Competition – STAR http://st-ar.nl strategies + architecture - Rotterdam Thu, 08 Jun 2017 19:00:26 +0000 en-US hourly 1 Lot F, “Chapelle Internationale”, Paris 18ème http://st-ar.nl/lot-f-chapelle-internationale-paris-18eme/ Tue, 02 Dec 2014 18:47:38 +0000 http://st-ar.nl/?p=15245 December 4, 2014 – FINALIST

Social Housing, “SOHO” apartments and Residences for young workers and immigrant workers.
In association with AECDP – Agence Christian and Elizabeth de Portzamparc.

Finalist in invited competition.

– – – – Complete information about the project and updates coming soon – – –

Title:Chambre avec vue

Project name: Housing Competition on Chapelle International masterplan for the “LOT F”

Date: August-October 2014

Type: Invited Competition

Competition Organizer: RIVP

Number of participants: 5 participants (AECDP -Agence Elizabeth et Christian de Portzamparc- & STAR, Souto de Moura & Marchi Architectes, Eric Lapierre & Kuehn Malvezzi, Bruther & De Vydler, Vinck Taillieu, Atelier Martell & Charles Pictet)

Ranking: finalist

Location: Paris, France

Site: Chapelle International, 18th arrondissement

Programme: 90 social housing, 106 housing for young workers, 60 housing for foreign workers, 12 SOHOs (Small Office/Home Office)

Surface: 13 650  m² (net.)

Status: Competition

Client: RIVP

Budget: 27 000 000 €

Awards: Finalist

Publications:

Exhibitions:

STAR Team: Beatriz Ramo, Geoffrey Clamour and Sara Picazo

STAR collaborator: Bernd Upmeyer (BOARD)

Associate Architect: AECDP (Agence Elizabeth et Christian de Portzamparc)

Consulting: BERIM (BET Structure), AGI2D (BET environnemental), Made By Mistake (model maker)

Thanks to Djamel Aït-Aissa.

Extra:

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ZAC Gare Ardoines, Vitry-sur Seine, Région Île-de-France http://st-ar.nl/zac-gare-ardoines-vitry-sur-seine-region-ile-de-france/ Mon, 03 Dec 2012 19:00:48 +0000 http://st-ar.nl/?p=15250 December 2012 – FIRST PRIZE

ZAC Gare Ardoines: How to deal with the conditions you do not control? A benefit of the current crisis is that it clearly reveals how the nature of urban planning is radically changing. In the current economic and political context, a powerful leverage is lacking: top down solutions will proof to fail.
It’s therefore clear that for the ZAC Gare Ardoines only a new strategy to guide the urban process will be able to perform in line with the true potentials of the site.

In this new condition earlier assumed levels of control have ceased to exist and as a consequence more than ever the key question in urban design has become how to deal with the elements you do not control. How to integrate an uncontrollable collection of forces and imposed changes in a pragmatic and flexible way without compromising the quality of the urban plan?

In our proposal for the ZAC Gare Ardoines we have tried to deal with this question. The urban plan first of all tries as much as possible to reincorporate the current parcel layout. No tabula rasa but a careful process of reusing and reinterpretation of the existing tissue. As a result the plan does not ask for a massive restructuring operation but becomes very flexible. There is no need to construct the plan in a predefined order, nor is it necessary to obtain all parcels before works can start. In our scheme the ZAC Gare Ardoines can be redeveloped in a way that existing buildings can be incorporated without frustrating the overall outcome.

Next to that a second outline structures the plan. There is a strong need to deal with flooding and pollution. Instead of engaging into a complicated and costly fight against these conditions we have developed a strategy in which we work with them. We have created a system where all the ground floor levels will be above the highest expected water table during flooding. In doing so, we create, under the buildings and without the need to excavate in polluted soil, parking levels that double as water buffering.  It proves to be a very efficient system that deals with multiple problems in one go and turn them into qualities. Green transition zones add a quality of life for the entire area.

A big benefit of elevating the area is that we assure much easier connections over the tracks. As a consequence the ZAC Gare Ardoines can play an important role for the entire city: it links in a smooth way the east- and west side of the town that so far has been brutally cut but the railroads. At the point of the biggest setback the scheme ensures the biggest asset: a multimodal knot of infrastructure connections in which the reprogramming of the big hall will play an important role.

This strategy of reinterpretation of the biggest problems as having the biggest potential for change radiates through the entire plan: flooding, pollution, barriers are all dealt with in a way that they start to represent important qualities. Urban planning often has dealt with problems by creating a sequence of easy to control programmatic mono cultures. In our scheme we aim at a much more intelligent and versatile urban plan.

For the ZAC Gare Ardoines the true potential lays in clever combinations, not in separations: creating a strong link between the east and west side of the city, dealing with flooding and pollution issues by organizing green transition zones, harmonize old and new and combining living and working, consumption and production.


ZAC Gare Ardoines : comment faire face à des situations que l’on ne contrôle pas ?

Un des avantages de la crise actuelle est qu’elle révèle clairement la façon dont la nature de la planification urbaine est en radicale mutation. Dans le contexte économique et politique actuel, un puissant levier manque: des approches de force majeure descendantes seront vouées à l’échec. Il est donc clair que, pour la ZAC Gare Ardoines, uniquement une nouvelle stratégie pour guider le processus d’urbanisation sera en mesure d’accomplir les véritables potentiels du site.

