status: Completed

BC architects & studies — The Library of Muyinga

BC architects & studies — The Library of Muyinga

BC architects & studies — The Library of Muyinga

BC architects & studies — The Library of Muyinga

BC architects & studies — The Library of Muyinga

BC architects & studies — The Library of Muyinga

BC architects & studies — The Library of Muyinga

BC architects & studies — The Library of Muyinga

BC architects & studies — The Library of Muyinga

BC architects & studies — The Library of Muyinga

BC architects & studies — The Library of Muyinga

BC architects & studies — The Library of Muyinga

BC architects & studies — The Library of Muyinga


Luxury apartment building on Passatge Marimon - mateo arquitectura

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The building relates with its neighbours by means of two façades, each with its own distinct character: the main façade overlooking the Passatge, and the rear façade that looks out onto the courtyard at the centre of the city block.

mateo arquitectura — Luxury apartment building on Passatge Marimon

The main façade is defined by two planes. One, flush with the façades of the adjacent buildings, comprises stainless steel and glass to ensure optimum lighting for the apartments on the upper floors, the shop and the communal areas of the building, supported by three black iron pillars. The other, nearest the street, like a veil forming a filter between the pavement and the interiors, is a wooden brise-soleil. This structure is separated 45 cm from the façade and is made up of four different mechanisms, turning the façade into a dynamic element that reinvents the Majorcan-style louvered shutters that protect the windows of our neighbours.

mateo arquitectura — Luxury apartment building on Passatge Marimon

The rear façade, characterized by large glazed openings, two long balconies and opaque sectors, provides daylight for the two floors of dwellings and the mezzanine of the business premises. The glazed plane is transformed when the occupants slide back the doors which are then concealed behind the opaque sectors, turning interior into exterior. The rear façade rises above a terrace at mezzanine level. At the end of the terrace, a skylight serves the twofold purpose of joining the building to its neighbour and allowing daylight into the lower floors of the commercial premises.

mateo arquitectura — Luxury apartment building on Passatge Marimon

Four principal materials characterize the building’s communal areas, where a sloping plane above the entrance draws us to the rear of the foyer, where the lift is situated. First, metal, the stainless steel that diffuses the far end of the lobby. Second, the glass that forms the unbroken balustrade and separates off the service areas. Third, white marble that clads the communal stairs and one wall, and, finally, wood, bringing warmth to the communal spaces and continuing onto the landings that lead to the apartments.

mateo arquitectura — Luxury apartment building on Passatge Marimon

The four compact apartments (40-50 m2) are situated on the two top floors. Each has an outdoor space that extends its limits. The interior is designed as a continuum, with rooms arranged around a living space that extends all the way from the front door to the façade.

mateo arquitectura — Luxury apartment building on Passatge Marimon

The terraces and roofs are seen as an extension of the apartments, where life evolves from the sun’s first rays to its last. The building’s envelope houses the project as an interior that is experienced outwardly, transforming the way passersby see it, with elements such as the wooden veil that opens, closes and transforms according to the people who live there.

mateo arquitectura — Luxury apartment building on Passatge Marimon

mateo arquitectura — Luxury apartment building on Passatge Marimon

mateo arquitectura — Luxury apartment building on Passatge Marimon

mateo arquitectura — Luxury apartment building on Passatge Marimon

mateo arquitectura — Luxury apartment building on Passatge Marimon

Loft FOR - adn architectures

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Let’s get straight to the point: an imposed decorum, four walls and a few windows, functional needs to sleep, eat read and wash.
Two internal bodies that embrace the envelope without touching it, opaque, translucent, airy, abstract.

adn architectures — Loft FOR



A place: 
An unfinished surface of 96 square meters: walls made of terracotta blocks, raw concrete ceiling, windows on two of the four walls and two technical ducts.



adn architectures — Loft FOR

A program : 
Design it for a couple who want a loft conversion type of interior design with efficient use of space.

adn architectures — Loft FOR



An answer :
 Seek purity of form and functional simplicity.

Means : 
Creation of a minimum of two new volumes and use of a very limited set of materials.

 

adn architectures — Loft FOR

Organisation :
 Two volumes are built and three pieces of furniture are installed to structure the volume.

The two metallic volumes on the ground floor welcome the two functions that require doors that close: the bathroom and the laundry room. The top floors of the volumes conceal a bedroom and an office.

The position of these volumes alongside technical ducts determines different volumes with different qualities.

 The three pieces of furniture then structure and give function to the remaining space : a long kitchen cabinet in a narrow space between the entrance and the laundry room, a wall of storage near the entrance and a library in the more intimate space that leads to the balcony.



