architectural competition Archives | ek magazine | Architectural Publications

Sir David Alan Chipperfield

Konstantinos — Sat, 08 Feb 2025 05:31:30 +0000

This article by Konstantinos was published on ek magazine | Architectural Publications.

Sir David Alan Chipperfield, CH -architect, urban planner, and activist- was awarded the 2023 Pritzker Prize, the highest honor in architecture, in recognition of his lifelong contributions to the field. His career spans over four decades and encompasses a diverse range of projects across numerous countries. Beyond designing some of the most significant contemporary public buildings, including the upcoming extension of the National Archaeological Museum of Athens -Chipperfield is also deeply involved in architectural consultancy. Through the RIA Foundation, he actively supports the development of public architectural competitions in Galicia, Spain, where he resides.

His exclusive interview with ek magazine, conducted at the invitation of the Pritzker Architecture Prize, took place on May 24 in Athens, just hours before the award ceremony at the Ancient Agora.

S.M.: What are the key characteristics of a well-crafted architectural competition brief? How can architects influence the questions posed before offering their design solutions? What is the significance of architectural competitions today, and what is the ideal context in which they should be held?

D.C.: In any project, the client must take responsibility. When moving forward with an assignment or tender, no one can shirk the responsibility of clearly formulating the question and establishing priorities. Furthermore, the client remains responsible for providing the necessary conditions for those tasked with answering the question. However, the process of delegation is often misunderstood. For instance, if a client says, “I have a plot of land and want to build a skyscraper there,” they are essentially asking architects to design a skyscraper for that site, even though this may not have been the best idea from the start. So, who is responsible? The architects, who must design a skyscraper without being certain it’s the right choice for the location, or the client, who failed to take the necessary professional steps to ensure its viability?

The reputation of architectural competitions is mixed. In Switzerland, and to some extent in Germany, when a public body decides to hold a competition, it often commissions an architectural firm to create a ‘theoretical’ project first. Through this process, architects realize that it’s not so simple to fit a large number of square meters onto a given plot or to make the traffic system envisioned by the institution actually work.

A young architect should aspire to design a housing complex or a well-crafted school building. The challenge, however, is that in many cases, such projects are not available through competitions, largely because the public system is not functioning effectively. In Galicia, through the RIA Foundation, we are working to create reliable and high-quality tenders. Without this reliability, architects are not taken seriously, and their work is overshadowed by commercial firms that exploit them. Additionally, tenders need to be tiered appropriately. For instance, if a competition is for an airport, I believe even my office should not participate alone, but in partnership with others, as such a project is too complex to tackle alone. I also think it would be more practical for some competitions to be held on a qualification basis by default, rather than being completely open and narrowing down to a shortlist of just 20 in the second phase. Most importantly, I believe competitions should not only be reserved for “flagship” projects. The world is built not just through iconic structures but also through thoughtful housing, quality schools…

As a young architect in Britain, I would have loved the opportunity to learn in the same way that some of my European colleagues in Switzerland or Austria have. There, architects in their mid-30s are able to design meaningful projects like school extensions or bus stations. With hundreds of competitions available, it’s clear to me that having a well-established system for such opportunities is crucial.

S.M.: Are you saying that established offices should refrain from this level?

D.C.: Certainly. They would have done it regardless. In many European countries, the competition system has experienced both highs and lows. In the 80s and 90s, Spain had an exceptionally strong system, which allowed many young architects to win competitions, putting them in a much more favorable position to succeed. For young architects, winning was incredibly important. Could they handle the scale of the project? Yes. Did they have the experience? Yes. Were they technically competent? Yes. Did they have the energy? Absolutely. The more established firms were less willing to invest the same effort into winning, giving younger firms a significant advantage, as long as they could pose the right questions to the right people.

S.M.: What is the role of architectural institutions in this context? Ideally, these collective bodies can serve as advisors to public institutions. At their worst, however, they are often bypassed entirely.

D.C.: Absolutely. We’ve learned this lesson. In England, for instance, RIBA is struggling. They’ve become focused on marketing. Thirty years ago, they chose to prioritize “promoting architecture,” much like the nationwide campaign at the time to encourage people to eat more fresh eggs. However, the true role of an architectural association should be to create an environment that protects the profession. When a competition is announced, the institution should review the notice and determine if the jury is qualified. In Germany, for example, public projects require juries to consist of more experts and fewer “ordinary citizens” or “personalities.” There must be a recognized head of the jury, and all of this should be made clear before the competition begins. The public sector in Germany has a stronger competition culture, and even though the country may be shifting in a different direction, it remains the responsibility of architectural institutions to reclaim this ground. Additionally, a critical responsibility of these institutions is to ensure fair compensation for award-winning projects.

The idea that RIBA should abandon proposed fee levels is utterly absurd, as it would allow young architects to be underpaid at the expense of their more experienced counterparts. When you’re a young architect, the last thing you want is to win a competition without a proper fee. If you ask yourself, “Should we take this on?” of course you give it your all. You’ve spent three years working on a great project, but you haven’t made any money and you’re completely exhausted. This is not sustainable for a new firm—you’re simply being taken advantage of. In contrast, in Switzerland, if you win a good competition, the fee is fair. You complete the project, everyone is satisfied, and you have money in the bank. You can invest that money back into your office. It’s a way to move forward professionally. An architectural project should never be seen as a lottery. Someone might say, “You were lucky to win,” but that’s only true if you haven’t been worn out in the process.

Read the full interview at the 279 | July – August 2023 ek issue.

The post Sir David Alan Chipperfield was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

Un-natural Mat(t)erial

Konstantinos — Mon, 01 Jul 2024 05:31:28 +0000

This article by Konstantinos was published on ek magazine | Architectural Publications.

ΚΑΜ, Chania

The Centre for Mediterranean Architecture is hosting the exhibition “Un-natural Mat(t)erial—Unnatural Natural Material and Matter” from July 3 to July 18, curated by architect Andreas Theodoridis. This exhibition challenges conventional views on architecture, matter, and materiality, questioning the distinction between “natural” and “artificial” materials. The term “natural” can be misleading, often ignoring the intricate processes of extraction, processing, and disposal of materials, and failing to consider the complex realities of the built environment. “Un-natural Mat(t)erial” advocates for a more nuanced approach, where material categorization is based on factors such as energy consumption, embodied energy and carbon footprint, life cycle properties, emissions during production and application, and other relevant measures. The exhibits and lighting installations, created by Lola Ben Alon, Ezio Blasetti, Thomas Doxiadis, Yael Erel, Athena Papadopoulou, and Christian Pongratz, are organized into three thematic sections. Following its run in Crete, the exhibition will continue its journey to Athens and New York.

