# data[].attributes.body
Spa (Belgique), 2016

# data[].attributes.attachment_link.description
Structure vs Infrastructure. The project consists of two different construction process and languages: the organic retaining walls, made out of monolithic insulating in situ concrete, and, a single regular structural roof, built up with welded reconstituted steel profiles.

# data[].attributes.body
Andelsbuch (Austria), 2013

# data[].attributes.attachment_link.provider_name
designboom | architecture & design magazine

# data[].attributes.attachment_link.title
peter zumthor: werkraum house opens in austria

# data[].attributes.attachment_link.description
peter zumthor werkraum house is an impeccable wood and glazed exhibition hall and appropriate home for an organization dedicated to craft preservation.

# data[].attributes.body
Moscow (Russia), 2016

# data[].attributes.attachment_link.readable_text
+ 16

Text description provided by the architects. This pavilion is a part of a project "Open-Air Flat" organized by PIK Group - a leading real estate developer in Russia - for Picnic "Afisha" music festival. Pop-up structures that symbolized the rooms of an abstract flat were situated in different areas of Kolomenskoye park, where the festival has been taking place since 2007.

The object is a reinterpretation of a living room which is a common space for communication and activity in any flat. Not by chance it was situated in one of the most crowded areas of the festival just between food court and main music stage. This specific location implied the pavilion to be an art object as well as having a clear practical purpose.

With its semi-transparent walls constructed out of rainbow-colored plastic tubes, the pavilion truly stood out from the surroundings. Inside this building is divided into various compartments. Each of them has a separate and individual structure forming together an accurate rectangular-shaped form filled in with an irregular grid of white metal framework and plastic tubes. Deliberately uneven sections create a dynamic and expressive composition that brings a slight ripple into this seemingly austere shape. Situated on a bright green lawn, the multi-colored living room pavilion can be compared with a glitch effect that had suddenly appeared in a CGI landscape.

Apart from its remarkable design, the pavilion was also meant to be a functional chill out area. Comfortable armchairs and loungers for festival goers had been installed in every section. These pieces of furniture were merged together with coffee tables and lamps into light-weight constructions. Pavilion's lucidity allowed the visitors to see what was going on in the festival's other areas and even watching the show on main stage without leaving the space.

Despite being a living room, the building is more of a one-story mansion that calls to mind such 20th century classics as Villa Savoye and Farnsworth House. Its furniture is also inspired by the iconic designs of Marcel Breuer and Le Corbusier. Though highly influenced by a modernist architecture, the pavilion offers its very own outlook on the international style private mansions.

The extreme transparency of this pavilion is different from that in Philip Johnson's Glass House or the already mentioned Mies van der Rohe's Farnsworth House. Its emptiness is an emptiness of a clear prism that is waiting for a ray of light to turn into a rainbow. This ambivalent impression is amplified by an irregular framework grid that symbolizes the result of the building's total deconstruction as well as a layout of a building that hasn't been constructed yet. A flickering and always evolving structure relates to the works of 1960s conceptual architecture groups such as Archigram and Superstudio - they both were using grid in their utopian projects considering it an ultimate never-ending game board for their experiments. Few decades later the grid was immortalized in science-fiction cliché of "cyberspace". Using its deconstructed version in this contemporary yet retro-futuristic pavilion is a smart and elegant solution.

# data[].attributes.attachment_link.title
Temporary Pavilion at Picnic "Afisha" / project eleven

# data[].attributes.attachment_link.description
16 Text description provided by the architects. This pavilion is a part of a project "Open-Air Flat" organized by PIK Group - a leading real estate developer in Russia - for Picnic "Afisha" music festival. Pop-up structures that symbolized the rooms of an abstract flat were situated in different areas of Kolomenskoye park, where the festival has been taking place since 2007.

# data[].attributes.body
Plateau de Millevaches (France), 2018

# data[].attributes.attachment_link.description
Plateau de Millevaches 2018 / APS en cours Projet co-lauréat du concours pour des aires de bivouac sur le plateau de Millevaches, en association avec Zébra3. La proposition prend la forme d'une structure tridimensionnelle en bois intégrant de nombreux éléments mobiliers (assises, tables, rangements, paravents, vasques, cheminée, etc.)

# data[].attributes.body
Beijing (China), 2011

# data[].attributes.attachment_link.readable_text
+ 25

Text description provided by the architects. This project is modest addition to the small village of Huairou on the outskirts of Beijing, just under a two hours drive from busy Beijing urban life.

On the one hand it forms a modern programmatic complement to the village by adding a small library and reading space within a setting of quiet contemplation. On the other hand we wanted to use architecture to enhance the appreciation of the natural landscaping qualities. So instead of adding a new building inside the village center, we chose this particular site in the nearby mountains, a pleasant five minute walk from the village center. In doing so we could provide a setting of clear thoughts when one consciously takes the effort to head for the reading room.

