While attempting to evaluate what out of the existing corpus of buildings should be preserved and passed down to the next generations, our team realized that the most seductive component of this land is the fact that humans have left. In their absence, the site is allowed to return to its prior state. Here, the decision that led to this promising reality is the only meaningful past: The momentum of people leaving Pyramiden was to be preserved. The sentiment that once accompanied this event is now to be repeated countless times, through a linear journey towards the sea. Its sequences of views and experiences “constructs” an collective reflection on our actions and their impact. This is the legacy that Pyramiden has to offer in view of the challenges that the Arctic zone will face in the years to come.
In collaboration with K. E. Papasimakis
In the Tower of London common memory, contemporary city, river Thames and public space create a continuum. The intervention is conceived as a passage from the city to its roots: A thin surface, curved by the necessity to facilitate the access to the Tower, sets a new frame to admire the monument through an intimate public space. Its floor’s design interprets the link between the city’s rapidly changing skyline and the water, an element of primal importance for the Tower’s perception, as the moat is completely re-filled with it. Crossing the almost hidden entrances, visitors find themselves in the internal core of the building, where the structure of the ceiling offers an exceptional interplay of light and shadow. Here, the most valuable artifacts are exhibited next to modern creations, while the institution finally meets the 21st century museum standards.
In collaboration with K.E. Papasimakis
EgoCity, instead of juxtaposing "average" individual "dreams", proposes a new urban model whose primal matter is its citizens' most crazy fantasies. It is a project that goes far beyond a theatre of formal architectural folies and aspires to construct, in urbanised and dense conditions, a participative dream, a living mosaic that contains an unlimited amount of desired situations. In order to achieve that, rather than focusing on an aesthetic result, a particular interest has been manifested in the development of an appropriate gaming process that would be capable of taking advantage of every player's selfishness and then transform it into a spatial potential. We consider that this constant emergence of unexpected typologies can be proven a vehicle of crucial interest towards an authentically human-driven architecture.
In collaboration with
N. Baljet, F. Barone, F. Borel, C. Ducerisier, L. Dugal, H. C. Hoi, W.Jun, T. Leeferink, Z.Liu, J. Lopez-Menchero, P. Matej, M. Nosek, M. Pavanello, O. Terzi, L. Thijssen, S. Woo
Tutors: Winy Maas, Felix Madrazo, Adrien Ravon, Arendt Van Waart
More information about the Why Factory here.
According to Rem Koolhaas, Coney Island is the laboratory of the Technology of the Fantastic. The intervention (essentially an act of transplantation) takes advantage of this rich heritage by reproducing a distorted version of the facades' sequence, once found in the iconic Amusement Parks. Having discarded the program itself, the essential for the interaction is left: a plan as a simple trace in the ground and a decorated two-dimensional surface associated to it. The project gradually metabolizes the brutal urban transitions by submitting the environment in a new logical luckiness: The old separations are replaced by zones of “contaminated space”, with a radically new organization, even if none of its existing functions is altered. However, this intervention remains an ephemeral and fragile gesture. The people of Coney Island are free to choose their way of appropriation, generating an infinite number of possible scenarios. Only one of them is depicted here.
In collaboration with L. Dugal
The vivid debate over the construction of singular high-rise buildings in Paris found a new reference on a socially “sensible” neighborhood, strategically placed in the middle of a discontinuous urban fabric, itself being a palimpsest of medieval, industrial traces and “Grands Ensembles”. That context was seen as an ideal chance to experiment on densification by making use of a basic modernist (“blameworthy”) toolbox, intending to combine the benefits of the vertical and the horizontal city, both found in scattered fragments in situ. In order to propose that living on and next to an “object” (the tower), can be equally sustainable, a complex built ensemble was created by juxtaposing a variety of housing typologies, while coherence has been ensured by the collective courtyards. Being open to their urban environment and the nearby inhabitants, they set a new frame of a non-isolated domestic modus vivendi, based on social mixity.
The idea of creating a passenger harbor in Paris Rive Gauche takes into consideration the important role that this district is expected to have in the following years, as Grand Paris comes to life. Having in mind this metropolitan scale, the project functions as the centerpiece of an extended cultural network of “transportable events” which takes advantage of the potential redevelopment of the Seine ports. In the scale of the neighborhood, the project reorganizes the logistic flows around an interchange of combined transports (bateaubus, RER,subway). Instead of simplistically “building” around the hub of a district saturated by the “objects” of the past, the scheme proposes to unite and multiply the existing experiences, using as a vehicle an impressive structural system inspired by harbor’s cranes. The base of the project, with its cultural facilities and restaurants is open to all, while the mass of the108 housing units invites residents and visitors to discover their own district through its terraces, inner roads and panoramic walks.
In collaboration with K.E. Papasimakis