Dans ces nouvelles conditions, les anciens niveaux de contrôle ont cessé d’exister et par conséquence, la question clé du design urbain est devenue : comment faire face à des éléments qu’on ne contrôle pas. Comment intégrer une collection de forces incontrôlables et imposer des changements de manière pragmatique et flexible, sans compromettre la qualité du plan urbain ?

Dans notre proposition pour la ZAC Gare Ardoines, nous avons essayé de faire face à cette question. Tout d’abord, notre plan urbain tente autant que possible d’incorporer la couche parcellaire existante. Pas de «tabula rasa» mais un processus attentionné à la réutilisation et la réinterprétation du tissu existant. En conséquence, le plan ne demande pas une opération de restructuration massive, mais devient très flexible. Il n’est pas nécessaire de construire le plan dans un ordre prédéfini, il n’est pas nécessaire d’obtenir toutes les parcelles avant que les travaux puissent commencer. Dans notre schéma, la ZAC Gare Ardoines peut être réaménagée de façon que les bâtiments existants puissent être intégrés sans frustrer le résultat global.

A côté de cela, un second contour structure le plan. Il y a un fort besoin de faire face aux inondations et à la pollution. Au lieu de s’engager dans un combat compliqué et coûteux par rapport à ces conditions, nous avons mis au point une stratégie dans laquelle nous travaillons avec eux. Nous avons créé un système où tous les niveaux de rez-de-chaussée seront au-dessus du niveau de l’eau le plus attendu lors des crues. Ce faisant, nous créons, sous les bâtiments mais sans avoir besoin de creuser dans le sol pollué, les niveaux de parkings qui dans le cas des crues fonctionnent comme des zones tampon pour l’eau.  Il se révèle être un système très efficace qui traite les multiples problèmes en une seule fois et les transforment en qualités. Les zones vertes de transition ajoutent une qualité de vie et architecturale pour tout le secteur.

L’élévation de la zone apporte un bénéfice important qui est d’assurer plus facilement les connections au-delà des voies ferrées. Par conséquent, la ZAC Gare Ardoines peut jouer un rôle plus important pour la ville entière : elle relie de manière douce les parties Est et Ouest de la ville qui, jusqu’ici sont cruellement coupées par les voies ferrées. Au plus grand point d’échec, le schéma assure le plus grand atout : un nœud multimodal de liaisons d’infrastructure dans lequel le re-programmation de la Grande Halle jouera un rôle important.

Cette stratégie de réinterprétation des plus grands problèmes à changer en plus grand potentiels rayonne à travers le plan entier
: inondations, pollution, barrières, sont tous traités de manière à ce qu’ils commencent à représenter une qualité importante. La planification urbaine a souvent tenté de traiter les problèmes en créant des morceaux de villes, mono-programmatiques et non-communicantes. Dans notre schéma, nous visons un plus intelligent et polyvalent plan urbain. Pour la ZAC Gare Ardoines, les réels potentiels ne résident pas dans la séparation mais au contraire dans des combinaisons intelligentes : créer un lien fort entre l’Est et l’Ouest de la ville, faire face à des problèmes d’inondation et de pollution en organisant des zones vertes de transitions, harmoniser l’ancien et le nouveau et combiner habiter et travailler, consommer et produire.

Images and text from the competition entry:

– – – – Complete information about the project and updates coming soon – – –

Title: ZAC Gare Ardoines

Project name: Urban plan for the renewal of the south of Les Ardoines

Date: July 2012 – On going

Type: Commission after winning competition : Dialogue Competitif  (July – November 2012)

Competition Organizer: EPA ORSA

Number of participants: 3 selected teams: Reichen & Robert, SEURA, STAR strategies + architecture

Ranking: FIRST PRIZE

Location: Vitry-sur Seine, Région Ile de France

Site: Les Ardoines

Programme: 1 000 000m² – Activities (236 810m²), Offices (408 700m²), Housing (312 800m²), Equipments (23 720m²), Commercial (24 760m²)

Surface: 49 ha

Status: On going

Client: EPA ORSA

Budget: N/A 

Awards: FIRST PRIZE

Publications: Les Ardoines – Territoire Émergent du Grand Paris, Paris, France, April 2013

Exhibitions:
– Les Ardoines en projet, La maison des projets, Vitry-sur-Seine, France, June 11 – September 14, 2013
– Les Ardoines, Territoire Emergent du Grand Paris, Pavillon de l’Arsenal, Paris France, April 16 – May 19, 2013

STAR team(‘Mandataire’)
Team (competition): Beatriz Ramo, Lydie Seurre, Ieva Cicenaite
Team (project): Geoffrey Clamour, Antoine Ceunebroucke, Rodrigue Lombard, Veronica van der Horst, Andrea Stanghini, Fleur Samé, Mikel Mujika, Julie Pommier, Ieva Cicenaite
Associate : Floris Alkemade Architect

Collaborators: BOARD: Bernd Upmeyer

Consulting: IRIS Conseil, Bureau B+B

Extra:

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STAR + [B+B] Selected for Urban Renewal Study in Roubaix, France http://st-ar.nl/13924/ Tue, 19 Jun 2012 14:48:08 +0000 http://st-ar.nl/?p=13924 June 19, 2012

STAR + [B+B] is one of the three teams selected for the Competitive Dialogue about the urban renewal of the Pile neighbourhood in Roubaix, France.
STAR will be working together with the urbanism and landscape architects firm B+B  from Amsterdam, Herve Saillet –Participation process expert from CUADD Conseil, Eric Hamelin- sociologist from Reperage Urbain and Tony Bernard as ground work engineer advisors from Infraservices.
The Pile quarter has experience a strong degradation over the last decades due to the decay of the industry. Roubaix is today one of the poorest regions in France. The Competitive Dialogue process aims to create a strategy to start an intelligent regeneration of the Pile, covering urban, landscape and architecture issues.
The Competitive Dialogue will last until February 2013.