Because of the overwhelming beauty of the surrounding nature our intervention is modest in its outward expression. We can't compete with nature's splendor. The building blends into the landscape through the delicate choice of materials and the careful placement of the building volume. Especially the choice of material is crucial in blending with the regional characteristics. After analyzing the local material characteristics in the village we found large amounts of locally sourced wooden sticks piled around each house. The villagers gather these sticks all year round to fuel their cooking stoves. Thus we decided to use this ordinary material in an extraordinary way, cladding the building in familiar textures in a way that is strikingly sensitive.

The inside of the building has a very expressive character though; its interior is spatially diverse by using steps and small level changes to create distinct places. It frames views towards the surrounding landscape and acts as an embracing shelter. The building is fully glazed to allow for a fully daylight space. The wooden sticks temper the bright light and spread it evenly throughout the space to provide for a perfect reading ambience.

# data[].attributes.attachment_link.description
25 Text description provided by the architects. This project is modest addition to the small village of Huairou on the outskirts of Beijing, just under a two hours drive from busy Beijing urban life. On the one hand it forms a modern programmatic complement to the village by adding a small library and reading space within a setting of quiet contemplation.

# data[].attributes.body
Terschelling (Holland), 2017

# data[].attributes.attachment_link.readable_text
+ 10

Other Participants

LOUD SHADOWS is a joint project of Kate Moore (music composer), The Stolz (music), LeineRoebana (dance performance) and Plastique Fantastique (architecture) for Oerol Festival.

Manufacturers

Text description provided by the architects. LOUD SHADOWS is a collage made by artists coming from different backgrounds: dance, music, architecture.

The architecture of Plastique Fantastique is monumental, yet mobile, soft and transparent. It's ephemeral skin influences the environment as much as its inner space offers a lucid view outwards. It is the preferred place to merge dance (LeineRoebana) and music ( Kate Moore, The Stolz), and challenge the perception of time.

# data[].attributes.attachment_link.description
10 LOUD SHADOWS is a joint project of Kate Moore (music composer), The Stolz (music), LeineRoebana (dance performance) and Plastique Fantastique (architecture) for Oerol Festival. Manufacturers Text description provided by the architects. LOUD SHADOWS is a collage made by artists coming from different backgrounds: dance, music, architecture.

# data[].attributes.body
Barcelona (Spain), 1929

# data[].attributes.attachment_link.readable_text
Text description provided by the architects. As part of the1929 International Exposition in Barcelona Spain, the Barcelona Pavilion, designed by Mies van der Rohe, was the display of architecture's modern movement to the world. Originally named the German Pavilion, the pavilion was the face of Germany after WWI, emulating the nation's progressively modern culture that was still rooted in its classical history. Its elegant and sleek design combined with rich natural material presented Mies' Barcelona Pavilion as a bridge into his future career, as well as architectural modernism.

More on the Barcelona Pavilion after the break.

After several architectural triumphs in Germany, Mies was commissioned to design the German Pavilion for the International Exposition in Barcelona, Spain. The pavilion was intended to be the face of the German section that would host King Alphonso XIII of Spain and German officials at the inauguration of the exposition. Unlike other pavilions at the exposition, Mies understood his pavilion simply as a building and nothing more, it would not house art or sculpture rather the pavilion would be a place of tranquility and escape from the exposition, in effect transforming the pavilion into an inhabitable sculpture.

Situated at the foot of the National Art Museum of Catalonia and Montjuic, the Barcelona Pavilion resides on a narrow site in a quiet tucked away corner secluded from the bustling city streets of Barcelona. Raised on a plinth of travertine, the Barcelona Pavilion separates itself from it context create atmospheric and experiential effects that seem to occur in a vacuum that dissolves all consciousness of the surrounding city.

The pavilion's design is based on a formulaic grid system developed by Mies that not only serves as the patterning of the travertine pavers, but it also serves as an underlying framework that the wall systems work within. By raising the pavilion on a plinth in conjunction with the narrow profile of the site, the Barcelona Pavilion has a low horizontal orientation that is accentuated by the low flat roof that appears to float over both the interior as well as the exterior.

The low stature of the building narrows the visitor's line of vision forcing one to adjust to the views framed by Mies. When walking up onto the plinth, one is forced under the low roof plane that captures the adjacent outdoor court as well as the interior moments that induce circulation throughout the pavilion. The interior of the pavilion consists of offset wall places that work with the low roof plane to encourage movement, as well as activate Mies' architectural promenade where framed views would induce movement through the narrow passage that would open into a larger volume. This cyclical process of moving throughout the pavilion sets in motion a process of discovery and rediscovery during ones experience; always offering up new perspectives and details that were previously unseen.