The post Un-natural Mat(t)erial was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

Tinos by Sotiris Sorogas

Konstantinos — Mon, 01 Jul 2024 05:31:01 +0000

This article by Konstantinos was published on ek magazine | Architectural Publications.

Triantaros, Tinos

An exhibition of works by the renowned Greek artist Sotiris Sorogas, created especially for the island, will be inaugurated on July 20 at the “Aspalathos” residence in Triantaros, Tinos. Sorogas, one of the greatest living Greek painters, has cultivated an organic relationship with Tinos, visiting the island regularly for almost half a century. This summer, a ruined windmill is brought to life through the eyes and hands of the artist in a house that celebrates art and shares it uniquely with the island’s friends, both Greek and foreign. This exhibition is perhaps the most “personal” of the many Sorogas has held -a tribute to the island that continues to inspire him. It offers a chance to share memories and discuss his enduring relationship with Tinos. Visiting hours are from 18:15 to 21:00, daily, and the exhibition will run until August 10.

The post Tinos by Sotiris Sorogas was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

Registration open for the iF DESIGN AWARD 2025

Konstantinos — Wed, 26 Jun 2024 08:46:59 +0000

This article by Konstantinos was published on ek magazine | Architectural Publications.

iF DESIGN AWARD 2025

Following the great success of the iF DESIGN AWARD 2024, registration for the iF DESIGN AWARD 2025 is now open. In the Early Bird phase until June 28, designers, companies, agencies, clients, architects and interior designers as well as start-ups from all over the world can have their design achievements reviewed by an international, independent jury of design experts. They can register their work online at ifdesign.com.

During the early-bird phase, it is again possible this year to create an entry for the discounted early-bird fee and then complete it by the final deadline on November 6. New this year – and for error-free information entry – the translation function for the registration process has been integrated. In addition, more detailed and individual queries on the sustainability of the product have been developed for each discipline with a panel of experts.

First awarded in 1954, the iF DESIGN AWARD is one of the largest and most relevant design competitions in the world, focusing on the innovative power of design. It is a symbol of outstanding design achievements.

Last year, 10,800 product and project innovations from 72 nations were entered for the iF DESIGN AWARD. Many participants use the iF DESIGN AWARD as a test and appreciate its high and internationally recognized value – not least because the coveted award logo is an established marketing tool. iF Design offers all award winners an international stage with many benefits that attract attention. These include the international online marketing campaign or the new, innovative iF Design Metaverse Experience. In addition, the award winners can see themselves in the new iF Design Ranking in a global comparison. As part of the iF community, the design teams benefit from events such as the iF Design Trend Conference and the iF DESIGN AWARD NIGHT.

The iF DESIGN AWARD 2025 at a glance:

Registration deadline:

28 June 2024 (Early Bird)
27 September 2024 (Regular)
06 November 2024 (Last chance – registration documents can be completed by this date)

Online Preselection:

02 – 05 December 2024

Final Jury:

18 – 20 February 2025

Awards Ceremony:

End of April/beginning of May in Berlin

Disciplines: Product, communication, packaging and service design, architecture, interior design, user experience, user interface, professional concepts

More Information: ifdesign.com

Contact for further information and images:

Joana Harmening
Public Relations

iF International Forum Design GmbH | Bahnhofstrasse 8 | 30159 Hannover

Telefon: +49.511.54224-204

joana.harmening@ifdesign.com

ifdesign.com

The post Registration open for the iF DESIGN AWARD 2025 was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

International Architectural Competition Arxellence 3

Konstantinos — Wed, 12 Jun 2024 08:51:50 +0000

This article by Konstantinos was published on ek magazine | Architectural Publications.

ek magazine is the Communication Sponsor for Arxellence 3, the new, international, interdisciplinary architectural ideas competition, organized by ALUMIL and the Non-Profit Civil Company AEGEAS, under the supervision and co-organization of the Technical Chamber of Greece.

Competition Theme & Location

The theme of Arxellence 3 is the “Preservation of Historical Memory & Promotion and Protection of the Special Environmental Characteristics of the Island of Gyaros.” It calls on the global architectural community to submit innovative proposals for a modern Research Centre, which will serve as a “Lighthouse” of culture, enhancing the preservation of historical memory and fostering biodiversity strategies in Eastern Mediterranean.

Opening Ceremony

The new competition will be officially launched on June 28, 2024, at the Opening Ceremony titled “Historical Memory meets Sustainable Present & Future“, which will take place at Megaron Athens Concert Hall. The event is expected to attract the attention of the international architectural community and aims to create a vision for a Greek sustainable future.

Topics for Discussion

Introducing the Arxellence Institution: the pioneering initiative of ALUMIL that seeks to establish a better “tomorrow” for our country.

A Brief Retrospective of Arxellence 2: The milestones achieved during the international architectural competition for the redesign of Thessaloniki’s decayed western coastal front -establishing an institutional framework and a series of actions for implementing the competition’s results, today.

1st Panel of speakers: Scientific Approach – The European & Global perspective on sustainable building practices.

2nd Panel of speakers: The Greek Issue – Addressing sustainability challenges in our country and discussing opportunities for change

Announcing Arxellence 3: In search of a holistic and interdisciplinary approach for the preservation of historical memory and the development of biodiversity strategies in Eastern Mediterranean.

Keynote Speakers

On June 28th, internationally renowned scientists and researchers will present their ideas and proposals on sustainable development and best implementation practices, aiming to enhance the quality of life and protect the environment. These presentations will address major issues facing the global architectural community, seeking comprehensive answers and sustainable solutions.

Secure your place

Due to the given capacity of the “Alexandra Trianti” hall as well as the high level of interest anticipated for the Opening Ceremony of Arxellence 3, we strongly encourage you to register promptly to secure your participation.

You can register by following the link: Opening Ceremony of the International Architectural Competition Arxellence 3 (eventora.com)

The post International Architectural Competition Arxellence 3 was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

The D. Daskalopoulos Arts Building

Giannis — Mon, 26 Sep 2022 10:01:10 +0000

This article by Giannis was published on ek magazine | Architectural Publications.

What if users and landscape can co-exist in such harmonious balance, creating an intimate level of experience that feels like the building does not exist and is invisible? The competition entry highlighted this question considering the prominent location of the project into the campus of Athens College.

Situated steps away from the main entry gate of Stefanou Delta Street, the north view of this building will be the visitor’s first impression upon entering the College, and the student’s last memory following graduation. Engulfed at the boundary of the sports courts and the campus grove, the competition site asks for a scattered massing that will encourage flows of students to experience building and surroundings alike.