 

 

 

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Regeneration of Grønmo Landfill – Norwegian Rhapsody http://st-ar.nl/norwegian-rhapsody/ Tue, 10 Jan 2012 19:30:25 +0000 http://st-ar.nl/?p=13150 July 2011, Oslo, Norway  –  HONORABLE MENTION

I died on January 2nd, 2015. By that time I had read about GrønmoPark. I thought it was the most beautiful idea to deal with death and I fell in love with the thought of becoming part of the landscape. I spoke with my family and my beloved about it and they all seemed to recognize the beauty and the abstraction of it. We then visited Grønmo on a trip to Norway and we walked together on the grounds I would one day belong to.
While we were there we once heard the sounds of the pipes. It was mysterious. Somehow we knew that sound but it was different in Grønmo. It reminds one of a flute but more intense, as the sound of boats leaving harbour. It was accompanied by a quick and vibrant echo of little “dings”, like a choir of metal triangles. I wondered for a second what my sound would be.
Grønmo was extraordinary. My first view of it was from the plane. It was a clearing in the forest. Like a secret room, visible only from the air, from the sky. It looked so aggressively carved out in the Marka…but so soft and magical inside. I was captivated by that contrast. The resulting landscape was so expressive…
It was the result of forty years of human intervention. A completely artificial landscape built with the debris produced over decades. Like a piece of land art that took 40 years to be completed.
The designers of the plan decided to leave this surrealist topography intact, to preserve it as a monument to the way society dealt with its waste in the 20th century. As if designed by Brunier its relation with nature was invariably aggressive, as if he wanted to rape nature, strip her of her natural character, and turn her into an expressionist object[1]. I recognized Munch on it too; the broad bands of garish colour, the way he painted the sky and the Oslofjord in The Scream… We were lucky to arrive in May. The fields were all in bloom, so colourful. I sensed an infinite scream passing through nature[2]. It was like observing a piece of the painting, but fifty times larger.
 
That day we stayed in Grønmo for 4 hours. It was so calm; we did not need to talk. Each of us was experiencing Grønmo differently, I guess. We walked separately for an hour. I was lying for two hours on a small mound looking at the surrealist landscape of young hills, as if waiting to grow into mountains. One day my ashes would be part of one of these.  I found this the most beautiful option.
Grace preferred the wall. She liked the sense of timelessness of it, the absence of scale. She loved De Chirico paintings and the wall reminded her of his scuola metafisica. His dream-like paintings, as well as the apparently casual juxtapositions of objects, represented a visionary world which engaged most immediately with the unconscious mind, beyond physical reality[3]. Gunnar, instead, would have chosen the most abstract of all the options. He would scatter the ashes all over letting the wind decide. He thought it was the most poetic form of being all over the place…on every single bit of grass, of soil. So whenever he returned to Grønmo he would sit on a chair and feel me there, everywhere, but not in a specific place. I like that too… but I felt an illogical fear of disappearing…
– – 
Grace and Gunnar come to Grønmo twice a year. They like to spend time here. They do not find this peace anywhere else. It is their ritual of tranquillity; it helps them to find harmony. When Grace comes in autumn she likes to approach Grønmo by the ski trail. She enters the little sauna after visiting Grønmo and relaxes while looking through the window. Gunnar buys a couple of white tulip bulbs and plants them in my hill for the next spring. He walks for about an hour along the route of meditation crossing the different landscapes. It really transports you for a moment to a different and scarily comfortable dimension. If he comes across another visitor they look at each other and smile. In spring he sits on the chair and reads for the entire afternoon. When it gets dark he stays in the cabin from where he looks at the stars until sleep takes over. Next morning, he likes to visit the surrounding area and the Marka and try some new food. He has met a couple in Mortensrud, who always offer him a room to stay, but Gunnar prefers to sleep in the small cabin at Grønmo – and they smile and understand.


1  Rem Koolhaas about Yves Brunier
2  Munch on his diary, 22.01.1892, about the inspiration for the Scream – Skrik
3  About Giorgio de Chirico, Wikipedia

>> Full information about the project coming up soon

– – – –

Title: Norwegian Rhapsody
Project name: Regeneration of Grønmo
Date: July 2011 – Results December 2011
Type: Open International Competition Europan11 
Organizer: EuropanNorway
Participants: 33 – registrations: 62
Ranking: HONORABLE MENTION
Location: Oslo, Norway
Site: Grønmo
Surface: 45 Ha
Programme: Regeneration of a landfill into public spaces. Added programme: Sustainable Cemetery Park
Status: Competition
Client: Oslo Municipality
Budget: N/A
Awards: HONORABLE MENTION
Publications:
-Europan 11 in the Netherlands, Amsterdam, the Netherlands, March 2012
Europan 11 Norway Book of Results, Europan Norway, Oslo, Norway, Dec 2011
Exhibitions: Mortensrud Kirke, Oslo, Norway – 33 Ideas for a Better Future – Grønmo, October 15-16, 2011
STAR Team: Beatriz Ramo, Francesca Rizzetto, Alexia Martha Symvoulidou
Collaborators: –
Consulting: –
Extra: –