adn architectures — Loft FOR

The materials are polyurethane screed for the floor; solid or perforated metal for the structuring elements, stratified MDF for the furniture, with a paint finish to exacerbate the texture of the various materials. The ceiling is kept as is to remind of the pre-existing unified volume.*

adn architectures — Loft FOR

adn architectures — Loft FOR

adn architectures — Loft FOR

adn architectures — Loft FOR

adn architectures — Loft FOR

adn architectures — Loft FOR

adn architectures — Loft FOR

adn architectures — Loft FOR

adn architectures — Loft FOR

adn architectures — Loft FOR

adn architectures — Loft FOR

adn architectures — Loft FOR

adn architectures — Loft FOR

adn architectures — Loft FOR

adn architectures — Loft FOR

adn architectures — Loft FOR

adn architectures — Loft FOR

adn architectures — Loft FOR

Urban Stripes - Klab Architecture

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“Urban stripes” is an apartment building or a “polykatoikia” as it is commonly known in Greece this type of building. It is located at Koukaki a neighborhood in the centre of Athens very close to the new museum of Acropolis by Bernard Tschumi and the old beer factory “Fix” by Zenetos an influential Greek architect of the last century. The neighborhood is mostly residential, built during the 60’s and 70’s with the typology of the “polykatoikia” Reinterpreting elements of this typology and from the two important buildings of the area “Urban stripes” create a new urban façade responding to the urban and social conditions of current times.

Klab Architecture — Urban Stripes

Urban stripes were designed when crisis was not evident in Athens and it was finished when crisis is on its peak. Although it was not designed following the trend of a construction bubble era of luxury high end apartments it is not a building of the crisis. It is a rather flexible building that provides solutions for different wallets and needs as it was always the case some decades ago in Athens when “polykatoikia” was an interesting experiment of social mixture and mixture of functions usually following the hierarchy of wealth from bottom to top, distributing office spaces on the first floors, local retail on the ground floor, residential on middle, upper and basement floors.

Klab Architecture — Urban Stripes

Apartments are defined through their size, position, plan, section and their view to Acropolis. Urban fabric is being filtered and privacy is important as the dense urban environment is dominant in the area. Using linearity that creates a direct relation to Zenetos building and the balconies of the adjacent building façade is designed through linear openings on different heights that show or hide different pieces of the urban scenery. Juxtaposed to the linearity the cantilevered balconies act as volumes.

Klab Architecture — Urban Stripes

Living in the centre of Athens today is dramatically different from when this neighborhood was built back in 1960-1970. Privacy and safety are very important. Controlled views obscuring what you don’t want to see and allowing where you want to see is important as well. Noise and pollution have altered the need of balconies which are essential to the function of an apartment due to the climate of Athens but not to the extent and the dimensions that used to be.

Klab Architecture — Urban Stripes

In a grey city like Athens the white color of the façade really stands out but it also helps to the reflection of the intense sunlight during summer. First floor is going to be used for offices and for this reason the façade is different creating a base for the building. Back façade uses different elements of the forgotten back facades of Athens. Using forms of the past like cylindrical stairway, and almost misplaced windows “urban stripes” have a unique modern reinterpretation of the almost arbitrary not really designed back facades of Athens.

Klab Architecture — Urban Stripes

Filtering necessary but unwilling views to those totally neglected back facades was one very important task that we had to do. Using colored laminated glasses we proposed a different view to these urban ruins, which suddenly became interesting. Every floor is different and its apartment answers to different living scenarios and needs. As we get higher Acropolis and Parthenon view is breath taking. After the 5th floor due to regulations we had to recess and so a new building, a penthouse has been created with transparency and vast glass façade to explore a dialogue with the Acropolis rock. The penthouse is made by exposed concrete and glass and is extended in three floors. Inside, the common spaces are being treated using again elements of the past as mosaic flooring and marble bordures but also it is playful using a palette of colors that differentiate each floor.

Klab Architecture — Urban Stripes

Location: Veikou 37, Koukaki, Athens
Design period: 2010-2011
Construction period: 2011-2013

Klab Architecture — Urban Stripes

Klab Architecture — Urban Stripes

Klab Architecture — Urban Stripes

Klab Architecture — Urban Stripes

Klab Architecture — Urban Stripes

Klab Architecture — Urban Stripes

Klab Architecture — Urban Stripes

Klab Architecture — Urban Stripes

Klab Architecture — Urban Stripes

Klab Architecture — Urban Stripes

Klab Architecture — Urban Stripes

Klab Architecture — Urban Stripes

Klab Architecture — Urban Stripes

Klab Architecture — Urban Stripes

Central Library Friedrichshain-Kreuzberg - Peter W. Schmidt Architekt BDA

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In order to break up the mundane appearance of the standardised “SK 66 Berlin” school building with its typical ribbon windows, the frontage needed to be given a new character. At the same time, the interior design should not detract from the identity of the original building. The uniform cladding of the façade lends the building a monolithic character. The result is a coherent, homogeneous unit that assumes its natural place in the cityscape. Seen from the Frankfurter Allee, the distinctive mantle of slatted storey-high cedar wood panels is truly impressive. The building rises between the trees of the adjacent cul-de-sac, where the choice of materials does full justice to its location in the inner-block green area. The new exterior is interspersed with spacious room-high openings.

Peter W. Schmidt Architekt BDA — Central Library Friedrichshain-Kreuzberg

These are arranged in a composition which enhances the visitor’s perception of the transition from the interior to the exterior. The extensive openings create a dramatic impact from both interior and exterior perspectives, generating a unique lighting effect. The slatted panels act as a filter between the interior and the exterior worlds. When the building is viewed from outside, the observer’s gaze is directed toward the glazing as it would be to a shop window, beyond which the bookshelves can be discerned. From inside the building, the eye is drawn to the exciting interplay of openings with and without a screen of vertical panels. Since the panels obscure part of the view to the exterior, they create a contemplative atmosphere. At the same time, the line of sight offered to the viewer enables the world to be discovered anew. In contrast to the filtered perspective, selected locations offer an unobscured and expansive view over the Frankfurter Allee or the vast courtyard resplendent with lush plane trees.