Therefore, the requested program is divided into two big categories: a) the educational functions (art studios, library, classes, management) and b) the exhibition functions (exhibition space, toilets, storage, amphitheater). To improve environmental performance and reduce envelope costs, the design organized the educational program above ground and the exhibition program in the basement. This division allows for clean separation between the students’ flow (towards classes and studios) and visitors’ flow (towards exhibition space); simultaneously, internal building communication permits the connection of education and art when needed.

Considering the plot’s characteristics and its surroundings – both current and planned – and to ease student flows, the educational program is broken down into five separate volumes. The in-between outdoor area of the proposed massing enhances the existing campus circulation, while providing independent access to the classes, art studios, library, and staff offices. Five cores connect the educational Superstructure with the basement zone. This Grand Basement accommodates the exhibition hall and its support areas. Students moving from the educational Superstructure to the Grand Basement encounter a multi-functional Hall before moving to the double-height exhibition room. The Grand Basement Hall is imagined as one of the most active, open, and livable areas of the Arts Building: a zone where students can exhibit projects and prepare their yearly shows, parents can admire their children, and visitors can participate in open seminars; a secret basement universe where nature elegantly inserts into the pedagogy, education and science encounter art, and diverse freedom of expression meets inclusivity.

Two big staircases immerse the user towards the entry plaza situated at a lower level, surrounded by the outdoor amphitheater. In honor of the D. Daskalopoulos donation, the design team decided to dedicate four spacious areas of the building’s lobby to exhibit a selection of the collection’s art pieces, under big skylights.

The proposal for the D.Daskalopoulos Arts Building, with its scattered massing, brick façade and landscape integration looks carefully into the site, campus, program, IB curriculum, donor’s collection, budget and sustainability. It improves social and educational interaction inside and outside the new building and integrates this original typology into the educational experience and collegiate life.

The post The D. Daskalopoulos Arts Building was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

Cyprus Cruise Terminal

Giannis — Mon, 20 Dec 2021 12:59:29 +0000

This article by Giannis was published on ek magazine | Architectural Publications.

The new Limassol Terminal is the first purpose-built building for cruise ships on the island of Cyprus. Stretching 350m down the east pier as a series of elliptical shells, it replaces the old industrial shed which had provided basic services for many years. Irwin kritioti architecture was awarded the first prize in the competition set for the new building. The terminal was completed shortly before the global pandemic brought the cruise industry to a faltering halt. It re-opens this summer to welcome new passengers aboard for the 2021 season and take its position in the cruise itinerary of the Mediterranean.

The harbor site for the terminal is located within the principal port of Cyprus- a busy multi-purpose facility. The main point of entry for the shipping containers that serve the island’s trade also provides a stopover for warships en route to the Levant, as well as serving as the docking point for the many cruise ships that tour the eastern Mediterranean. In this oversized industrial context, the new terminal required a strong visual identity, while also providing a place of calm for transient passengers.

Approaching Cyprus by ship, the first view of the new building is the undulating roof of titanium zinc, whose aspect changes according to the time of day and the season. The linear scale and rounded forms of the terminal ensure that it stands distinct amongst the heavy ships and cranes that surround it. Disembarking, the passengers pass through ovoid halls, where walls and ceilings are replaced by a continuous wooden plank surface. These are animated by reflections of the sun and water from the huge portal windows and the polished floors. The white wooden board interiors refer to shipbuilding of the past, and provide a striking contrast with the darker ribbed metal of the exterior forms. Direct views from the dock to the harbour promote the linking of the land with the sea. For those who are not embarking on a voyage, this allows previously unseen views into the workings of the busy port.

The terminal has a projected annual turnover of half a million passengers. Despite being a controlled border with all the necessary custom and security requirements, the building has managed to remain visually open & permeable. In doing so, it avoids the potential labyrinthine layouts and deep spaces that can occur in transit buildings. An early decision by the architects to simplify the brief into distinct operational shells, each connected to the outside view, allowed for a building which is simple to service and easy to navigate.

A further decision by the design team was to allow for alternative uses of the terminal spaces outside of the cruising season. Weddings, conferences, and exhibitions can be hosted for local audiences in the arrival halls, which would otherwise remain dormant in the off-season. A ‘Skybar” located on the roof welcomes non-travelers, as well as those on a cruise. As Limassol continues to expand west towards the port, the multi-use building provides a platform to integrate local city life with the dynamic activities of the harbour.

irwinkritioti architecture

Charis Solomou

Richard Irwin

Alkis Touvanas

The post Cyprus Cruise Terminal was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

Νέο Μουσείο Ακρόπολης

Giannis — Fri, 20 Aug 2021 07:29:12 +0000

This article by Giannis was published on ek magazine | Architectural Publications.

Το ρεπορτάζ της Χαράς Τζαναβάρα, που γράφτηκε για το ek magazine, είναι η πρώτη εκτεταμένη παρουσίαση του κτιρίου του νέου Μουσείου της Ακρόπολης, που έγινε μόλις είχε ολοκληρωθεί η κατασκευή του, το 2007. Αναδημοσιεύεται από το αρχείο μας, με πρωτότυπο φωτογραφικό υλικό του Νίκου Δανιηλίδη και του Παναγιώτη Βουμβάκη, οι οποίοι αποτυπώνουν το κτίριο και τον περιβάλλοντα χώρο του πριν ολοκληρωθεί η τοποθέτηση των εκθεμάτων.

Και μόνον η αίθουσα του Παρθενώνα αρκεί για να κατατάξει το νέο Μουσείο της Ακρόπολης ανάμεσα στα ξεχωριστά κτίρια του πλανήτη μας. Την ίδια στιγμή τα πολύτιμα εκθέματα, με κορυφαία την πομπή των Παναθηναίων, που μετακόμισε μετά από σχεδόν 2.500 χρόνια από τον φυσικό τους χώρο, αδικούν κατά κάποιον τρόπο την αρχιτεκτονική δημιουργία, αφού από μόνη της συνιστά ένα τεχνικό και καλλιτεχνικό επίτευγμα.

Αυτό το «πάντρεμα» της αρχαιότητας με την τεχνολογική εξέλιξη ήταν από την αρχή το μεγάλο ζητούμενο, που σύμφωνα με την επιτροπή του διεθνούς διαγωνισμού κατάφερε με τη μεγαλύτερη μαεστρία το αρχιτεκτονικό δίδυμο των Τσουμί και Φωτιάδη, που ξεχώρισαν ανάμεσα σε 14 ομάδες που είχαν υποβάλει τις προτάσεις τους.