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Córdoba Architecture Foundation http://st-ar.nl/cordoba-3/ Sun, 31 Jan 2010 10:00:56 +0000 http://st-ar.nl/?p=2150 January 2010, Córdoba, Spain  
This project is a rejection of style, fashion, tectonics, and signature.
It is about the creation of space, illusion, and void.
It is the triumph of space over architecture.
A haven for opportunity, a place without restrictions, a white canvas that is free to change or to remain the same.
The Architecture Foundation will not be bound by style, fashion, name, or time.
It will be atemporal, universal, whatever it is wished to be, for as long as it is wished to be.
The façade offers one option only: an entry.
The foundation is a spatial connection. It brings you from the street into the secret garden.
The façade is only an entrance. The rest is an illusion.
The void is illusory, the perspective magically changes, the space expands, it grows and it changes; architecture disappears, and only space is left.
The only reality is the proportion of the façade: an A4.
Only three parts: programme, void, and circulation.
The void generates the building. The void is the connection between all the functions of the foundation. It is able to enlarge each programme. It will always be open, public.
All programmes can be fully connected or disconnected and never meet.
Front and back facade look the same, but only one is real. The other is an illusion. Nothing matters besides the void.



There are three parts: programme, void, and circulation. The installations run vertically in the perimeter walls. The circulations occupy the small appendix in the plan. The programme is the negative of the void; it is pure space. The void is the positive; the void is the street.





It will be atemporal, universal, whatever it is wished to be, for as long as it is wished to be.



-In summer, the cafeteria remains open until 3.00 a.m. On Saturdays and as today is Museum Night, the archaeological site will be lit up until that time. Today also saw the opening of the Le Corbusier exhibition.
The Foundation organized a dinner for the Chilean architects who came to visit Cordoba. While they were having dinner they were able to contemplate the archaeological remains. The ensuing cocktail party took place in the void. The bookshop was open until midnight and had placed all bookcases in the void. The office did not open today.
The Le Corbusier exhibition was a great success. A documentary on his house in La Plata was shown and later the director of the foundation gave a short speech. More assistants than expected were present but within seven minutes the annex meeting room was put into operation and the hall was enlarged to accommodate everybody. There is a couple on the roof terrace. They have been there for almost two hours, looking at the stars. Their friends are out in the Street of the Mirror, a small orchestra plays flamenco music…; locals and visitors have started to dance…It is an incredible night.
 


-There is only one entrance – or an exit – the remainder is free: free from shapes, styles, names, irony, fashion, and time.

-The bookshop is run by Javier. The bar is owned by Conchi, and his girlfriend takes care of the kitchen and menus. Ana is curator for the exhibitions of the foundation, and the archaeological site is supervised by Paco from the Municipality. The offices belong to the foundation; the void belongs to everybody.


-They are closing already…
-…. Let’s get down through the exhibition today


-I am waiting for my daughter. She met somebody at the Le Corbusier exhibition…
-I am just having a rest.


-…I like it more when the curtains are open.
-…not me… Everybody can see us



-The void generates the auditorium. It is a single space that will articulate the exhibitions, the lectures, the projections …
-Last time a curtain closed off the stage, like in the Kuntshal in Rotterdam


-This street seems pretty long…and it is only 20 metres…
-I love the space
-Borromoni used a similar trick in the small dome at San Carlo Alle Quattro Fontane in Rome
-yes…and in the Palazzo Spada too
 

The façade is just that: a façade. There is only one real element: a void…it will be always open.
The façade is a DIN A4.


 

Autonomy: Each function can be connected and work as one. But each function can also be completely independent and never meet up with another function.

Each programme can be enlarged; they open up to the void.



-The bookshop organizes there a fair, selling old magazine. The bar uses the void as a terrace… nicely shielded from the sun; today, the exhibition starts from here. Models and drawings are displayed in the void… luckily it is protected from the rain and the sun… The archaeological remains are visible from here as well…

Sustainability:
Economical: Flexibility in programme, ownership, and management.
Social: Urban strategy of connection with the garden. The façade can change according to participative strategies. The void is a public space.
Environmental: West facade is closed. The building only opens to the east and to the void, always shaded and thus cool, and it allows for fantastic cross ventilation to the entire foundation.


The plan is the same as the section.


-This building is fascinating…
-Spaces look much bigger or smaller than they really are…



-..Is there a ramp here?
-..I am not sure if it is the floor that slopes up or only the ceiling that is sloping down…

Archaeology:
The remnants of the roman circus are recovered and exposed. Glass walkways bring the visitors close to the ruin. Openings in the void, in the floors of the café and of the bookshop, and in the underground levels as well, allow the ruins to be viewed from street level.


-…the building seems to be buried deeply underground..
-yes, almost as much of it as is above ground…

Surroundings: The success of the interventions in the surroundings lies in the provision of storage space for each function. This allows for a rapid and versatile change of programmes.

Blind walls:
Day: hundreds of geraniums will be donated by the people to decorate the white walls. They will be like pixels.
Night: hundreds of low consumption light tubes will create an enormous installation of light


-…During the night, this place seems enchanted…

The Street of the Mirror: A mirror is placed in the blind wall. The cul de sac disappears.

Parking and stage: Car and bike parking lot can be transformed into a two-sided stage. Chairs are stored under the platform. Rails will hold the curtains to close off the space.


Access: Platforms and accessibility ramps easily lead from Capitulares Street into the secret garden through the void.


-… while walking through the void there is a charming illusion of confusion…
 

-This must be the entrance to the inner garden. Should we enter?