Every aspect of the Barcelona Pavilion has architectural significance that can be seen at the advent of modern architecture in the 20th Century; however, one of the most important aspects of the pavilion is the roof. The low profile of the roof appears in elevation as a floating plane above the interior volume. The appearance of floating gives the volume a sense of weightlessness that fluctuates between enclosure and canopy. The roof structure is supported by eight slender cruciform columns that allow the roof to as effortlessly floating above the volume while freeing up the interior to allow for an open plan. With the low roof projecting out over the exterior and the openness of the pavilion, there is a blurred spatial demarcation where ht interior becomes and exterior and exterior becomes interior.

The pavilion is designed as a proportional composition where the interior of the pavilion is juxtaposed to two reflecting pools. The smaller reflecting pool is located directly behind the interior space which allows for light to filter through the interior volume as well illuminate the marble and travertine pavers. The larger, shallow reflecting pool compliments the volume as it stretches across the rest of the plinth. Its elegance and sleek lines establish a place of solitude and reflection.

In addition to the design, the materials are what give the Barcelona Pavilion its true architectural essence as well as the ethereal and experiential qualities that the pavilion embodies. The pavilion meshes the man-made and the natural employing four types of marble, steel, chrome, and glass. The marble originates from the Swiss Alps and the Mediterranean. Mies' implementation of the marble is created through a process of splitting, called broaching, that creates a symmetrical patternization that's found in the marble. However, the most used material is the Italian travertine that wraps the plinth and the exterior walls adjacent to the reflecting pool. When exposed to the sun, the travertine becomes illuminated almost as a secondary light source that dissolves the natural stone and washes the light over the space. The travertine's inherent luminous qualities as well as Mies' seamless employment of the material over the plinth adds to the dissolution of spatial demarcation transforming the pavilion into one continuous volume rather than two separate entities.

In 1930, the original Barcelona Pavilion was dismantled after the International Exposition was over; however; in 1983 a group of Catalan architects began working on rebuilding the pavilion from photographs and what little salvaged drawings that remained. Today it is open daily and can be seen in the same location as in 1929.

# data[].attributes.attachment_link.title
AD Classics: Barcelona Pavilion / Mies van der Rohe

# data[].attributes.attachment_link.description
Text description provided by the architects. As part of the1929 International Exposition in Barcelona Spain, the Barcelona Pavilion, designed by Mies van der Rohe, was the display of architecture's modern movement to the world. Originally named the German Pavilion, the pavilion was the face of Germany after WWI, emulating the nation's progressively modern culture that was still rooted in its classical history.

# data[].attributes.body
Barcelona (Spain), 2013

# data[].attributes.attachment_link.description
As "Bricktopia" is a pilot project which makes this traditional technique work to its limits, its implementation has required the expansion of the team, which has been enlarged with Paula López Barba and Josep Brazo Ramírez.

# data[].attributes.body
New Canaan (USA), 2015

# data[].attributes.attachment_link.readable_text
Project Description Landscape Architectural Directive Architectural Concept Design Highlights
Creation of a multipurpose building and landscape design for Grace Farms, an 80-acre natural environment in New Canaan, Connecticut that the non-profit Grace Farms Foundation is preserving as a gift of open space for people to experience nature, encounter the arts, pursue justice, foster community and explore faith. The facilities of the building will be made available by the Foundation to Grace Community Church and other select nonprofit and community groups, and will be the site for pub- lic amenities and programs ranging from coffee and tea service, discussions, intimate concerts and family-friendly art classes and athletics to a curated, multi-disciplinary series of cultural projects and events.

Approximately 77 of the 80 acres of Grace Farms are being retained in perpetuity as open meadows, woods, wetlands and ponds. OLIN's design preserves and enhances the existing habitat for native flora and fauna while integrating a community garden, athletic fields and a SANAA-designed playground and trails. Trees that were cleared for construction are being milled on site to construct the furniture for Grace Farms, including 18- foot-long community tables. Fifty-five 500-foot-deep geothermal wells have been drilled on the property for heating and cooling. Seventy percent of mowed areas will be returned to natural meadows by Larry Weaner Landscape Associates.

In its architectural brief, the Foundation asked for a venue of "cultural interest and curiosity via open space, architecture, art and design in order to provide people with an opportunity to:

1. Experience Nature: Our aim is to draw people into this beautiful landscape, to enhance one's experience of nature through all five senses, and to allow nature itself to inspire in us an experience of awe.

2. Foster Community: We hope to provide a warm, welcoming environment that fosters personal relationships through passive and active, social and artistic activities.