Εν αρχήν η …η θέση του κτιρίου, που βρίσκεται μόλις 300 μέτρα από τον ιερό βράχο, κυριολεκτικώς στη σκιά της Ακρόπολης. Το δεύτερο στοιχείο ήταν τα πολύτιμα εκθέματα, που με το ειδικό βάρος τους έδειχναν από την αρχή ότι θα εξαφάνιζαν τον τρίτο παράγοντα, το κτίριο. Αυτό το δεδομένο επισημάνθηκε από τους δύο αρχιτέκτονες, οι οποίο ακριβώς γι’ αυτό επέλεξαν να σχεδιάσουν ένα «μη κτίριο». Πολύτιμα εργαλεία τους ήταν τα δομικά υλικά, κυρίως το γυαλί, που μεταπλάστηκαν σε μια σύνθεση που δεν επιβάλλεται και δεν προκαλεί, παρά τον αδιαμφισβήτητο όγκο της.

«Μ΄ όλους τους ασυνήθιστους περιορισμούς που επιβάλει η θέση του μουσείου, το έργο προκύπτει αβίαστα και χωρίς επιτηδευμένο σχεδιασμό: η βάση-πιλοτή πάνω από αρχαία κατάλοιπα, το μεσαίο τμήμα με τις κύριες αίθουσες έκθεσης και η κορύφωση του κτιρίου με τη γυάλινη επίστεψη με τα γλυπτά του Παρθενώνα. Στόχος αυτής της ενορχηστρωμένης απλότητας είναι να επικεντρωθούν τα συναισθήματα και ο νους του θεατή στα εκπληκτικά έργα τέχνης», σημειώνει ο Μπερνάρ Τσουμί, δίνοντας με αυτές τις λίγες γραμμές την πεμπτουσία της κατασκευής.

Η τελική επιφάνεια του κτιρίου καλύπτει 20.000 τετραγωνικά, αρκετά λιγότερα σε σχέση με τους αρχικούς σχεδιασμούς και ξεδιπλώνεται σε τρία επίπεδα, καθένα από τα οποία έχει το δικό του χαρακτήρα. Αυτή η τριχοτόμηση των ενοτήτων, εκτός του ότι υπηρετεί υποδειγματικά τη λειτουργικότητα των χώρων, εξασφαλίζει την καλύτερη ένταξη του κτιρίου στο περιβάλλον, αξιοποιώντας στο έπακρο και τις κλίσεις του φυσικού εδάφους.

Η κεντρική είσοδος είναι από τον πεζόδρομο της Διονυσίου Αρεοπαγίτου, με μια σκάλα πλάτους 24 μέτρων που οδηγεί σχεδόν κατευθείαν στα πολύτιμα εκθέματα. Καλύπτεται από ένα γεωμετρικό στέγαστρο, που είναι προσβάσιμο από το εσωτερικό του κτιρίου. Μπορεί να λειτουργήσει ως καφέ και γωνιά υπαίθριων εκθέσεων, αφού έχουν προβλεφθεί κινητά χωρίσματα. Ο επισκέπτης εντυπωσιάζεται από έναν διαφανή διάδρομο, που λειτουργεί ως οδηγός αλλά και ως μέσο για την ανάδειξη των θησαυρών του νέου μουσείου. Εξίσου ενδιαφέρουσα όμως είναι η «πίσω πόρτα», προς την πλευρά της Ροβέρτου Γκάλι, όπου βρίσκεται ο υπόγειος χώρος των ανασκαφών. Η εικόνα είναι επιβλητική και επιλέξαμε να ξεκινήσουμε από τα «υπόγεια» τη νοερή μας ξενάγηση στο νέο μουσείο.

Στην πραγματικότητα τα υπόγεια είναι τέσσερα. Η κατεδάφιση των κτιρίων που απαλλοτριώθηκαν έφεραν στο φως σημαντικές αρχαιότητες, με αποτέλεσμα να χρειαστεί να προσαρμοστούν οι αρχικοί σχεδιασμοί με βάση τα νέα δεδομένα. Ιδιαίτερα χρονοβόρα ήταν η διαδικασία θεμελίωσης, αφού χρειάστηκε να τοποθετηθούν εφέδρανα, πάνω στα οποία στηρίχθηκαν 94 κυλινδρικές κολώνες, που δημιουργούν την αίσθηση στον ανυποψίαστο επισκέπτη ότι το μουσείο αιωρείται. Η λύση αυτή λειτουργεί ως προστατευτικό κέλυφος για τις αρχαιότητες και παράλληλα όμως εξασφαλίζει την αντοχή του κτιρίου σε ενδεχόμενο σεισμό έντασης 10 βαθμών της κλίμακας Ρίχτερ. Είναι από τις υψηλότερες προδιαγραφές που έχουν επιστρατευθεί για τεχνικό έργο στη χώρα μας και οι δοκιμές χρειάστηκε να γίνουν σε εξειδικευμένο εργαστήριο στο Σαν Ντιέγκο της Καλιφόρνιας. Οι μελετητές επέλεξαν το γυαλί για το κοινόχρηστο δάπεδο ώστε να αναδειχθούν με τον πιο αποδοτικό τρόπο τα πολύτιμα ευρήματα των ανασκαφών. Πρόκειται για δείγματα τριών διαφορετικών περιόδων της αρχαίας Αθήνας και αυτό το γεγονός υπογραμμίζεται με διαφοροποιήσεις των τεχνικών μέσων, όπως ο διαφορετικός φωτισμός.

Η δεύτερη ιδιαιτερότητα που έδωσαν οι αρχιτέκτονες στο μουσείο είναι ο ορθογώνιος πυρήνας από μπετόν, που διαπερνά το κτίριο από τη βάση του ως την κορυφή και λειτουργεί ως σηκός για την υποδοχή της ζωφόρου του Παρθενώνα. Οι μελετητές επέμειναν να έχει τις ίδιες διαστάσεις, αλλά και τον ίδιο προσανατολισμό με τον σηκό του αρχαίου ναού, παρόλο που η επιλογή αυτή δημιουργεί μια απόκλιση σε σχέση με τον προσανατολισμό του υπόλοιπου κτιρίου. Η κατασκευή αυτή λειτουργεί και ως υποδοχέας για το φυσικό φως, που φθάνει ως τα έγκατα του κτιρίου.