Peter W. Schmidt Architekt BDA — Central Library Friedrichshain-Kreuzberg

The panels are set at a variety of angles to allow the light to penetrate at varying degrees of brightness. At night, when the building is lit from the inside, many parts of the otherwise sombre monolith take on a light and fragile appearance. The substructure of the new facade consists of a wooden framework force-fitted to the building by means of steel brackets. This timber framework is filled with thermal insulation material in mineral wool and concealed by black facade strips so that it merges completely into the background. The prefabricated cedar wood panels are fitted onto this framework. The vertical panels are arranged at a number of different angles so that the facade creates a dynamic visual effect. As the observer changes position, the visual impressions is a shifting of light and shade evocative of the wind coursing through a field of barley.

Peter W. Schmidt Architekt BDA — Central Library Friedrichshain-Kreuzberg

Location: Frankfurter Allee 14a, 10247 Berlin
Competition
“Bezirkszentralbibliothek Friedrichshain-Kreuzberg, Berlin” 2008, 1. Prize
International Architectural Award 2013
Recognition Deutscher Holzbaupreis 2011
Nomination DAM Preis für Architektur in Deutschland 2011

Building volume: 14.180 m3
Gross area: 4.100 m2
Use area: 2.682 m2
Building cost: T€ 5.608
Result of competition: August 2008
Beginning of planning: 2008
Start of building: Oktober 2009
End of building: November 2010

Peter W. Schmidt Architekt BDA — Central Library Friedrichshain-Kreuzberg

Peter W. Schmidt Architekt BDA — Central Library Friedrichshain-Kreuzberg

Peter W. Schmidt Architekt BDA — Central Library Friedrichshain-Kreuzberg

Peter W. Schmidt Architekt BDA — Central Library Friedrichshain-Kreuzberg

Peter W. Schmidt Architekt BDA — Central Library Friedrichshain-Kreuzberg

Peter W. Schmidt Architekt BDA — Central Library Friedrichshain-Kreuzberg

Peter W. Schmidt Architekt BDA — Central Library Friedrichshain-Kreuzberg

Peter W. Schmidt Architekt BDA — Central Library Friedrichshain-Kreuzberg

Peter W. Schmidt Architekt BDA — Central Library Friedrichshain-Kreuzberg

Peter W. Schmidt Architekt BDA — Central Library Friedrichshain-Kreuzberg

Peter W. Schmidt Architekt BDA — Central Library Friedrichshain-Kreuzberg

Peter W. Schmidt Architekt BDA — Central Library Friedrichshain-Kreuzberg

Peter W. Schmidt Architekt BDA — Central Library Friedrichshain-Kreuzberg

Peter W. Schmidt Architekt BDA — Central Library Friedrichshain-Kreuzberg

Peter W. Schmidt Architekt BDA — Central Library Friedrichshain-Kreuzberg

Peter W. Schmidt Architekt BDA — Central Library Friedrichshain-Kreuzberg

Peter W. Schmidt Architekt BDA — Central Library Friedrichshain-Kreuzberg

Peter W. Schmidt Architekt BDA — Central Library Friedrichshain-Kreuzberg

Peter W. Schmidt Architekt BDA — Central Library Friedrichshain-Kreuzberg

Peter W. Schmidt Architekt BDA — Central Library Friedrichshain-Kreuzberg

Peter W. Schmidt Architekt BDA — Central Library Friedrichshain-Kreuzberg

Peter W. Schmidt Architekt BDA — Central Library Friedrichshain-Kreuzberg

Forest Lodge - Dethier Architecture

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Deep in the heart of one of the most beautiful forests in Wallonia, the Saint-Hubert wooden lodge is permeated by its surroundings whose riches and tones it enhances and adopts.
Intended to be used as much by forest wardens and workers as hunters, scientists and tourists, the lodge adapts to its different functions by combining specialised premises (workshop, canteen, cloakrooms, toilets, cold room, laboratory etc.) and flexible meeting areas.

Dethier Architecture — Forest Lodge

When closed, the building looks like a large black box in Douglas fir wood with an imposing copper gable roof. When in use, it offers a welcoming pale wood interior. Communication between the interior and exterior of the lodge is facilitated by numerous shuttered windows that bring the exterior walls to life, and by two canopies created by the roof’s large overhangs. One covers a section of the terrace and the other is where forestry tools are stored. These two overhangs called for the distinctive “fishbone” structure of the glue-laminated roof frame.

Dethier Architecture — Forest Lodge

Surface area: 480 m2.
Design-construction: 2003-2004.
Cost: € 454,000 excl. VAT and fees.
Carcass work – Structure – Finishing: Entreprise Theret & Fils sa.
Wood subcontractor: Wanlin-Body et Artbois.
Electricity: Entreprise Henneaux frères sa.
Heating – plumbing: sprl Hollange Frères.
Cold room: DKR Réfrigération sa.
Work on surrounding area: Entreprise A. Roiseux sa.