3. Pursue Justice: We will offer resources and feature opportunities to improve lives by helping others, showing mercy and advancing justice together.

4. Explore Faith: We aspire to create an environment for reflection, study, discussion and worship."

SANAA's goal was to make the architecture of the River become part of the landscape without drawing attention to itself, or even feeling like a building, with the hope that those who are on the property will have a greater enjoyment of the beautiful environment and changing seasons through the spaces and experience created by the River.

Nestled into the rolling landscape of Grace Farms, the River begins on a knoll and then flows down the long, gentle slope (a change in grade of 43 ft - 9 in) in a series of bends, forming pondlike spaces on its journey. Structurally, the building of glass, concrete, steel and wood is in essence a single long roof, which seems to float above the surface of the ground as it twists and turns across the landscape. The walkways, courtyards and glasswrapped volumes that form beneath the roof are remarkably transparent and invite people to engage with the expansive natural surroundings.

# data[].attributes.attachment_link.description
Completed in 2015 in New Canaan, United States. Images by Dean Kaufman, Grace Farms Foundation, Jonah Rosenberg, Kelly McGarvey, Iwan Baan . Project Description Creation of a multipurpose building and landscape design for Grace Farms, an 80-acre natural environment in New Canaan,...

# data[].attributes.body
Chicago (USA), 2015

# data[].attributes.attachment_link.readable_text
+ 33

Project team

Will Gant, Hua Gao, Ronak Hingarh, Tida Osotsapa, Emily Yen

Engineer

Brett Schneider, Guy Nordenson and Associates, New York, NY

Architect of Record

Joe Lambke, Animate Architecture, Chicago, IL

Engineer of Record

William Bast, Alberto Mena, Thornton Tomasetti. Chicago, IL

Manufacturers

Text description provided by the architects. How much kiosk can you get for $75,000? Chicago Horizon probes this question through a quest to build the largest flat wood roof possible. Using Cross-Laminated Timber, a new carbon-negative engineered lumber product, in the largest dimensions commercially available, the kiosk aims to provide an excess of public space for the Architecture Biennial and Chicago beach-goers.

+ 33

The generous 56-foot square offers an architectural lending library and shelter from the elements during its time in Millennium Park, and later becomes a large shading canopy overlooking Lake Michigan with space for commercial vending within. Chicago Horizon expresses lightness at a variety of scales, from the 8-foot hovering roof plane to the viewing platform and vending kiosk, which are suspended from the roof using chain-link fencing without any additional supports.

The lateral reach of the roof recalibrates the experience of two extremes of the Chicago landscape: at ground level, the Lake Michigan horizon dominates, forming a line of symmetry between ground and canopy. From the viewing platform, the roof becomes a new artificial horizon, shutting out the foreground and emphasizing the floating vertical Chicago skyline above an abstract floating plane.

The pavilion roof structure represents the application of the principles of flat plate (typical to concrete construction) to the material of wood. Two layers of CLT panels-one layer oriented in each principal direction, and each outer layer oriented lengthwise to the 8-foot-wide by 56-foot-long panels-combine to form a two-way spanning plate supported at points by columns. Each layer carries bending in the direction of the panel, with the layer above or below providing shear transfer between adjacent panels (and vice versa in the other direction). The result is a surprisingly thin 8.25-inch roof structure that spans upward of 30 feet between columns.

The columns connect to the roof plate using steel tongue plate bolted to the columns, which passes up through a slot in the CLT to a horizontal plate that connects to the CLT panels from above, hidden below the roofing and waterproofing. The columns themselves are simple glued laminated sections, held off the ground by a similar tongue plate at the base. The observation platform is supported by a chain-link fence held in tension along the edge of the opening to the roof using tack welds to structural steel angle framing the opening. The overall system is simple in its detailing, use of materials, and conception of its performance as a two-way plate, and this underlying simplicity complements the efficiency of the system.

# data[].attributes.attachment_link.description
33 Will Gant, Hua Gao, Ronak Hingarh, Tida Osotsapa, Emily Yen Brett Schneider, Guy Nordenson and Associates, New York, NY Joe Lambke, Animate Architecture, Chicago, IL William Bast, Alberto Mena, Thornton Tomasetti. Chicago, IL Manufacturers Text description provided by the architects. How much kiosk can you get for $75,000?

# data[].attributes.body
Paris (France), 2015

# data[].attributes.attachment_link.readable_text
Petite construction singulière, le pavillon circulaire n'a rien de rond: son nom illustre le processus de fabrication qui l'a vu naître, suivant les principes de l'économie circulaire.