Το μεσαίο επίπεδο είναι ο κυρίως χώρος υποδοχής του επισκέπτη, που καταλαμβάνει περίπου 4.000 τετραγωνικά. Για όσους θα επιλέξουν τη βόρεια είσοδο, από την πλευρά του Παρθενώνα, θα υπάρχουν όλες οι εξυπηρετήσεις ενός σύγχρονου μουσείου. Έχουν προβλεφθεί γωνιές για τα πωλητήρια, το αναψυκτήριο με θέα προς την αρχαιολογική ανασκαφή, καθώς και ένα αμφιθέατρο που μπορεί να φιλοξενήσει έως και 200 άτομα. Δίπλα έχει κατασκευαστεί η γωνιά περιοδικών εκθέσεων, καθώς και ένας χώρος έκπληξη. Πρόκειται για την αίθουσα εικονικής πραγματικότητας, όπου θα προβάλλονται φιλμ για την Ακρόπολη, τον Παρθενώνα, τα Προπύλαια, το ναό της Νίκης, καθώς και για όλες τις αναστηλωτικές εργασίες που έχουν πραγματοποιηθεί. Θα δίνεται επίσης μια γεύση από το αρχείο μελετών της υπηρεσίας συντήρησης μνημείων Ακρόπολης, ενώ θα υπάρχουν στοιχεία από τη φωτοθήκη και τη σχεδιοθήκη της αρχαιολογικής υπηρεσίας. Στο Virtual Theater τα υλικά θα έχουν τρισδιάστατη εικόνα και θα δίνουν ακριβή στοιχεία για όλα τα σημαντικά μνημεία της αρχαιότητας. Το αρχιτεκτονικό ενδιαφέρον σε αυτή τη ζώνη εστιάζεται στα πλευρικά πετάσματα, ενώ ένα περιμετρικό κάθισμα επιτρέπει στους επισκέπτες να απολαμβάνουν τα εκθέματα και από απόσταση. Κυριαρχούν επίσης οι μεταλλικές κυλιόμενες σκάλες και τα ασανσέρ.

Το πιο ενδιαφέρον τμήμα του μουσείου είναι αναμφισβήτητα η επιβλητική αίθουσα του Παρθενώνα, που καταλαμβάνει έκταση 3.200 τετραγωνικών. Η διατάσεις του χώρου, 21 επί 80 μέτρα, αλλά και το ύψος του, ακολουθούν την γεωμετρία του Παρθενώνα. Το ύψος της είναι τέτοιο που ξεπερνά το γειτονικό διατηρητέο κτίριο Βάϊλερ. Χάρη στους γυάλινους περιμετρικούς τοίχους το φυσικό φως φθάνει παντού και δίνει την αίσθηση ότι τα πολύτιμα εκθέματα εξακολουθούν να βρίσκονται στον φυσικό τους χώρο. Η επιλογή της θέσης για τα γλυπτά της ζωφόρου έγινε με τέτοιον τρόπο ώστε οι επισκέπτες να έχουν την αίσθηση ότι παρακολουθούν τα μνημεία σαν να βρίσκονται στην αρχική τους θέση, στην Ακρόπολη.

Ένα επίπεδο πιο κάτω διαμορφώνεται άλλη μία ξεχωριστή αίθουσα, που φιλοξενεί τις Καρυάτιδες του Ερεχθείου, που συμπληρώνουν με τον καλύτερο τρόπο αυτό τον νοερό περίπατο στην αρχαιότητα.

Στην ταράτσα έχει προβλεφθεί χώρος περίπου 400 τετραγωνικών, όπου θα λειτουργήσει καφέ με μοναδική θέα προς τον ιερό βράχο. Αλλά και ο περιβάλλων χώρος προβλέπεται να αποτελέσει όαση πρασίνου για το ιστορικό κέντρο. Η έκταση που έχει απαλλοτριωθεί φθάνει τα 7.000 τετραγωνικά και έχει ήδη ξεκινήσει η διαμόρφωσή του.

Αν σήμερα το νέο μουσείο της Ακρόπολης αποτελεί καμάρι για όλους τους Έλληνες, δεν πρέπει να ξεχνάμε τις περιπέτειες του όλου εγχειρήματος, που ξεκίνησε το 1974, μαζί με τη μεγάλη επιχείρηση συντήρησης των μνημείων της Ακρόπολης. Συνέπεσαν με το αδιαχώρητο στο μουσείο, ένα κτίσμα του 1865 με επιφάνεια μόλις 1.450 τετραγωνικά.

Στα χρόνια που μεσολάβησαν δεν έλειψαν τα προβλήματα, που έφθασαν σχεδόν κοντά στη ματαίωση. Με καθοριστικό κριτήριο την επαφή του μουσείου με τον αρχαιολογικό χώρο, είχε επιλεγεί από τον τότε πρωθυπουργό Κωνσταντίνο Καραμανλή το οικόπεδο Μακρυγιάννη. Οι δύο πανελλήνιοι αρχιτεκτονικοί διαγωνισμοί (1976 και 1979) δεν κατέληξαν σε πρώτο βραβείο, ενώ είχαν ακουστεί οι πρώτες φωνές για ανεπάρκεια του προσφερόμενου χώρου.

Η υπόθεση πήρε νέα δυναμική στη δεκαετία του ΄80, με τη σφραγίδα της τότε υπουργού Πολιτισμού Μελίνας Μερκούρη, που συνέδεσε το νέο μουσείο με την επιστροφή των γλυπτών των κλεμμένων Μαρμάρων. Ο νέος αρχιτεκτονικός διαγωνισμός του 1990 προέβλεπε τρεις θέσεις: Του Μακρυγιάννη, την Κοίλη και τον χώρο στο σημερινό εστιατόριο «Διόνυσος». Νικητές αναδείχθηκαν οι Ιταλοί Νικολέτι και Πασαρέλι, αλλά το θέμα κόλλησε λόγω προσφυγής του συλλόγου αρχιτεκτόνων. Παρενέβη το ίδρυμα Μ. Μερκούρη για να ξεπεραστεί το εμπόδιο, ενώ ο όγκος του κτιρίου μειώθηκε σε σχέση με τις αρχικές προβλέψεις των 45.000 τετραγωνικών.

Χρειάστηκε να φθάσουμε στο 1995, με τη δημιουργία του Οργανισμού Νέου Μουσείου Ακρόπολης, για να ξεκινήσει το μουσείο με σωστές βάσεις. Το εμβαδόν του κτιριακού συγκροτήματος είναι πλέον 24.000 τετραγωνικά, που και αυτά στη συνέχεια στρογγυλεύτηκαν αφού ένα μέρος του οικοπέδου είχε ήδη παραχωρηθεί για τις ανάγκες του εντυπωσιακού σταθμού «Ακρόπολη» της γραμμής του μετρό. Στόχος ήταν να είναι έτοιμο το μουσείο την άνοιξη του 2004, όμως δεν έλειψαν και πάλι τα εμπόδια. Οι απαλλοτριώσεις προκάλεσαν δικαστικές εμπλοκές, ενώ καθυστέρηση έξι χρόνων έφεραν και οι αρχαιολογικές ανασκαφές σε σημεία που ήταν κρυμμένα κάτω από τις πολυκατοικίες της οδού Ρ. Γκάλι. Μέχρι να φθάσουμε στην εφαρμογή της μελέτης των αρχιτεκτόνων Τσουμί-Φωτιάδη, είχε μεσολαβήσει μια δύσκολη διετία (2002-4) με 35 μηνύσεις σε βάρος της Α΄ Εφορείας Ακρόπολης, αλλά και της διοίκησης του Οργανισμού, που τελικώς απαλλάχθηκαν. Μεταξύ των μηνυτών ήταν και ο Π. Τατούλης, που τον Μάρτιο του 2004 ορίστηκε υφυπουργός Πολιτισμού, γεγονός που δεν τον εμπόδισε στη συνέχεια με τη νέα του θέση να λάβει μέτρα για την προώθηση των έργων.