Dethier Architecture — Forest Lodge

Dethier Architecture — Forest Lodge

Dethier Architecture — Forest Lodge

Dethier Architecture — Forest Lodge

Dethier Architecture — Forest Lodge

Dethier Architecture — Forest Lodge

Dethier Architecture — Forest Lodge

Dethier Architecture — Forest Lodge

Dethier Architecture — Forest Lodge

Dethier Architecture — Forest Lodge

Dethier Architecture — Forest Lodge

Dethier Architecture — Forest Lodge

Dethier Architecture — Forest Lodge

Dethier Architecture — Forest Lodge

Dethier Architecture — Forest Lodge

Dethier Architecture — Forest Lodge

Dethier Architecture — Forest Lodge

Dethier Architecture — Forest Lodge

Dethier Architecture — Forest Lodge

Dethier Architecture — Forest Lodge

Dethier Architecture — Forest Lodge

Dethier Architecture — Forest Lodge

Dethier Architecture — Forest Lodge

Dethier Architecture — Forest Lodge

Dethier Architecture — Forest Lodge

Dethier Architecture — Forest Lodge

Dethier Architecture — Forest Lodge

Residental building ZugSchleife - Valerio Olgiati

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Seen from a distance the floor plates projecting from the facade with their elliptical openings look like flying carpets with ornamental borders. For the residents these elliptical openings generate a sense of distance, since they prevent neighbours from seeing into each other’s apartments. At the same time the correspondence between each of these round forms and the individual apartments gives residents a feeling of living alone in a centre. The perception of space changes according to the point of view and the position of the sun.

Valerio Olgiati — Residental building ZugSchleife

The apartment floor plans are divided into a living area in the west and a sleeping and working area in the east, with bathrooms and wardrobes in between. In spatial terms the balconies form an extension of the living room. This impression is further strengthened by the large elliptical openings.

Valerio Olgiati — Residental building ZugSchleife

The exposed concrete structure is made of red-brown concrete poured in situ. The outer walls are clad with glass panels in the same colour. They appear fragile and light and contrast with the solid concrete structure. The use of the same colour for the cladding and the reflections in the glass blur the clear contours of the heated volume. As a result the elemental appearance of the stone construction is amplified.

Valerio Olgiati — Residental building ZugSchleife

Valerio Olgiati — Residental building ZugSchleife

Valerio Olgiati — Residental building ZugSchleife

Valerio Olgiati — Residental building ZugSchleife

Valerio Olgiati — Residental building ZugSchleife

Valerio Olgiati — Residental building ZugSchleife

Valerio Olgiati — Residental building ZugSchleife

Valerio Olgiati — Residental building ZugSchleife

Valerio Olgiati — Residental building ZugSchleife

Valerio Olgiati — Residental building ZugSchleife

Valerio Olgiati — Residental building ZugSchleife

Valerio Olgiati — Residental building ZugSchleife

Tower apartment - Clémence Eliard, Marc Sirvin

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How to fit a 1-bedroom apartment into an atypical high and narrow volume, the roof being the only possible source of daylight? This is the question to which Clemence Eliard and Marc Sirvin – architects at Agence SML– had to find answers to to create this surprising apartment. The unusual layout of this apartment resulted from merging several batches acquired over the years, located at different stories of the building. The owner, who had been living there for some time, desired to restructure the volume and create a home office. The architects envisioned the space as a tower in which each level would have its proper function: the bathroom in the basement, the kitchen-living-room at ground level, the home-office and dressing-room on the 1st floor and the bedroom higher up on the 2nd floor. These functions being all linked together by alternating tread stairs, daylight coming through a full height void. The ground floor, located in the back of a courtyard and previously lit in second day, would thus become an illuminated space thanks to the skylights. The apartment on 4 levels has a surface area of 25 square meters. All details have been thought of in order to optimize space and maximize light: the alternating tread stairs have a limited footprint and remain practical in spite of their steepness. Carpentry and closets are integrated, the bedroom is nested at the very top of the tower, the office floor is a metal grid so that light can flow through it. While conceiving of this unusual apartment, the architects were guided by simplicity and minimalism: all surfaces are painted white, and metalwork contrasts sharply with the raw wood of the carpentry.

Clémence Eliard, Marc Sirvin — Tower apartment

photo by Hervé Abbadie

Clémence Eliard, Marc Sirvin — Tower apartment

Clémence Eliard, Marc Sirvin — Tower apartment

photo by Hervé Abbadie

Clémence Eliard, Marc Sirvin — Tower apartment

Clémence Eliard, Marc Sirvin — Tower apartment

Clémence Eliard, Marc Sirvin — Tower apartment

Clémence Eliard, Marc Sirvin — Tower apartment

Clémence Eliard, Marc Sirvin — Tower apartment

Clémence Eliard, Marc Sirvin — Tower apartment

Clémence Eliard, Marc Sirvin — Tower apartment


Yale School of Management - Foster + Partners

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Inspired by Yale School of Management’s reinvention of business school education and pioneering integrated curriculum, the new Edward P. Evans Hall combines world-class teaching facilities with inspirational social spaces. The design unites Yale’s faculty departments in a single location for the first time and brings a high level of transparency to the traditionally enclosed college courtyard, creating a green heart for the campus community, which is visible throughout the school.