Implanté sur le parvis de l'Hôtel de Ville de Paris à l'occasion de la COP 21, ce pavillon est une expérimentation architecturale autour du réemploi de matériaux de construction. La façade est constituée de 180 portes en chêne provenant d'une opération de réhabilitation d'un immeuble de logements HBM du 19ème arrondissement. La laine de roche servant à l'isolation intérieure a été déposée lors des travaux de la toiture d'un supermarché. Les éléments de la structure bois sont des restes du chantier d'une maison de retraite. Les sols et les murs sont faits de panneaux d'exposition, tandis que le caillebotis de la terrasse extérieure provient de l'opération Paris-Plage. En guise de mobilier, cinquante chaises en bois ont été collectées dans les déchetteries parisiennes, réparées puis repeintes, et les suspensions lumineuses proviennent des stocks des éclairages publics.

Durant les trois mois de son installation, ce Pavillon Circulaire accueillera un café, des spectacles des débats et des ateliers. Toute la programmation ici.

Nom : Pavillon Circulaire

Commanditaire : Pavillon de l'Arsenal

Lieu : Paris

Date : 2015

Mission : Complète

Surface : 70 m²

Budget : 150 000 €

Architectes : Encore Heureux

Equipe : Tribu (Bet HQE) + Bonnefrite (dessin) + Camping Design (graphisme)

Photographes : Cyrus Cornut + Florence Morisson (chantier)

Hôtel de Ville, Paris, France

# data[].attributes.attachment_link.description
Petite construction singulière, le pavillon circulaire n'a rien de rond: son nom illustre le processus de fabrication qui l'a vu naître, suivant les principes de l'économie circulaire. Implanté sur le parvis de l'Hôtel de Ville de Paris à l'occasion de la COP 21, ce pavillon est une expérimentation architecturale autour du réemploi de matériaux de construction.

# data[].attributes.body
London (England), 2017

# data[].attributes.attachment_link.readable_text
+ 18

Text description provided by the architects. The Dulwich Pavilion is a transformative project for Dulwich Picture Gallery and Almacantar, a breakthrough moment for a young architecture practice, and an important legacy for the London Festival of Architecture 2017. The Gallery's first pavilion extends into the surrounding landscape, celebrating Soane's original architecture and allowing the Gallery to overcome a lack of existing space and meet increasing visitor demand. IF_DO's design, developed with engineers StructureMode and realised by bespoke fabricators Weber Industries, offers a model for other cultural institutions facing similar issues, and responds to the LFA's mission to champion London architecture and promote positive change to the city's public realm.

The London Festival of Architecture and Dulwich Picture Gallery launched the pavilion design competition in autumn 2016, with support from Almacantar. Entrants were challenged to design a contemporary response to the original Soane building and its garden setting, while working with a modest construction budget of just over £100,000. Bermondsey-based practice IF_DO, established in 2014 by Al Scott, Sarah Castle and Thomas Bryans, overcame competition from a field of 75 entries with their design 'After Image'. It was chosen by a judging panel of leading architectural and cultural figures including Ruth Rogers (chef and founder, River Café), Carl Turner (founder and director, Carl Turner Architects), Mike Hussey (Chief Executive, Almacantar) and Nancy Durrant (arts commissioning editor, The Times)

The Dulwich Pavilion has been designed as a temporary public structure, which engages with the adjacent buildings, landscape and visitors alike. Conceptually it responds to the solidity and monolithic nature of Sir John Soane's Gallery building, and the porous, ever-changing nature of the landscape. Structurally the pavilion is lightweight and minimal, comprising a timber truss roof suspended over a level timber deck supported on three fixed slender mirrored panels. All of the remaining wall panels are moveable or removable, creating a flexible space enabling numerous configurations for different events. A fixed bar/café pod opens up when in use to reveal a serving area.

The reflective quality of the mirrored screens reflects and disrupts the context. Fragments of the building appear in the landscape, and fragments of the landscape in the building. The roof overlaid with a mesh veil creates a canopy-like environment that enhances the layering of images and the interplay of space, perception and memory: this year's London Festival of Architecture theme.

The pavilion's elegant structure, developed through close collaboration between the architects, engineers and fabricators, demanded precision in both design and manufacture. Bespoke steel, aluminium and timber components were all fabricated by Weber Industries in their Peckham studio, before the structure was assembled on site. The pavilion has been engineered by StructureMode to allow efficient construction, with minimum disruption and environmental impact to the historic grounds.

# data[].attributes.attachment_link.description
18 Text description provided by the architects. The Dulwich Pavilion is a transformative project for Dulwich Picture Gallery and Almacantar, a breakthrough moment for a young architecture practice, and an important legacy for the London Festival of Architecture 2017.

# data[].attributes.body
Venezia (Italy), 1962

# data[].attributes.attachment_link.readable_text
This article was originally published on March 30, 2016. To read the stories behind other celebrated architecture projects, visit our AD Classics section.