– – –

Title: FAC Cordoba
Project Name: Sede de la Fundación de Arquitectura Contemporánea y Entorno de la Manzana de San Pablo en Córdoba. (Contemporary Architecture Foundation + Reurbanization of San Pablo District, Córdoba)
Date: January 2010 / Results May 2010
Type: International Open Competition in two phases
Organizer: Fundación Arquitectura Contemporánea
Participants: 218
Ranking: Last rounds + Selected for publication
Location: Córdoba, Spain.
Site: Manzana de San Pablo. Calle Capitulares 2 – 4
Programme: Exhibition rooms, bookshop, café, administration offices, archeological museum + re-urbanization of interior gardens.
Surface: 1226 m² (building) + 10.000 m² (garden)
Status: Competition
Client: Fundación Arquitectura Contemporánea
Budget: N/A
Publications: Concurso de Idea, Sede de la Fundación Arquitectura Contemporánea, Córdoba, Spain, July, 2010
STAR Team: Beatriz Ramo, Guadalupe Hernández, Xiana Méndez, Elia Salcedo, Daniel Díez.

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Auditorium Ciutat d’Elx http://st-ar.nl/auditorio/ Tue, 19 Jan 2010 20:53:42 +0000 http://st-ar.nl/?p=715 December 2009 – January 2010, Elche, Spain

The city of Elche is carrying out its biggest and most relevant projects during one of the worst economic crises: the Mirador del Palmeral (Palm Grove Viewpoint), the regeneration of the riverbanks, etc.
This could result in the design of more intelligent projects with more substantial and clearer development strategies that could have never been conceived in the maniera of the previous economical context.
The municipality now proposes the construction of a new auditorium as an emblematic building for the city.

We believe that strategic interventions, rather than simply iconic ones, are the only valid answers to the demands of this competition. In a time when private and individual interests are taking over, we want to bring the focus back on the generation of public spaces in cities. Let us use this chance to reinvent the relationship between the public building and the city through the public space.

The brief requires an emblematic element. We should not misunderstand this to mean an egocentric element. During the most recent period of economic prosperity, the Iconic Building confused the term Emblematic with Egocentric. The Auditorium of Elche will be emblematic because of its combination of programmes, its capacity to generate urban life, and its large public square. The intervention will revitalize the Carrús district and will bring cohesion between it and the city through the generation of a public space.

Real Sustainability vs. Symbolic Sustainability
We are tired to see that in a desperate search for conviction, architects add the green overlay to the final renderings of their designs. This ‘green-washing’ has replaced sustainability, which has lost its real meaning; it has become more and more banal to the point of becoming a symbolic and almost cynical term. From now on, we would like talk about strategy instead.
In the Elche Auditorium we will develop a strategy of economical, social, and environmental durability to ensure its success and to avoid it becoming obsolete and inadequate in the course of the coming years.

Linear configuration: STREET Building vs OBJECT Building:
The programme of the Auditorium of Elche is organized in a linear way, as in a street. This configuration frees up half of the site, allowing for the creation of a large space running parallel to the building that will be used as a public square, instead of the two residual spaces that are envisaged in the official plans
Each programme of the building has a direct relationship with the square, creating a STREET building, rather than an OBJECT building. This approach opens many possibilities and activates the site enormously, avoiding the typical problem of front/back façade. The design is an appropriate response to contemporary requirements. This would have been impossible with the traditional OBJECT building.
The linear organization of the programme plays a crucial role both in the generation of the building and in the generation of the Public Space. In spite of the necessary modification in the current planning rules we change the small green area, as the enormous potential it brings renders it inconceivable to maintain the current alignment.



The Square and the Building as one.
The shape of the building is the result of a collage of functions trying to achieve the biggest potential of the main room and the most attractive relation with the new public space. The circulation volume is placed in the façade, becoming a continuation of the street. We programme exhibition spaces in the circulation route so even when the building is closed, the exhibition will be visible from the square.
There is no façade, but rather an honest section that changes daily, establishing a direct dialogue with the square. It becomes the representative image of the building, always dynamic. As a result we are creating a much more urban rather than architectonic intervention.

The width of the building (27 m) is based on the width of its largest room: the main hall with a capacity of more than 1500 seats (24 m along with the 3 m volume of circulation).The remainder of the volumes is placed in line and at different heights in relation to the main room. This generates the most flexible and versatile spaces, as extra rooms can be annexed to the main room, therefore inspiring new events and performances.

The square runs parallel to the Auditorium and it is of similar size: 120 x 26 m. We only design 4 small parts of it using the Palm as the main motive. We aim to create a place to host all kind of events, and we don’t want to cut any potential by over-designing the space. The roof of the Auditorium becomes a continuation of the Public Space. It may work with, or separate from, the building. The volume of circulations is independent too. The resultant public space is of an incredible quality and potential; one at the ground floor level and the other overlooking the city. We almost provide as much space as was available in the original empty site. The open air cinema on the terrace will attract hundreds of visitors during the many warm nights.