Foster + Partners — Yale School of Management

Lord Foster, a former student of Yale School of Architecture, gave a lecture in the new Edward P. Evans Hall on 9 January as part of the building’s inaugural celebrations.
The classrooms are contained within sixteen double-height oval drums, arranged around the central courtyard. Guided by the principle that interactions outside of the formal teaching areas are as important as classroom-based learning, the five-storey building incorporates a variety of social spaces, designed to encourage collaboration and promote a sense of school spirit. The social spaces are concentrated at ground level, where there is a coffee shop, media library and a large common room, opening out into the courtyard. On the second floor, the classrooms are connected by a wide internal circulation ‘cloister’– the glazed façade around the courtyard follows the undulations of the blue classroom drums to define bays where students can sit and gather. The third floor is pulled back from the facade to form a mezzanine, opening visual connections between the different levels.

Foster + Partners — Yale School of Management

he design process involved close collaboration with faculty members, as well as analyzing interactions within the classrooms, experimenting with different spatial configurations and producing full scale mock- ups to allow teaching staff to experience the lecture space. The resulting 16 classrooms are unique, tailored to Yale’s curriculum and can support every style of learning, from team-based working to lectures, discussions ‘in the round’ and video conferencing. Integrating state-of-the-art technology, the facilities include simultaneous translation, filming, multimedia displays and enhanced acoustics to ensure that every student has the opportunity to see and hear clearly.

Foster + Partners — Yale School of Management

A number of significant works of art have been commissioned for the new building. These include bold murals by Sol LeWitt, which bring the circulation spaces to life in swirls of color; and a site-specific installation by the Swiss artist Adrian Schiess, whose 90 painted panels appear to magically change color as the viewer moves around them.

Foster + Partners — Yale School of Management

The semi-circular Beinecke Room on the second floor provides a flexible events and meeting space with capacity for 80 diners, and is connected to a large, curving terrace with views over the natural landscape to the east. A 350-seat auditorium below the Beinecke Room provides an impressive venue for Yale’s high- profile lecture series and, unlike traditionally closed auditoria, retains a visual connection with the courtyard outside. This open, welcoming approach extends to embrace the wider campus: the transparent façade opens the building up to Whitney Avenue, making visible the feature staircases contained within two glass drums on either side of the entrance, and showcasing the School’s activities. The roof is held aloft by slim pillars and projects to shade both the façade and a wide entrance plaza.

Foster + Partners — Yale School of Management

Targeting the highest environmental standards, the sustainable design responds to the unique climate of New Haven and the patterns of use specific to a university faculty. The building utilizes chilled beams, a displacement system of ventilation and solar shading, and the building’s high performance envelope with solar responsive shading naturally reduces energy demand.

Foster + Partners — Yale School of Management

Lord Foster: “As a former student, it is a very special honor to design a building for Yale’s campus, to stand alongside architecture by such luminaries as Paul Rudolph and Louis Kahn. Learning is not only about the classroom – it is about the social spaces, grounds, cafes and the relationships that are formed. The people that I was exposed to at Yale, and the collegiate style of working that I found there, have influenced the way that I have built my own practice – our London studios, like those at Yale during term time, are open twenty four hours, seven days a week. This philosophy of hard work and collaboration – both fundamental to leadership – has informed the design of the Edward P. Evans Hall. I hope that it will provide an uplifting place to study, which can inspire future generations of business leaders.”

Foster + Partners — Yale School of Management

Foster + Partners — Yale School of Management

Foster + Partners — Yale School of Management

Denis-Ortmans House - Dethier Architecture

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The design for the Denis-Ortmans house arose from discussions concerning the scope of possibilities for single-family dwellings that respect the rules of sustainable development. We used cutting-edge technology to create a structure that was economical and environmentally friendly, provided a comfortable living space, and which reflected an informed approach to contemporary design.

Dethier Architecture — Denis-Ortmans House

Many observers have pointed out that the market for single-family houses is almost completely dominated by firms specialising in turnkey projects. These detached houses are modelled on traditional homes, and use recycled bricks, false beams, concrete roof tiles, skylights, etc. Taken individually, such constructions hardly merit discussion, but their proliferation blights both rural and peri-urban areas. Moreover, the materials and construction methods used are, more often than not, polluting (substantial waste and excess materials often buried on site, impermeable soil, etc.). The houses themselves are totally divorced from sustainable development practices both in terms of how they function and how they age over time. This lack of ecological awareness goes hand in hand with another drawback – these structures are out of step with changes in contemporary lifestyles.

Dethier Architecture — Denis-Ortmans House

The Denis-Ortmans house offers an alternative to such an approach.
The completely pre-fabricated house was assembled on a set of foundation pillars in the middle of a field. The technical solutions are quite simple. For example, the interior module and flooring are concrete and thus help regulate the temperature inside through thermal inertia. To minimise the size of the living areas, traditional practices were used, such as placing the bed in an alcove and the use of sliding partitions, particularly to separate off the master bedroom (4 sq. m) and the library. The house is in harmony with its surroundings, providing its inhabitants with a close relationship to nature. On the south and west sides, cabling stretched in front of the windows is used to support grape vines. In the summer, the vegetation prevents the structure from overheating and blocks sightlines from the road, and the interior benefits from the play of shadows and light.
We worked with the artist Jean Glibert to establish the house’s colour schemes.