Three were originally invited to draw up plans for a 'Nordic' pavilion: the Finnish partnership Reima and Raili Pietilä, Sverre Fehn from Norway, and the Swede, Klas Anshelm. Following the selection of Fehn's proposal in 1959, Gotthard Johansson wrote in the Svenska Dagbladet of the project's "stunning simplicity [...], without too many architectural overtones"[1] - a proposal for a space able to unite a triumvirate of nations under one (exceptional) roof.

+ 30

Over five decades later the 'Nordic Pavilion' (as it would only later become known) has come to reflect, consolidate and embody Nordic architectural traditions. Look a little deeper, however, and it becomes clear that Fehn actually sought to invert them entirely. In place of heavy timber beams Fehn chose slender concrete lamellae, pigmented to glow (reflecting, for one common metaphor, sunlight falling on a quilt of snow). Rather than create a closed space to shut the elements out-a typical vernacular in Norway-he completely removed two of the building's four boundary walls. In designing the roof to be essentially open to the skies, Fehn was able to specifically control how the rain would fall into the space. In this sense, it is a building in possession of its surroundings - accepting its direct context while tentatively suggesting another, distant world.

Fehn did not seek to mimic a Nordic vernacular - the Pavilion is not an act of mimesis in the conventional sense. He sought to rewrite (as opposed to translate) something hitherto indescribable: the sense of a 'Nordic' architecture for the Venetian climate and situated in the uninhabited, uniquely fragmented context of the giardini of la Biennale di Venezia. Just as Walter Benjamin described the act of translation as a "mode" rather than an act,[2] Fehn recognised that the orchestration of space by assemblage is different to that of contextually grafting-and thereby crafting from, and into-a new environment.[3]

Distilling Fehn's architectural moves into a collection of articulated elements-roof, ground, wall, stair and beam-belies its complexity as a consolidated spatial gesture. Just as the Palazzo Ducale (a ten minute journey away by water) should only be read as one part of a "metamorphosis" (in the words of Giulia Foscari[4]) between surface, object and space that comprise Piazza (and, by extension, Piazzetta) San Marco, the Nordic Pavilion is more than an assemblage of parts. It is the culmination of an orchestration of spatial ideas and atmospheric intentions between wall, ground, step, 'roof', landscape, light, and 'interstitiality' - all framed by its relationship to the topography of the site.

The grid, which might otherwise appear monotonous in its rigidity, is interrupted by a series of openings through which the three remaining internal plane trees[5]-of which there were originally seven-erupt from the ground to punctuate vertically through, up and out of the space.

Fehn indicated his realisation of this approach to building, following a trip to French Morocco:

You suddenly feel as if the walls are not simply to bear a roof or make a house, but at one moment made to provide shade from the sun, the next to be support for your back, in the autumn a rack to dry dates on and in the spring a blackboard for the children to draw on. It is the same with the roof and the floor. The different parts of the whole house are regarded as domestic furnishings.[6]

During his travels through Italy which followed, Fehn became acutely aware of the different characteristics which light can take. Upon his return to Norway he was "able to recognize the distinct nature of Nordic light" like never before.[7]

Like any translator worth their salt, Fehn employed both original materials and those specific to the site-a concrete combination of white cement, white sand, and crushed white Italian marble-to sculpt a quality of light of incredible intensity, tranquility and, most importantly, steady homogeneity. He wanted to do nothing more than "construct a roof to protect the paintings and sculptures"-for the building's first intended function was as a gallery-"from direct sunlight."[8]

For the 'roof,' which would more accurately be described as a collection of light wells, Fehn designed two layers of concrete brise-soleil. These lamellae, each precisely one-metre tall and six-centimetres thin, blanket the internal space to create a plane of two-metre deep pockets set, by their width and height, at a ratio of 1:2. They stretch across the room in a single span, bracketing one another in intervals of 52.3 centimetres. Together they distil the heady, warm Mediterranean light into its 'Nordic' variation: at once shadeless, uniform and bright. It is a light that is "definite, but familiar"[9] and, in the words of Marco Mulazzani, provides a constant, homogenous sense of illumination.[10] In other words, a shadowless world.

Beautiful his dwelling. Leaves on columns
Burn and quiver. They stand in the wild,
Rising among each other; above which
Surges a second mass,
The roofing of rock.