The Magic Box:
We invest the budget in the functions of the building rather than in its shape. The main hall of the Auditorium requires the possibility of hosting all kind of events, from small poetry readings to mega-concerts. None of the existing halls can accommodate the entire event range. By studying the traditional ”box” we see that by implementing three changes we can generate a much more flexible and useful box – the Magic Box – capable of hosting all the known events and inspire many new ones: operas, congresses, pop concerts, readings, fashion shows, sporting events, banquets, theater plays, symphonies, lectures, projections, techno parties, stripteases, …
– – –




left: Center Georges Pompidou, Paris   – right: Piazza Navona, Rome
















– – –

Title: Auditorium
Project name: Auditorio Ciudad de Elche – Elche Auditorium
Date: December 2009 – January 2010
Type: Open International Competition,
Organizer: Ajuntament d’Elx – Elche City Council
Participants: 150 (Registrations: 358)
Location: Elche, Spain
Site: Carrús Neighborhood, between Avenida de Novelda and streets: Mario Pastor Sempere, Hermanos Navarro Caracena and Antonio García Torres
Programme: Auditorium (2 halls) 6.681 m² + Social Centre 1.966 m² + Parking 12.203 m² + Public roof 3.168 m² + Square 2.768 m²
Surface: 26.786 m²
Status: Competition
Client: Ajuntament d’Elx – Elche City Council
Budget: € 19,5 Mill.
Publications:
-A New Generation in Architecture. West Arch vol.1, Berlin, Germany, September, 2010
-Architectuur NL #06, Amsterdam, the Netherlands, May, 2010
Exhibitions: West Arch – A New Generation in Architecture at the Ludwig Forum für International Kunst, Aachen, Germany, September 12 – November 14, 2010
STAR Team: Beatriz Ramo, Guadalupe Hernández, Xiana Méndez, Elia Salcedo, Daniel Díez.

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46 Noise-Proof Houses in Maastricht http://st-ar.nl/46-solutions/ Tue, 23 Jun 2009 23:11:24 +0000 http://st-ar.nl/?p=1153 June 2009, Maastricht, the Netherlands   –   FINALIST

The redevelopment of the Belvédère area links up with Maastricht’s policy for the next 20 years to develop into a regional commercial centre. Belvédère will host 4000 new homes and knowledge- and service-based businesses.
The Sphinxkwartier Masterplan, located within this area, presents a big problem as it places four blocks right next to the Frontensingel. This road causes heavy noise pollution and current regulations do not allow opening any window to this side. This fact definitely compromises the quality of the housing. The design of Block 11 aims to provide a successful solution to this challenge and serve as a model to the rest of the blocks affected. It will host 46 apartments and will integrate the existing Brikkengebouw in its plan.

The urban planner:

As urban planners we are of the opinion that a different Master plan could probably have solved the noise problem better, trying to minimize as much as possible the facades exposed to the noise. A neighbourhood consisting of low, row houses eliminates the façade exceeding the existing perimeter wall. Another solution would have been to assemble all the houses in two or three mega blocks, distant enough to not be affected by the noise from the Frontensingel.
However, expert studies show that these two types are not what the market demands. The typologies needed are blocks of four or five floors within a high-density Master plan. Due to this fact, it is almost unavoidable that certain façades will be affected by the noise.

The engineer:
As engineers, we could have simply placed a glass sound barrier, 15 metres in height, and the problem would have been solved but, on the other hand, terribly emphasized. Not to mention the appeal of such a glass wall to graffiti artists…  We could also ignore the problem and simply add artificial ventilation in every bedroom or living room facing the Frontensingel as the windows could not be opened there. These solutions decrease the quality of the housing and therefore their price in the market.

The architect:

As architects, we felt challenged by the task of the project: designing good housing within very strict limitations that forbid the use of windows that open in the facades concerned. We were also against spending money on extra acoustic isolation. Therefore, we proceeded as follows:
1-Rethink the location of the different functions in a house. In the façade we place the toilets, wardrobes, and kitchens. By doing so we create and activate a wall of services that protect the living areas from noise. These facilities can function with artificial ventilation
2-We create patios and big terraces for each house so we ensure natural ventilation and direct light. The surfaces consumed by these outside spaces are compensated by the minimization of the circulation areas. We attempt to ensure that as many house as possible have  independent access from the ground floor
As each house enjoys its own garden, the block 11 could be looked at as a stack of villas. Within the very strict limitations, we manage to design 46 different houses that can accommodate 46 very different kinds of users. The houses range from 48 m2 to 145 m2. We integrate the old Brikkengebouw in the block, which shares the circulation core with the rest, and we transform its ground floor into a café that faces the new square of the Masterplan.

↑ image above: Common garden


Sphinxkwartier, Existing Brikkengebouw standing alone in front of Frontensingel road


Conventional organization vs. proposed organization


Block 11 from the South-East. The renovated Brikken Gebouw appears in the front ↑


Active Ssound-proof wall. Facades affected by the noise



Utopian Skyscraper from, Life October 1909

Gardens for everybody – Aerial view of patio houses in level +10.00 and +13.10



Common garden and first floor bridge




More than half of the houses have access directly from the ground floor – Vertical Circulation + entrance from the square


46 different houses for 46 different homes

Level ±0.00m

Level +3.95m

Level +7.00m

Level +10.05 m

Level +13.10 m

Level +16.15

– – –

Title: 46 Solutions Maastricht
Project name: Residential block at Sphinxkwartier
Date: June 2009 – Results January 2010
Type: Open International Competition Europan10
Organizer: Europan Nederland
Participants: 54
Ranking: FINALIST
Location: Maastricht, the Netherlands
Site: Sphinxkwartier
Programme: Residential block + Reuse of existing building + Urban study of the surroundings
Surface: Housing 4.711 m², private gardens 649 m², common garden 518 m², plaza 1.419 m², bar 98 m²; Total 8.103 m² + Study Area: 1,5 Ha
Status: Competition
Client: BPF Bouwinvest – Wijkontwikkelingsmaatschappij Belvédère
Budget: N/A
Awards: FINALIST
Publications: Europan 10! in Nederland, by Europan and SUN, Rotterdam (the Netherlands), January 2010
Exhibitions: Informatiecentrum Belvèdére in Maastricht, Nederland, 2-31 March 2010
STAR Team: Beatriz Ramo, Jean-Vianney Deleersnyder, Jordi Milà, Albert Perez, Luca Vandini; model assistance: Laura Mayoz