Dethier Architecture — Denis-Ortmans House

Dethier Architecture — Denis-Ortmans House

Dethier Architecture — Denis-Ortmans House

Dethier Architecture — Denis-Ortmans House

Dethier Architecture — Denis-Ortmans House

Dethier Architecture — Denis-Ortmans House

Dethier Architecture — Denis-Ortmans House

Dethier Architecture — Denis-Ortmans House

Dethier Architecture — Denis-Ortmans House

Dethier Architecture — Denis-Ortmans House

Dethier Architecture — Denis-Ortmans House

Dethier Architecture — Denis-Ortmans House

Dethier Architecture — Denis-Ortmans House

Dethier Architecture — Denis-Ortmans House

Dethier Architecture — Denis-Ortmans House

Dethier Architecture — Denis-Ortmans House

Dethier Architecture — Denis-Ortmans House

Dethier Architecture — Denis-Ortmans House

Dethier Architecture — Denis-Ortmans House

Dethier Architecture — Denis-Ortmans House

Dethier Architecture — Denis-Ortmans House

Dethier Architecture — Denis-Ortmans House

Dethier Architecture — Denis-Ortmans House

Dethier Architecture — Denis-Ortmans House

Parliament of the German Speaking Community - Atelier Kempe Thill, Artau architectures

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A Parliament for the German-Speaking Community
After the end of World War I, with the Treaty of Versailles of 1919, the neutral area surrounding the municipality of Kelmis, Belgium, and the German administrative district of Eupen-Malmedy, Belgium, are annexed. As a result, some seventy thousand Germans become Belgian citizens. Since large-scale state reforms are enacted (1968–1971), Belgium officially consists not only of the Flemish and Walloon Regions along with Brussels but also of the German-speaking community with its recognized rights and autonomies. These rights have developed strongly in the last forty years. Since 1984, the community has both its own government as well as its own parliament with legislative powers. In order to create an appropriate spatial framework for this, the decision is made to house the parliament and its administration in a former sanatorium from the late nineteen-tens. Since representative spaces are lacking and the sanatorium would have to undergo substantial renovation, in the fall of 2008, an international architecture competition is organized for the expansion and remodeling of the sanatorium, which is won by Atelier Kempe Thill.

Atelier Kempe Thill, Artau architectures — Parliament of the German Speaking Community

A Landscape Object in front of a Manor House
Both the competition design and the variant to be realized have the goal of uniting the old building and the expansion into a coherent composition in which the two buildings are each given their own character while nonetheless forming an architectural unit. The particularly delicate issue here is the position of the already existing sanatorium on the hill like a freestanding manor house. With a very representative appearance that is laid out in a classicist-frontal manner, every form of expansion can quickly be perceived as an insensitive intrusion or as too reserved. Atelier Kempe Thill’s design thus originated with the idea that the new building would be positioned visibly and offensively with respect to the old building as befits a representative parliament building. As a result of the nature of the hill on which the “sanatorium” stands, it was possible to position the new building directly in front of it through a simple reshaping of the terrain. Seen from the outside, the already existing building is not simply combined with a new building but instead enters into coherent synthesis with it. The new building forms an optical plinth for the “sanatorium,” which emphasizes its solitary appearance architecturally and symbolically. The roof and the exterior walls are completely covered with sedum plants. This results in the creation of the impression of a large “flower pillow” in front of the entrance to the entire complex, which generates an inviting atmosphere. This “landscape object” counters the naturally appearing nature of the park with the seemingly staged nature of an overgrown minimalist object. The new building is thus both a part of the landscape as well as a contrast to it.

Atelier Kempe Thill, Artau architectures — Parliament of the German Speaking Community

In the variant to be realized, the new building had to be reduced in size due to budget constraints. In its extension, a broad flight of steps is situated directly across from the main entrance to the old building. As a result, the landscape character of the new building is somewhat decreased and what is created instead is an object. The flight of steps takes up the axial symmetry of the sanatorium to a certain extent and thus links it architecturally with the landscape and the new building. By aligning the plaster of the façade of the sanatorium with the color and texture of the ashlars in the outside space, and also by damping the intensity of the new building’s landscaping colors, a strong compositional coherency is created despite the different conditions.