-, Friederich Hölderlin (trans. Richard Sieburth)
Footnotes and References
[1] Marco Mullazzani, Guide to the Pavilions of the Venice Biennale since 1887 (Milan: Electa, 2014), pp.122-126
[2] Walter Benjamin, Harry Zorn trans., T he Task of the Translator in Illuminations (London: Pimlico, 1999), pp.70-71
[3] In other words, just because wood, brick, mortar and concrete can be found or fabricated almost anywhere, does not mean that they should be used in the same way everywhere.
[4] Guilia Foscari, Elements of Venice (Zürich: Lars Müller, 2014), pp.12-27
[5] According to Ole Gaudernack the three remaining trees within the pavilion are Celtis Australis, also known as the Mediterranean hackberry, the European Nettle Tree, or the Honeyberry).
[6] Richard Kearney, On Stories (London: Routledge, 2002) p.140 (via Neveu, On Stories: Architecture and Identity)
[7] Mark J. Neveu, On Stories: Architecture and Identity (Oslo: Arkitektur N, 02, 2008), accessed February 28, 2016, p.5
[8] Christian Norberg Schulz, Gennaro Postiglione, ed. Sverre Fehn: Samlede Arbeider, (Oslo: Orfeus Forlag, 1997) p.248 (via Neveu, On Stories: Architecture and Identity)
[9] Neveu, On Stories: Architecture and Identity
[10] Marco Mullazzani, Guide to the Pavilions of the Venice Biennale since 1887 (Milan: Electa, 2014), p.19

# data[].attributes.attachment_link.title
AD Classics: Nordic Pavilion in Venice / Sverre Fehn

# data[].attributes.attachment_link.description
This article was originally published on March 30, 2016. To read the stories behind other celebrated architecture projects, visit our AD Classics section. Three were originally invited to draw up plans for a 'Nordic' pavilion: the Finnish partnership Reima and Raili Pietilä, Sverre Fehn from Norway, and the Swede, Klas Anshelm.

# data[].attributes.body
Ghent (Belgium), 2018

# data[].attributes.attachment_link.description
Art Omi is a not-for-profit arts center with a 120-acre sculpture and architecture park and gallery, residency programs for international artists, writers, translators, musicians, architects and dancers. Artists in Art Omi's 2019 exhibition program include: Katherine Bernhardt, Sarah Braman, Francesca DiMattio, Matthew Geller, Virginia Overton, Tschabalala Self, David Shrigley, Brian Tolle, and Christopher Wool.

# data[].attributes.body
Lake Zürich (Switzerland), 2016

# data[].attributes.attachment_link.readable_text
Fuente: Tom Emerson Studio
Fotografía: Johan Dehlin

A team of thirty architecture students from Studio Tom Emerson at ETH Zurich have designed and built a pavilion for Manifesta 11, the nomadic, European biennial of contemporary art. Floating in the lake against the backdrop of the city centre, the Pavillon of Reflections serves as the biennial's public forum: as a meeting point, as a cinema for screening films produced as part of the biennial, reflected in the public swimming bath, open to the public during the day.

A timber island, arrange like a fragment of intimate urban space enclosed by five buildings: a tower, a tribune, a bar, a sun deck with changing cubicles below, a central pool with cinema screen above, and three generous sets of steps that lead into the lake. Together with the tower, the volumetric roofs over the bar are built up from a distinct profile of timber lattice roofs.

Under the guidance of Tom Emerson and project leaders Boris Gusic and Adrian Heusser the 32 architecture students at ETH Zurich collectively concieved and built the pavilion. The project began with an ideas competition between smaller groups of students, from which the most promising ideas were identified and developed. Organising themselves into smaller teams, they worked at different scales, from considering its position on the lake, right down to 1:1 scale prototypes. As well as the design process, the democratic construction techniques employed informed the design: the pavilion is made almost entirely of timber (European spruce), and all joints were designed to be simply screwed together. The students worked over ten months to bring the many design-related, technical and organisational dimensions of the project together to in a multi-layered and ultimately buildable work of architecture. As the project grew, experts and volunteers helped the 32 original students to realise this exceptional public space floating in lake Zurich.

Architects:
Studio Tom Emerson

Location:
Lake Zürich, Switzerland

Collaboration:
Staff: Prof. Tom Emerson, Boris Gusic, Adrian Heusser, Celine Bessire, Daniel Ganz, Iela Herrling, Christoph Junk, Guillaume Othenin-Girard, Philip Shelley, Lucy Styles, Thomasine Wolfensberger, Nemanja Zimonjic
Student Team: Christina Albert, Lorenzo Autieri, Vera Bannwart, Alexander Bradley, Arthur de Buren, Jonathan Egli, Josephine Eigner, Kathrin Füglister, Michelle Geilinger, Rudolf Goldschmidt, Dimitri Haefliger, Hannes Hermanek, Donia Jornod, Ricardo Joss, Thierry Jöhl, Phillipp Kraus, Roberto Leggeri, Lukas Loosli, Jonas Meylan, Karin Pfeifer, Jeremy Ratib, Nancy Reuland, Daria Rey, Hanna Schlösser, Valentina Sieber, Anna Maria Stallmann, Kaspar Stöbe, Anastasia Vaynberg, Claartje Vuurmans, Sonja Widmer

# data[].attributes.attachment_link.title
Studio Tom Emerson > Pavilion of Reflections

# data[].attributes.attachment_link.description
Fuente: Tom Emerson Studio Fotografía: Johan Dehlin A team of thirty architecture students from Studio Tom Emerson at ETH Zurich have designed and built a pavilion for Manifesta 11, the nomadic, European biennial of contemporary art.