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Flexible Housing in Liège – The Room That Was Always There http://st-ar.nl/the-room-that-was-always-there/ Mon, 22 Jun 2009 22:53:52 +0000 http://st-ar.nl/?p=1001 June 2009, Liège, Belgium

Imagine what it would be like to find a new room in the house where you had been living your entire life… Imagine the possibilities.
Instead of enlarging the urban tissue, the project is placed in an existing “hidden” urban area, activating a room that has always been there. With this gesture, not only do we increase the density of the Balteau area that will profit from the existing infrastructure, but we help the regeneration of this degraded neighbourhood of Liège as well. The proximity to the new Calatrava station and the river, as well as the works in the esplanade, make the situation of our project of great interest.
Former industrial urban blocks such as the Balteau site were too large to be friendly to pedestrians. We divide up the block into six smaller ones, bringing public space to the inside, and producing a tighter network of mainly pedestrian and bicycle paths in the area. Each of the six resulting blocks of the Balteau site will be a mix of existing and new houses.
The resultant smaller scale reminds us of Liège city centre, a tight urban fabric composed of houses of almost identical proportions and façade composition. Also, we will use one single module for the development of the entire block. This will allow for flexibility in use and construction.
The new houses will shape the inner streets of the Balteau, whose atmosphere will be serene and tranquil. Balteau will be a secret village right in the centre of the city.
Originally, the Balteau site was generated from its core where the factories used to be. We create a square in this area. It will be the meeting point of the Balteu. Just as Piazza San Marco in Venice has its campanile, or Liège its Perron in Place du Marché, we maintain the tall chimney of the Balteau site as its reference point on the square
Housing:
The module that will accommodate all the situations inside Balteau is 4,5 m x 13,5 m in plan by 10,5 m in height. An oversized free room height of 3,2 m will increase the spatial quality and its future adaptations. We listed four different situations with regard to the orientation of the modules and the open and closed surrounding walls.
Due to these different conditions, we arrive at 10 different housing types ranging from 45 m2 to 150 m2. 132 modules will be built, and depending on the type used, 500 to 800 new residents will move to the Balteu. Each module is accessible from the street, and has a private roof garden, and some offer the possibility of an independent office space inside the house. A large underground parking will cover the needs of the Balteau site and the design centre. The remaining parking lots may be rented out to third parties to help financing the operation.
Design Centre:
The main access to the Balteau is at the Rue Paradis. We place the required Design Centre as a gateway to the room that has always been there, reinforcing the axis between the new station and the river. It is split in two volumes. The bottom volume will help to frame the door, while the top one, cantilevering over the Rue Paradis will catch the attention of the pedestrian visitors arriving from the station.



Balteau entrance – Calatrava Station at the back



type A1

The Design Centre appears in the foreground on the esplanade




type B2

type B1

type A2

type D2

type C2


Balteau Site from Rue Paradis


– – –

Title: The Room That Was Always There
Project name: Urban Regeneration of Liège Block at Guillemins
Date: June 2009 – Results January 2010
Type: Open International Competition Europan10
Organizer: Europan Belgium
Participants: 55
Location: Liège, Belgium
Site: Guillemins district
Programme: Regeneration of an existing urban block + Urban study of the surroundings
First phase: Housing 6.156 m², design center 2.778 m², kindergarten 170 m², parking (162 lots) 4.251 m². Number of apartments: 33 to 99, depending on the typology
Second phase: housing 24.901 m², design center 2.778 m², kindergarten 1.674 m², restaurants 492 m², public space 7.990 m², parking (627lots) 14.683 m²
Number of apartments: 132 to 396, depending on the typology
Surface: Study site: 2,5 Ha, Project site: 0,6 Ha
Status: Competition
Client: The City of Liège and private individuals
Budget: N/A
STAR Team: Beatriz Ramo, Jean-Vianney Deleersnyder, Jordi Milà, Albert Perez

 
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The Park of the 99 Gardens – Valdebebas Park http://st-ar.nl/valdebebas/ Thu, 30 Apr 2009 10:00:45 +0000 http://st-ar.nl/?p=1320 April 2009, Madrid, Spain

We create a strategy of colonization, rather than a plan.
Carpet: As a tapestry, the new park will be delicately placed as a tapestry respecting the existing topography.
Artificial: The topography is the only natural thing. Artificiality will reign in the park. The visitor is aware that he is in an urban park. Orthogonal lines will contrast with the sinuosity of the adjacent Forest Park, and they form a transition to the new grid of the future city of Valdebebas.
Unstable: The combination of different species, deciduous and perennial, contributes to the unstable image of the park, which will change each season. The ‘garden of the question mark’ will forever be changing according to the decisions of its users.
Unfinished: The Park can start operating as soon as one of the 99 gardens is finished. Thereafter it will forever be a process of change – always unfinished.
Recognisable: The 99 squares, and the 1km bench, shape the image of the urban park. This will be recognised as well by the thousands of air passengers from terminal 4 next to the park that will view the park from the air, either right before landing or right after leaving Madrid.
Framed: Each garden has a completely different atmosphere. The visitor moves in an unfixed way, from room to room, without passing through a transitional space.
Narrative: The 99 gardens are inspired by 99 stories. These stories will be explained on a panel in each garden. The visitor, moved by curiosity, might delve deeper into the story after his visit.
Imaginative: Some of the gardens have no specific predetermined use, so the visitor will be inspired to use it as he wishes in unexpected ways.
Chaotic: The 99 gardens are 99 decontextualized landscapes.
Organized: The 99 gardens are clearly organized in an orthogonal structure following the rules of proportionality.
Contradictory: the garden combines instability with specificity; control and un-control; flexibility and rigidity; reality and fantasy; improvisation and discipline; realism and surrealism…
Resistant: The design strategy is resistant to changes of programme, usage, material, budget, planning, and design…
Illusory: Illusions of memory, history, order; illusion of a park.
 