Όλα αυτά αποτελούν παρελθόν και την ερχόμενη άνοιξη οι επισκέπτες της Ακρόπολης θα έχουν την ευκαιρία να δουν για πρώτη φορά ευρήματα από όλες τις περιόδους του ιερού βράχου.

Bernard Tschumi , Μιχάλης Φωτιάδης

The post Νέο Μουσείο Ακρόπολης was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

New Farsala Square

Giannis — Thu, 24 Jun 2021 12:26:51 +0000

This article by Giannis was published on ek magazine | Architectural Publications.

This competition proposal for the redesign of the townhall square of Farsala, a small town in central Greece, draws inspiration from the centuries-old history of the city and the wider area, which has been an important passage between the north and south of the mainland.

Through its 4000-year history, the area has faced multiple and important military conflicts as a battlefield for ancient Greeks, Romans, Ottomans, and modern Greeks. At the same time, Farsala is considered the birthplace of Achilles, the mythical Iliad hero. Achilles’s figure is not only the epitome of the unbeatable heroic warrior, but also connected with the turbulent transition from the old era of heroes to the upcoming era of the city-states.

Inspired from these historical facts and mythologies, the proposal employs the concept of “conflict” and depicts it in the paving design of the new square. Multiple clashing square-shaped parts whose geometry affects one another shape a paving that begins from the entrances to the square leading to its center, where the proposal suggests repositioning Achilles’s statue, alongside the central floor fountain.

The initially square-shaped parts are each time reshaped because of the clashes between them. These reshaped parts consist of a zone of exposed concrete at their perimeter, while their inner segment contains sequential parallel zones of local stones and marbles that are either new or recycled from the site.

The flowerbeds and the floor fountains follow the same design logic. Small bumps with trees and low vegetation shape the flowerbeds that surround the central part of the square forming a garden, which aims to advance and enrich the microclimate of this public space. The multiple floor fountains placed at key points of the garden enhance the presence of nature in the square, offering moments of play and surprise. The floor fountains at the central part of the square and at the garden are concealed in the paving. Brass ribbons designate the drainage zone of the fountains, an area that appears as a continuation of the paving. Water surprises the visitor of the space by jumping out from the nozzles concealed in the paving, and it either creates an ephemeral shallow pond, or drains directly using the nozzles drainage system. The design of the lighting fixtures as brass bells refers to the Byzantine history of the area, while timber and marble seating equipment is positioned in a way to follow the paving pattern.

Oikonomakis Siampakoulis Architects

The post New Farsala Square was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

ArXellence 2 Results

Giannis — Fri, 27 Nov 2020 11:39:23 +0000

This article by Giannis was published on ek magazine | Architectural Publications.

“ArXellence 2”, ALUMIL’s international architectural competition, was successfully completed on Saturday, November 21^st, with the announcement of the 6 prizes and 4 honorable mentions. After the first successful “ArXellence” competition in 2018, the company decided to organize “ArXellence 2”. The competition was endorsed by the International Union of Architects (UIA) and was carried out in constant and close cooperation with UIA’s International Competitions Commission (ICC Council). ALUMIL, as the organizer, ensured full transparency and implementation of UNESCO’s international standards for Architectural Competitions. The members of the international voting jury guaranteed the results, as they evaluated the proposals and awarded 6 prizes and 4 honorable mentions, according to the competition’s brief. EK magazine is a media partner at the competition.

The Challenge

ALUMIL made an open call for proposals and ideas regarding the redevelopment of Thessaloniki’s western coastal side. “ArXellence’s 2” subject was aiming to receive innovative ideas from the global architectural community about the creation of a new Central Business District (CBD). According to the criteria set by UIA, the Business District should be characterized by high energy efficiency and sustainability, redefining the west gate of the city to welcome citizens and entrepreneurs (contribution to sustainable development, social impact, economic viability etc.). The evolution and redesign of Thessaloniki’s misused western waterfront will redefine its position on the international map and improve the quality of life for citizens. Furthermore, Thessaloniki will restore its prestige as a leading city in the Balkan area, attracting investors, businesses, and new visitors.

ArXellence 2… in numbers

The participation in “ArXellence 2” exceeded our expectations: 1.464 registrations from 90 countries and 173 submitted projects. Due to restrictions that coronavirus pandemic has caused, the evaluation of the proposals was conducted online following the international protocols. The Jury examined in detail every submission entry via teleconference and simultaneous projection of the proposals created by architects around the world. The overall evaluation by the international Jury resulted in 6 prizes and 4 equal honorable mentions, meeting the criteria of UIA.

The Jury

Voting jurors

Kasper Guldager Jensen, UIA representative (Architect, Denmark)

Nikolaos Salpingidis, Alumil representative (Innovation Director, Greece)

Gabriella Carillo (Architect, Mexico)

Lauren Haiden (Architect, South Africa)

Dimitrios P. Tsomocos (Finance & Management, UK/Greece)

Alternate jurors

Sara Martin Camara, UIA representative (Architect, France)

Oren Sussman (Law & Finance, Israel)

Professional Advisor of the Competition

Evangelos Lyroudias, Alumil Consultant (Architect, Greece)

The Prizes

The 6 prizes awarded by the Jury of “ArXellence 2” are the following:

1^st Prize

Title of proposal: The Lodge

Competitor ID: d15bd86f-2938

Name of participant: Alejandro Piqueras

Architectural office: ALE Studio

Country: Spain

2^nd Prize

Title of proposal: The Green Ηub

Competitor ID: 20d6099c-5616

Names of participants: Angeliki Tzifa, Sophia Nikolaidou

Country: U.S.A.