# data[].attributes.body
Venezia (Italy), 2018

# data[].attributes.attachment_link.readable_text
+ 45

Curators

Yvonne Farrell og Shelley McNamara

Consultants

Project Management

Alice Clancy og Sebastiano Giannesini

Building Leader

Contractor

Sponsors

Norwegian Foreign Office / Design and Architecture Norway, Europlac / Nordlamell, Artemide, Essve Norway, Hansen Protection and Bezzi Legnami

Manufacturers

Text description provided by the architects. The Corte Del Forte project came about after an invitation to Rintala Eggertsson Architects from curators Yvonne Farrell and Shelley McNamara to participate in the 16th Venice Architecture Biennale. We were asked to do a special project at Forte Maghera, a closed down fortress in the Mestre part of Venice. As a gesture towards the local population, the curators decided to take the FREESPACE theme of the biennale out of the ordinary exhibition venues and build a pavilion for social activities in the mainland township of Mestre, thus establishing a better contact between the Biennale visitors and the general public. The choice of the site by the curatorial team was obvious; together with the adjacent San Giuliano Park, Forte Maghera serves as the main recreational area for the local population in Venice.

With dance as one of the main organized activities in Forte Maghera, it became a logical function for the pavilion. Although the pavilion is mainly a functional space for dance performances, musical events, and larger concerts, it should also aspire to arbitrary happenings and serve as a hangout for the numerous visitors to the area and become a free space in the broadest sense of the word. To us this was an important aspect as it underlines the core elements in our conceptual statement to the Biennale; democracy and freedom from economic and political restraints:
Architecture, whether a home or a public space, that supports life with meaning will empower people to take better care of themselves, each other and their surroundings, as a contradiction to construction that symbolizes the mere ideas of power and wealth. It is our role as architects to establish a free space in which to enact for the benefit of mankind. With the rise of global trade and surge towards nationalism in the world, we see mainly two areas where our lives are being challenged: Economic landscape:
Political landscape:
To counteract and balance power-structures one needs a free space to think freely. A space that allows counter-thinking, critical views, pluralism, even anarchism. Every healthily sustainable civilization has this in their blueprint, or it fails.
In our Corte Del Forte installation, we want to emphasize the social function of architecture with a small dance pavilion in a setting which is a manifestation of former political, economic and military landscapes and simultaneously a representation of the transition towards demilitarization, openness, and democracy. Freespace is contrary to something you must pay for: Market forcing amalgam architecture that fills the space with a contract to consume instead of one to communicate. More than ever we need spaces that are free to be visited, affordable for everyone. A space that is empty, not because it lacks something, but remains so just until it is filled with the free thinking and action of the visitors.
Organisation of the Project
The architectonic organization of the Corte Del Forte project is based on a 2,1-meter wide walkway surrounding a square courtyard with two functional spaces; the stage and the bar projecting towards the outside. Two other spaces; one intimate and the other more exposed were added to the outside perimeter to stimulate to a more varied experience of the surroundings. The inside was kept as simple and regular as possible to maximize the visual connection between the four sides of the courtyard and create a sense of unity for the visitors. The courtyard typology is common in southern climates offering shelter from the burning heat of the sun with air and shadow. To increase the functionality this gives, we have covered the courtyard with a textile canopy, woven into a pattern which highlights the directionality of the space. The checkered pattern is also used for the lattice walls which are the only vertical space dividers in the pavilion.

# data[].attributes.attachment_link.title
Corte del Forte Dance Pavilion / Rintala Eggertsson Architects

# data[].attributes.attachment_link.description
45 Yvonne Farrell og Shelley McNamara Consultants Alice Clancy og Sebastiano Giannesini Building Leader Contractor Norwegian Foreign Office / Design and Architecture Norway, Europlac / Nordlamell, Artemide, Essve Norway, Hansen Protection and Bezzi Legnami Manufacturers Text description provided by the architects.

# data[].attributes.body
Dnipro (Ukraine), 2018

# data[].attributes.attachment_link.description
public space: European Prize for Urban Public Space