The 1km Bench:
The orange bench is 1362 m long, and runs parallel to the main path. It is the only common element in the enormous existing diversity of the Park. Depending on the area, the bench may be used as table, path, bridge, stage, etc.
 ↑ image above: Le déjeuner sur l’herbe. 1862 – Manet
 

Mondriaan, 1921  –  Marrakech – The Earth from Above  –  Tulips field – the Netherlands



↑ Site of Valdebebas Urban Park. Terminal T4 from Madrid Barajas Airport on the right
99 Gardens:






Phases and uses:

The 1 km Bench:




 
– – – 

Title: The Park of the 99 Gardens – Valdebebas Park
Project name: Parque Urbano de Valdebebas – Valdebebas Urban Park
Date: April 2009
Type: Open International Competition
Organizer: OCAM + City Council of Madrid
Participants: 160 from 25 countries
Location: Madrid, Spain
Site: Valdebebas, area limited by: north with La Moraleja and the Encinar de los Reyes; south with IFEMA, and the Barajas Airport; west with Sanchinarro.
Programme: Urban park for sports, leisure and culture
Surface: 80 Ha
Status: Competition
Client: Junta de Compensación Parque de Valdebebas
Budget: N/A
Publications: Parque Urbano de Valdebebas, COAM, Madrid, Spain, September 2009
STAR Team: Beatriz Ramo, Jean-Vianney Deleersnyder, Jordi Milà, Albert Perez, Luca Vandini

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Offices in Leganés http://st-ar.nl/suave-offices-for-sports-management/ Sat, 28 Feb 2009 10:00:34 +0000 http://st-ar.nl/?p=4419 February 2009, Leganés, Madrid, Spain

Leganés is a satellite city belonging to the Greater Madrid Conurbation. The city has numerous sports areas and urgently needs a place to centralize all management: the CRD (Centro de Recursos para el Deporte).
The City Hall owns a site, shaped as a quarter-circle, on the intersection of two busy streets. The regulations about alignments, setbacks , and occupancy applicable to this site, are strict and determinant. The total surface area of the required programme is not stable and might double in a few years, or shrink, as the case may be.

This will be the generative concept of our proposal: a building that can grow and shrink gracefully within short periods of time.

We attempt to occupy as much of the surface area as possible in order to be able to arrange the entire programme over two floors, rather than the expected three, thus minimizing the use of elevators and stairs. This will offer more flexibility as the building is less fragmented. Following the strict regulations of alignments and setbacks we create a smooth curvature of the site outline. A continuous polycarbonate facade will draw the perimeter in, folding in the corners, to avoid useless angles, and folding in the middle to manifest clearly the entrance to the building. It also creates an welcoming inner courtyard protected from the busy avenues, which will bring light and ventilation to the entire building and will satisfy the regulation concerning the maximum area to be built.

The façade has an air chamber acting as a chimney that will avoid the loss of heat in winter, and attracting heat in summer

To grow or to shrink. Economic Sustainability.
By elevating the ground-level of the building one metre off street level we bring natural light and ventilation to the basement, which  may be  used for office and working space in the future, adding more than 40% extra surface area to the administration programme. A second patio, connected to the main one, will reach the basement to give it more light and spatial quality. We oversize the room height  up to 3,2 m in order to adapt better to a possible future change of programme. The only fixed elements in the building are the façade line, composed of 70 thin metallic pillars, and the three concrete cores of the circulations, which provide stability to the building and contain all the installations and services, freeing up the remaining space and allowing maximum flexibility to be completely diaphanous or compartmented.
If, by contrast, the CDR needs to shrink, the geometry in the plan makes it possible – practically from one day to the next – to change the building to be  rented by three different parties, each of which will have one of the service-circulation cores at his disposal.
Sustainability is understood as an intelligent strategy for durability. We are tired of the growing downgrading  of this concept.
This will be presented in 4 proposals, according to four levels of investment, that all fulfil the required demands. The difference between them is related to the amount of future surface area available for  growth. We decide to develop option D, the option realising the biggest potential.


Site: Geometry Quarter of circle
Regulations: Setbacks and maximum occupancy
Quality: Patio brings light to -1, 0, +1
Smoothening: Generation of the access + public space, elimination of useless corners



options A, B, C, and D






















– – –

Title: Suave
Project name: Center for Sports management in Leganés
Date: February 2009
Type: Open International Competition
Organizer: OCAM
Participants: 210
Location: Leganés, Madrid, Spain
Site: Corner between Avenida del Rey Juan Carlos and Avenida de Europa
Programme: Offices for sports management, medical center, outdoor spaces, parking
Surface: Total 3.070 m²; above ground: 1.743 m², underground 1.326 m²
Status: Competition
Client: Leganés City Council
Budget: € 3,6 Mill.
Exhibitions: Leganés: Deporte y Gestión, OCAM, Madrid, Spain. March 26 – April 20, 2009
STAR Team: Beatriz Ramo, Simone de Iacobis, Jean-Vianney Deleersnyder, Iñigo Paniego 

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