3^rd Prize

Title of proposal: Thessaloniki Green Pier

Competitor ID: c24d129b-ca90

Names of participants: Mircea Mogan, Alexandra Virlan

Architectural office: Mogan Architecture

Country: Netherlands

4^th Prize

Title of proposal: Bioclimatic Urban Lighthouse

Competitor ID: 7fcb61a5-e4bc

Names of participants: Alberto Mizrahi, Guillermo Lesch, Osvaldo Alvarez Rojas, Valeria Franck, Federico Menichetti, Leticia Alfaro, Philippa Jane Page

Country: France

5^th Prize

Title of proposal: De-fragmenting the Productive City

Competitor ID: 6a1e10a2-7174

Names of participants: Maria Chrysoula Akrivou, Antonis Athanasiou

Country: Netherlands

6^th Prize

Title of proposal: A view of the bay – A glance at the future

Competitor ID: 5fc57b05-4a53

Names of participants: Marco Broekman, Floris Van der Zee, Martha Seitanidou, Jordy Stamps, Yunshih Chen, Timothy Simons, Marina Lysenkova

Architectural office: Bura urbanism

Country: Netherlands

Honorable Mentions

(alphabetical order by country)

Honorable Mention

Title of proposal: The Gates of Thessalonica

Competitor ID: d7633b4d-e29c

Name of participant: Ivo Panteleev

Architectural office: ADA – Agency Design & Architecture

Country: Bulgaria

Honorable Mention

Title of proposal: Ships Forest

Competitor ID: a8ef5994-ee73

Names of participants: Perraguin Olivier, Spiegelstein Jacques, Letourmy Laurent

Architectural office: hOP/ar

Country: France

Honorable Mention

Title of proposal: Thessaloniki Wave (T-WAVE)

Competitor ID: cb17c371-dd7c

Names of participants: Andrea Michelini, Jacopo Berlendis, Alberto Gasparini, Tommaso Tassi, Alessandro Bonaventura, Mauro Baessato, Rade Batinica, Antonio Spena, Carlo Leonardi, Filippo Marsigli, Roberto Franchini, Giancarlo Franchini, Giacomo Gola, Davide Cappochin, Giuseppe Cappochin, Amarda Velcani, Thimi Rudi, Charis Christodoulou, Avra Bousda, Margarita Lekka, Vilma Chastaoglou, Matteo Taramelli, Roberto Zuccon

Architectural office: F&M Ingegneria Spa

Country: Italy

Honorable Mention

Title of proposal: City’s New Pulse

Competitor ID: c981fd16-5b56

Names of participants: Esteban Colmenares, Sanhita Chaturvedi, Shashank Jain, Anshul Bhargava, Ben Kikkawa, Joao Pedro Costa, Florentina Tsakiri

Architectural offices: Studio C+C / Studio 4215

Country: United Kingdom

The outcome and future steps

ALUMIL, being a leading international company specialized in architectural aluminium systems, organized this competition aiming to share the vision of a city that improves the quality of people’s lives. We made an open call for creative and innovative ideas and we are glad that this challenge inspired so many people all around the world. Despite the unprecedented difficulties due to the pandemic, we insisted on conducting the competition by maintaining its international character. We are proud not only for the large number of proposals we received from so many countries, but also because all these submissions were evaluated by an international Jury of highly qualified professionals. We believe that an ideas competition provides the necessary expertise that is crucial for every type of spatial planning. Architectural design has the power to invoke cultural evolution, and through architectural competitions we have the chance to offer new possibilities of improvement to our cities.

“ArXellence 2” was a competition that reopened the discussion about the redesign of Thessaloniki’s urban space and created a platform full of inspirational architectural ideas regarding the redevelopment of the city’s western waterfront. But most of all, “ArXellence 2” sent a positive and confident message of hope and optimism, based on advanced urban development and sustainability.

The post ArXellence 2 Results was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

Remodeling Ódena’s Plaza Mayor

Giannis — Tue, 19 May 2020 08:29:26 +0000

This article by Giannis was published on ek magazine | Architectural Publications.

The remodeling of the old city center of Ódena, in the outskirts of Barcelona, which is the result of an architectural competition, introduces a new structure that organizes and defines public space with simple means and formal clarity. The project spread a uniform stone paving throughout the whole study area, where vehicles and people coexist, prioritizing pedestrians.

The economic situation of small towns such as Òdena does not allow them to devote many resources to the maintenance of public space; once they obtain a subsidy or help to carry out a project, they must certify that functionality, quality of the materials, proposed technical solutions and their implementation are as successful as possible, in order to ensure good use, durability and low maintenance costs. The commission, therefore, was not only to give a solution to the plaza as a central and symbolic element of the town, but also to develop a system of interventions in the public space (pavements, furniture, lighting, trees, facilities, commissioning, etc.) that could extend, in the future, to other streets in the urban core.

Prior to its remodeling, Ódena’s Plaza Mayor was not in fact a square but simply the center point where the six main streets cutting across the old city center intersected and converged. This condition, added to the intensely sloping ground between the north and south ends, turned the place into an incoherent accumulation of road crossings that left small, scattered and isolated spaces. Citizen use of the central space of the municipality was thus fragmented, greatly hampering the development of community life.

To reverse the image of a road junction where cars were the protagonists and left the remaining urban spaces to pedestrians, the project extended a uniform stone paving throughout the whole affected area. This device does not isolate or delimit the center but instead joins all the spaces of the square into one, where people can move easily and safely, having priority over vehicles. To confront level differences and soften the slopes, to be used as meeting places (mainly in front of the Church and the City Hall), a common system is used that is deployed throughout the area in the form of stands or stairs. These new places, in turn, become shared benches, playgrounds, communal spaces and meeting points. The result is a continuous public space, well connected and essentially empty, ready to become the stage upon which a renewed urban community life is projected.

The town of Òdena is located on the border between two geological formations: stoneware and marl. Their encounter favors the presence of chalk, a material that characterizes the geology of the place. There is a quarry of this mineral in Òdena, exploited since the 19^th century, and still active today. The castle and the walled enclosure of the municipality, dated in the 10th century, are located on a mound of this stone that is sourced as the predominant construction material. This mineral, with its typical grey-whitish hues, is a reference to the town and it is closely linked to its landscape, its history and its social development. The cracks included in the project to break down and structure the uniform paving spreading across the plaza allow this whiteness to emerge from within, symbolizing and enhancing a meaning consistent with the town for generations, that will now have its own representative memorial space at the Plaza Mayor.

SCOB (Sergi Carulla and Oscar Blasco)

Adrià Goula

The post Remodeling Ódena’s Plaza Mayor was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

ArXellence 2

Giannis — Thu, 12 Mar 2020 13:53:02 +0000

This article by Giannis was published on ek magazine | Architectural Publications.