Atelier Kempe Thill, Artau architectures — Parliament of the German Speaking Community

A “New Old” Sanatorium Building
The sanatorium was strongly disfigured, mostly as a result of renovations in the nineteen-sixties and seventies. The renovation proposed therefore initially has the goal of substantially restoring the integrity of the sanatorium, and the original appearance of the building at the time it was created served as the basis for this. All existing details in the interior, such as the terrazzo floors in the halls and staircases, are repaired and supplemented in matching colors. The existing doors to the rooms in the connecting corridors are authentically rebuilt. In the case of the windows, it is necessary, in contrast to their original design with shutters and many divisions, to find an equivalent for the technical conditions of today. Compared to the earlier windows, the new ones are only divided in two vertically so as to achieve an elegant appearance despite the thicker, modern double-glazing as well as the thicker window frames. Adaptations also have to be found for the detailing of the roof as a whole, since as a result of the necessary thermal insulation, the position of the dormer windows is slightly shifted and their proportions change. Slate is used for the roofing in order to reflect the original roofing. Beyond considerations of the materials used and the individual details, a larger conceptual problem is encountered: one of the requirements is very high energy efficiency in order to achieve low-energy standards, which, according to the most modern requirements, far exceed the original construction of the building and are supposed to be carefully integrated into the overall concept. To this end, very high-quality thermal insulation and, most especially, the integration of a ventilation system and new heating system based on pellets are of crucial importance. Moreover, a system is integrated for cooling the building by means of an adiabatic process based on the evaporation of water. This results in roughly five hundred drill holes needing to be made in the walls and ceilings, which thus severely impacts the quite fragile ceiling construction dating back to the building’s original structure. For this reason, some of the ceilings have to be replaced. So many channels are required for the ventilation system that the corridor is nearly incapable of accommodating them. Furthermore, suspended ceilings, which severely impinge on the proportions of the space, likewise become necessary. These basic conditions as a whole are conceivably severe, particularly since the costs of the renovation turn out in the end to be nearly equivalent to the costs of a new building and thus shed doubt on the remodeling situation. Under these conditions, Atelier Kempe Thill attempts the balancing act of not disfiguring the building as a result of the remodeling while nevertheless protecting the integrity of the building or finding suitable architectural equivalents within the current requirements.

Atelier Kempe Thill, Artau architectures — Parliament of the German Speaking Community

Scenic Interiors
In the interior, architectural attention focuses on the question of the extent at which the different spatial conditions in the old building and the new building can be adapted to each other or designed in a manner that they overflow fluidly into one another. The hall and the new foyer, which due to their partially subterranean position below the sanatorium might quickly arouse associations with a cellar, require special attention. In this case, it is not sufficient to create a bright spatial ambiance by means of windows and skylights. At least just as crucial for the perception of the new building is the spatial scenario of all reception and foyer areas of both the old and the new structures. Along with the large new staircase, the foyer in front of the is given the function of mediating between the old and the new. The foyer is defined by a rigorously symmetrical spatial composition, which links the axial symmetry of the plenary hall and of the staircase with each other by means of large openings in the wall. The walls of the foyer are plastered white, while the floor here and in the hall is laid in end-grain wood, through which a spatial continuity is created. The foyer space thus provides a suitable and flexible framework for representative receptions, exhibitions, and the like. Its symmetry also forms a counterpart to the somewhat axial symmetry of the existing sanatorium. The composition from the outside is therefore coordinated with the interior spatial composition as far as possible. The new subterranean spaces should preferably be staged in such a way that they are ultimately perceived as the brightest.

Atelier Kempe Thill, Artau architectures — Parliament of the German Speaking Community

The large wall openings from the foyer to the hall are glazed and form a large picture window that allows a view from the foyer through the hall and into the park. This window is combined with a large, vitrine-like window at the front end of the space in which art will be shown, illuminated by a skylight. This lends the space a bright and airy character, which is emphasized even more by a generous, central skylight and the multifaceted visual relationships that are created.

Atelier Kempe Thill, Artau architectures — Parliament of the German Speaking Community

As a result of the positioning of the new building, the plenary hall is first provided with ideal conditions for an interior space. It is given a calm spatial character with an excellent view of the generous park in front of the building, so that the landscape becomes a fixed component of the interior. The parliament selected wood as a basic material for the hall. This is meant to form a link to the traditional wood culture of the region, with its cabinetry and carpentry, which arose from the forests of the Ardennes. Atelier Kempe Thill takes this desire for the use of wood literally and proposes a consistently wooden hall with a monolithic, calm, and modern spatial impression. The acoustic requirements are crucial here: since the hall is laid out for speech, it requires strongly absorbing room acoustics. Because veneered acoustic panels are not suited to the architectural requirements of an integrated concept, specially developed wall panels on the basis of end-grain wood parquet were proposed. End-grained wood parquet is normally used for flooring but can, however, also be used for various other purposes as a result of its being put together from small blocks of solid wood. And since it is also used for the floor here, what is created along with the wall panels is a simultaneously uniform and slightly varied appearance of walls, ceiling, and floor along with the permanently installed tables. With the blocks having been installed with three-millimeter-wide joints, it is possible to architecturally incorporate all the technical requirements—such as sound absorption, integration of ventilation, joints around doors, et cetera—without visible grates, air vents, and the like, thus fostering a consistent spatial ambience.