Founded in 315 BC and named after princess Thessalonike of Macedon, the sister of Alexander the Great, Thessaloniki is a historic city that has developed through the ages. Thanks to its location at the northwest corner of the Aegean Sea, Thessaloniki became a multi-ethnic metropolis. Hellenes, Romans, Ottoman Turks, Slavs and Jews passed through the centuries, leaving their mark on the city’s culture and architectural style.

The west coast, including the port of the city, used to be a manufacturing zone and is now uniquely located to spearhead the development of the city and its regeneration into a vibrant regional and international pole. Unfortunately, today the west waterfront area is an underused urban area representing probably one of the most underdeveloped areas of the city. It weakens the city’s image, livability, and productivity. Several past initiatives to facilitate the change towards urban growth and productivity have not been successful. Τhe challenge still remains.

The Architecture Competition “ArXellence 2” is an Open & Free, One-stage International Ideas Competition that aims to highlight innovative design as the ideal tool for the success of the new Central Business District (CBD) of Thessaloniki. The competition is sponsored & organized by ALUMIL – an international company based in Greece, specialized in the development of advanced architectural aluminium systems – and endorsed by the International Union of Architects (UIA). It will be conducted according to the UNESCO Standard Regulations for International Competitions in Architecture and Town Planning and the UIA best practice recommendations.

In more detail, the subject of the competition is the design of a new CBD at a wider area of 120.000 m² behind the port. The area’s advantageous location next to the city’s port, near the historic center of the city and quite close to important road and rail networks, as well as near industrial zones and logistics infrastructure, offers opportunities for sustainable economic development. Moreover, the area will be upgraded significantly upon the completion of major prospective infrastructure projects, as the upgrade of the port, Thessaloniki’s new Metro network and the potential development of the western suburban railway. Last but not least, Thessaloniki’s airport ongoing redevelopment will result (by 2021) to an expanded modern airport with a significantly increased capacity, connecting the city, further, with the world.

Thus, with the potential of redevelopment being strong, the Architectural Ideas Competition “ArXellence 2” represents a major challenge of urban regeneration. It is the first, and most decisive, step towards meeting the expectations of a new, cosmopolitan Thessaloniki. It is hoped that visionary competition schemes will pave the way for the regeneration of this decaying urban area through local government initiatives and private sector participation. Confirming its gravity and importance to the public, the competition runs under the auspices of the Greek Ministry of Environment and Energy, the Central Macedonia Regional Government, the Municipality of Thessaloniki, the Technical Chamber of Greece (Central Macedonia Branch) and the Architects Council of Thessaloniki.

The competition started on the 9 March 2020 and the registrations will be open until 25 May 2020. The due date for submissions is on 15 October 2020. The prizes will amount to 60.000 € and the 6 winners, along with 4 honorary mentions, will be announced on 25 November 2020. The awards ceremony will be followed by a 20-day exhibition in Thessaloniki Town Hall and a similar exhibition in Thessaloniki Music Hall. To get the official UIA approved competition brief and to register, please visit the competition’s website: www.alumil.com/arxellence.

The post ArXellence 2 was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

Xingtai Grand Theater

Giannis — Wed, 11 Dec 2019 13:43:51 +0000

This article by Giannis was published on ek magazine | Architectural Publications.

Snøhetta has won the design competition for the Xingtai Grand Theater in China. Situated in Xingtai, one of China’s oldest cities, the theater will become a new landmark for the rapidly modernizing city.

As one of the fastest growing cities in the Hebei Province, the spatial layout of Xingtai’s old town is currently struggling to meet the needs of this rapid urban development. The new Grand Theater is the anchor of a new master plan in Central and Southern parts of the Province, forming a new cultural monument.

‘Xingtai is looking towards the future while remaining grounded in its rich history’, says Snøhetta founder Kjetil Trædal Thorsen. The Grand Theater is an important cultural initiative to carry forward this city’s legacy and culture.

The design proposal goes beyond the prescribed site boundary, intentionally introducing a larger gesture – the Grand Circle Promenade. This includes not only the Grand Theater, but a science-and technology museum, a circular event plaza and the central eco-park, creating a generous space of interaction and creativity. Physically, functionally and symbolically, this circular gesture unites and connects the different cultural programs in the area; culture, science and nature, marking the area with its unique identity, while simultaneously fostering and instilling harmony to its surrounding environment. This design initiative connects the different cultural and science programs in the vicinity, creating an inclusive public space where visitors from any cultural or social background can enjoy the sights and activities around and inside the Grand Theater, without necessarily being a ticket-holder.

The design is inspired by the ancient Eastern Chinese philosophy, “Tian Yuan Di Fang”, meaning round sky and square Earth, which is a way of understanding the universe. The round sky represents its organic moving elements, such as the moon and the stars, whereas the square Earth represents the stable steadfast ground. By distinguishing heaven and Earth, the philosophy encompasses everything in between. The all-encompassing, incorporating design pays homage to this idiom, spanning from the macro level of the science museum and the park, to the micro-level where activities happen between heaven and Earth, inside, outside, on top of, or between the buildings.

Emerging from the Grand Circle Promenade is the Xingtai Grand Theater. The city’s name ‘xing’ originated from the Chinese character ‘a well (井)’, attributed to the city’s early advancement in well technology. ‘Tai’ means platform (台) and originates from the Tai Hang Mountains to the west. The design pays homage to the well and the city’s early advancement in well technology by incorporating the reflective pool at the center of the Grand Circle Promenade. A walkway circles the ‘well’, embracing the site before spiraling through the theater building, all the way up to its outdoor roof plaza, which provides a view of the new cultural area. The ‘platform’ is represented via multiple podiums incorporated in the design, creating opportunities for both choreographed and live performances. Simultaneously, the building’s ceramic façade pays tribute to Xingtai’s rich porcelain manufacturing history, sweeping across the space and providing shade and cover for the pathway, as well as diffused lighting in the interior lobby. The Grand Theater’s structural slanted columns array at full height along the façade as a singular system, and the circular pathway mitigates itself along a square perimeter, rising to the outdoor roof plaza at 22.5 meters above grade.

The design aims to provide a conceptual level of balance between the theater’s long-curved plaza, shimmering façade, and soaring atrium. The Grand Circle Promenade demarcates a circular space which can be used for picnic gatherings and family activities. The outdoor amphitheater welcomes spontaneous impromptu practice sessions, and the midpoint platform overlooks the park. Its surrounding neighborhood is expected to become a significant node of interest for both future residents and visitors of Xingtai. Focusing on the interaction between the building and the public, the walls interact with the building itself and is a key element of the overall planning for the building. The Grand Theater aims to serve as a space for performances from all around the world, but also where life and activities organically aggregate around it.

Snøhetta

The post Xingtai Grand Theater was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.