Atelier Kempe Thill, Artau architectures — Parliament of the German Speaking Community

Atelier Kempe Thill, Artau architectures — Parliament of the German Speaking Community

Atelier Kempe Thill, Artau architectures — Parliament of the German Speaking Community

Atelier Kempe Thill, Artau architectures — Parliament of the German Speaking Community

Atelier Kempe Thill, Artau architectures — Parliament of the German Speaking Community

Atelier Kempe Thill, Artau architectures — Parliament of the German Speaking Community

Atelier Kempe Thill, Artau architectures — Parliament of the German Speaking Community

Atelier Kempe Thill, Artau architectures — Parliament of the German Speaking Community

Atelier Kempe Thill, Artau architectures — Parliament of the German Speaking Community

Atelier Kempe Thill, Artau architectures — Parliament of the German Speaking Community

Atelier Kempe Thill, Artau architectures — Parliament of the German Speaking Community

Atelier Kempe Thill, Artau architectures — Parliament of the German Speaking Community

Atelier Kempe Thill, Artau architectures — Parliament of the German Speaking Community

Atelier Kempe Thill, Artau architectures — Parliament of the German Speaking Community

Atelier Kempe Thill, Artau architectures — Parliament of the German Speaking Community

Atelier Kempe Thill, Artau architectures — Parliament of the German Speaking Community

Atelier Kempe Thill, Artau architectures — Parliament of the German Speaking Community

nannup holiday house - iredale pedersen hook architects, iredale pedersen hook architects

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The Nannup Holiday house forms part of a wandering path through the landscape from Perth to Nannup. This path dialogues with the landscape of intense forrest, meandering river and rolling hills, each experience is carefully choreographed to enrich the occupancy of the house. A Jeykll and Hyde experience of the landscape is carefully controlled through oscillating vertical (forest) and horizontal (horizon) openings and the contrast of grounded and floating experiences. While the exterior dialogues with the numerous fallen trees, the interior is revealed through a sequence of ‘growth rings’ coded and extruded in relation to the building program.

iredale pedersen hook architects, iredale pedersen hook architects — nannup holiday house

view from field

iredale pedersen hook architects, iredale pedersen hook architects — nannup holiday house

filtered view through forest

iredale pedersen hook architects, iredale pedersen hook architects — nannup holiday house

approaching view framed by mature trees

iredale pedersen hook architects, iredale pedersen hook architects — nannup holiday house

iredale pedersen hook architects, iredale pedersen hook architects — nannup holiday house

iredale pedersen hook architects, iredale pedersen hook architects — nannup holiday house

iredale pedersen hook architects, iredale pedersen hook architects — nannup holiday house

iredale pedersen hook architects, iredale pedersen hook architects — nannup holiday house

iredale pedersen hook architects, iredale pedersen hook architects — nannup holiday house

iredale pedersen hook architects, iredale pedersen hook architects — nannup holiday house

iredale pedersen hook architects, iredale pedersen hook architects — nannup holiday house

iredale pedersen hook architects, iredale pedersen hook architects — nannup holiday house

preliminary sketch

iredale pedersen hook architects, iredale pedersen hook architects — nannup holiday house

preliminary model

iredale pedersen hook architects, iredale pedersen hook architects — nannup holiday house

west elevation

iredale pedersen hook architects, iredale pedersen hook architects — nannup holiday house

south elevation

iredale pedersen hook architects, iredale pedersen hook architects — nannup holiday house

main plan

iredale pedersen hook architects, iredale pedersen hook architects — nannup holiday house

concept diagram- view corridors

PNC - Ateliers O-S architectes

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The project is a 2000sqm interior design in an existing building in west Paris. The program consists of two separate entities: a public services facility and a police station. The building is part of an extensive program of urban development for the district. The aim is to provide a unifying public building to create links with the residents. To generate a unified and comprehensive project, we worked on both entities with similar tools: simple volumes and crystal clear schemes.

Ateliers O-S architectes — PNC

Our design has been driven by the following ideas / principles:
- An easy-to-read organization in order to make life easier for visitors and workers alike. - Focus architectural design on circulation spaces.
- Natural light for every office
- Bring in as much natural light as possible
- In order to make up for the lack of space, maximize flexibility of space.
- Focus on quality materials and their implementation.
- Create clear and visible signage

Ateliers O-S architectes — PNC

The existing building is characterized by its thickness and its large variety of ceiling heights. The low ceilings’ edges contrast with the double-height ceiling of the center which benefits from a large amount of natural light. The low ceiling spaces are perfectly suited to the confidentiality and intimacy required for the offices of the police station. A large meeting room for public utilities fills the heart of the building to assure greater flexibility.

Ateliers O-S architectes — PNC

In between the vibrant center and the more intimate surrounding office-space, a free-moving gallery structures and organizes the project. Below eye-level, a horizontal line distinguishes the lower and upper parts. The system changes according to the program: in the police station, to prevent direct views in, the lower part is translucent and the upper part is opaque. Conversely, in the public utilities room, the opaque part is below eye-level while the top part is opalescent thus allowing the light penetrates right into the center of the building.

Ateliers O-S architectes — PNC

The design of the gallery is easily recognizable thanks to its white and grey materials: resin and integrated surface coated concrete. The public room is lined with wooden furniture and has a warm, wooden floor. The qualities of the existing structure have been highlighted.

Schedule: June 2013
Budget: 1 990 000 €
Surface: 2 058 m²

Ateliers O-S architectes — PNC

Ateliers O-S architectes — PNC

Ateliers O-S architectes — PNC

Ateliers O-S architectes — PNC

Ateliers O-S architectes — PNC

Ateliers O-S architectes — PNC

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